Vincent van Gogh. Letter to his brother Theo. [September 4, 1888] [Van Gogh Museum, Amsterdam, inv. nos. b574 a-b V/1962 and b584 b V/1962; pub. in Van Gogh Letters 1958, letter no. 532; Van Gogh Letters 2009, letter no. 674]
, mentions that he has "about fifteen new studies," including this painting.
Vincent van Gogh. Letter to Émile Bernard. [October 3, 1888] [Thaw Collection, Morgan Library & Museum, New York; pub. in Van Gogh Letters 1958, letter no. B18 (as end of Sept. 1888); Van Gogh Letters 2009, letter no. 696], mentions "a still life of old peasants' shoes" among a group of pictures on hand that he could exchange with other artists [but this work was not ultimately included in the exchange].
Vincent van Gogh. Letter to his brother Theo. [August 29 or 30, 1888] [Van Gogh Museum, Amsterdam, inv. no. b571 V/1962; pub. in Van Gogh Letters 1958, letter no. 529; Van Gogh Letters 2009, letter no. 671], writes that he has "a bouquet on the go [...] and also a still life of a pair of old shoes".
Paul Gauguin. "Natures mortes." Essais d'art libre (January 4, 1894), p. 274 [reprinted in "Essais d'art libre: Revue Mensuelle. Vol. 4: Août 1893–Janvier 1894," Geneva: Slatkine Reprints, 1971], states that Van Gogh had placed this picture in Gauguin's room in the Yellow House in Arles; identifies the shoes as belonging to Van Gogh.
Paul Gauguin. Diverses choses. 1896–97, p. 261 [Musée du Louvre, Paris, Département des Arts Graphiques, RF 7259; excerpt published in "Paul Gauguin," by Jean de Rotonchamp, Paris, 1925 (first ed., Paris, 1906), p. 53], mentions a still life of an old pair of shoes in the studio at the yellow house in Arles, seeming to imply that this painting was made after his arrival in Arles in October 1888.
W. Vogelsang. "Tentoonstelling Vincent van Gogh." Onze Kunst 4, 2nd half year (1905), ill. p. 61.
H. P. Bremmer. "Vincent van Gogh." Moderne Kunstwerken 7, no. 11 (1909), unpaginated, no. 83, pl. 83.
H. P. Bremmer. Vincent van Gogh: Reproducties naar zijn werken in de verzameling van mevrouw H. Kröller-Müller. The Hague, 1919, pl. 70, as "Werkmansschoenen".
Vincent van Gogh: Reproducties naar zijn werken in de verzameling van Mevrouw H. Kröller-Müller. The Hague, 1919, no. 70, ill. [see Ref. La Faille 1928].
Julius Meier-Graefe. Vincent. Munich, 1921, vol. 2, pl. 31 [English ed., "Vincent van Gogh," London, 1922, vol. 1, pl. 31; later English ed., New York, 1933, pl. 19], as "Arbeiterschuhe," in the collection of Frau A. G. Kröller, The Hague.
Florent Fels. Vincent van Gogh. Paris, 1928, p. 217, ill. p. 117.
J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, p. 131, no. 461; vol. 2, pl. 126, dates it August 1888 and locates it in the collection of A. G. Kröller, Harskamp.
Vincent van Gogh. The Hague, , p. 69, no. 218.
James W. Lane. "Current Exhibitions." Parnassus 7 (December 1935), p. 27.
W. Scherjon and Jos. De Gruyter. Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (complete catalogue). Amsterdam, 1937, p. 107, Arles no. 81, ill., as "An Old Pair of Shoes".
Vincent van Gogh: Letters to Émile Bernard. London, 1938, p. 86 n. 11, suggests that the "still life of old peasant shoes" referred to in letter B18 [Ref. Gogh 1888] is either this picture or "Clogs" (Van Gogh Museum, Amsterdam; F 607).
W. Auping Jr. Vincent van Gogh: Rijkmuseum Kröller-Müller. Wageningen, The Netherlands, , p. 127.
J.-B. de La Faille. Vincent van Gogh. London, , pp. 347, 565, 581, 587, 591, no. 488, ill., as in the collection of the Kröller-Müller Foundation, Hoenderlo.
W[ilhelm]. Uhde and Ludwig Goldscheider. Vincent van Gogh. New York, 1941, pl. 24, as in the collection of the Kröller-Müller Foundation, Hoenderlo, Holland.
A[braham]. M. Hammacher in Catalogue of 270 Paintings and Drawings of Vincent van Gogh Belonging to the Collection of the State Museum Kröller-Müller. English ed. [Otterlo], 1952, p. 9 [Dutch ed., 1949, p. 10], explains that this work is not included in the current collection catalogue, because it does not appear in the inventory of the National Collection and is no longer on loan to the museum; points out that Ref. Auping 1939 did not make a distinction between works on loan and those in the museum's inventory [these comments are reprinted in subsequent editions of the cat.].
Vincent van Gogh. The Complete Letters of Vincent van Gogh with Reproductions of All the Drawings in the Correspondence. Greenwich, Conn., 1958, vol. 3, p. 22, under letter no. 529, p. 28, under letter no. 532, p. 515, under letter no. B18, dates letter no. B18 to end of September 1888; but see Van Gogh Letters 2009, letter no. 696.
Meyer Schapiro. "The Still Life as a Personal Object - A Note on Heidegger and van Gogh." The Reach of Mind: Essays in Memory of Kurt Goldstein. New York, 1968, p. 205 [revised in Ref. Schapiro 1994].
J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 208, 629, no. 461, ill., as "Still Life: A Pair of Shoes," in the collection of the S. Kramarsky Trust Fund, U.S.A.
Mark Roskill. Van Gogh, Gauguin, and the Impressionist Circle. Greenwich, Conn., 1970, pp. 205, 302, pl. 167, as "Old Shoes," in the collection of Mrs. S. Kramarsky, New York.
Paolo Lecaldano. "Da Arles a Auvers." L'opera pittorica completa di Van Gogh e i suoi nessi grafici. 2, repr. [1st ed., 1966]. Milan, 1971–77, pp. 211–12, no. 561, ill., as "Natura morta (paio di scarpe)," in the collection of the Kramarsky Trust Fund, New York.
Mark W. Roskill. "Van Gogh's Exchanges of Work with Émile Bernard in 1888." Oud-Holland 86, nos. 2–3 (1971), pp. 157, 161, 163, 176 n. 188, fig. 18, as in the collection of Mrs. S. Binkhorst Kramarsky, New York; analyzes Van Gogh's letter to Bernard of late September 1888 [see Ref.] listing works that he has available to exchange with the group of artists working in Brittany; argues that though the MMA work must be the one described as "a still life of old peasant shoes [souliers]," Van Gogh must in fact have decided to keep it.
Hope Benedict Werness. "Essays on van Gogh's Symbolism." PhD diss., University of California, Santa Barbara, 1972, pp. xx, 216–17, fig. VI–40.
Jacques Derrida. "Restitutions: de la vérité en pointure." Macula 3/4 (1978), ill. p. 30.
Dr. Matthias Arnold. "Van Goghs Stilleben mit Schuhen." Weltkunst 50 (May 1, 1980), pp. 1192–93, fig. 12.
Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 244, 356, 358–59, no. 1569, ill., as "A Pair of Old Shoes," in a private collection, New York; points out that the tile floor depicted in this work must be that of the artist's studio in the yellow house in Arles, and that it is also seen in "The Seated Zouave" (private collection, Argentina; F424).
John A Walker. "Art History Versus Philosophy: The Enigma of the 'Old Shoes'." Block no. 2 (Spring 1980), p. 14.
Ronald Pickvance. Van Gogh in Arles. Exh. cat., The Metropolitan Museum of Art. New York, 1984, pp. 36, 163, 166, no. 94, ill. (color), calls it unsigned; suggests that the shoes may have belonged to Patience Escalier, whose portrait Van Gogh painted at about the same time he made this picture (private collection; F444); remarks that the same floor is seen not only in "The Seated Zouave" [see Ref. Hulsker 1977] but in "Van Gogh's Chair" (National Gallery, London; F498).
Haruo Arikawa in Vincent van Gogh. Exh. cat., National Museum of Western Art. Tokyo, 1985, pp. 216–18, no. 76, ill. (color).
A[braham]. M. Hammacher. Vincent van Gogh: Genius and Disaster. 2nd ed. [1st ed., New York, 1968]. New York, 1985, p. 194, ill. p. 44.
Van Gogh: A Retrospective. New York, 1986, p. 121, ill. p. 122, as "A Pair of Shoes," in a private collection, U.S.A.; reprints Ref. Gauguin 1894.
Jacques Derrida. The Truth in Painting. [French ed., 1978]. Chicago, 1987, pp. 313, 362–63, ill. p. 375.
Evert van Uitert in The Rijksmuseum Vincent van Gogh. Amsterdam, 1987, p. 156.
Walter Feilchenfeldt. Vincent van Gogh & Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914. Zwolle, The Netherlands, 1988, pp. 36, 96, 146–47, 149, as "Still Life: A Pair of Shoes".
Bogomila Welsh-Ovcharov in Van Gogh à Paris. Exh. cat., Paris. Paris, 1988, p. 64.
Roland Dorn Johannes-Gutenberg-Universität zu Mainz. Décoration: Vincent van Goghs Werkreihe für das Gelbe Haus in Arles. Hildesheim, 1990, pp. 248–49 n. 52, pp. 255–56 n. 110.
Roland Dorn in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, pp. 112, 121, concurs with Roskill [Ref. 1971] that van Gogh [Ref. 1888] referred to this picture as "a still life of old peasant shoes," but must have decided to keep it; likens the brushwork to that of "A Crab Upside Down" (1888; Rijksmuseum Vincent van Gogh, Amsterdam; F605).
J[an]. F[rederik]. Heijbroek and E[ster]. L. Wouthuysen. Kunst, Kennis en Commercie: De Kunsthandelaar J. H. de Bois (1878–1946). Amsterdam, 1993, p. 195, ill., state that Van Gogh-Bonger sold it through J. H. de Bois, acting for the firm C. M. van Gogh, to Kröller-Müller for 3,600 guilders on December 29, 1910 [see also Ref. Stolwijk and Veenenbos 2002].
Jan Hulsker. Vincent van Gogh: A Guide to His Work and Letters. Amsterdam, 1993, pp. 32, 40, 52, 60, 75, dates van Gogh's letter to Bernard [Ref. 1888] to October 6, 1888.
Gary Tinterow in "Recent Acquisitions, A Selection: 1992–1993." Metropolitan Museum of Art Bulletin 51 (Fall 1993), pp. , 50, ill. (color), accepts the identification of the shoes as van Gogh's, and remarks that it is not obvious that they are in fact a pair.
Carol Vogel. "The Art Market: Non-Traveling Shoes." New York Times (March 5, 1993), p. C18, ill. (detail).
Bente Kiilerich. "Heidegger, Schapiro, Derrida og van Goghs udtrådte støvler." Kunst og Kultur 77, no. 4 (1994), pp. 231–33 n. 1, fig. 7, erroneously as owned by the Kramarsky Trust Fund, New York.
Meyer Schapiro. "The Still Life as a Personal Object - A Note on Heidegger and van Gogh." Theory and Philosophy of Art: Style, Artist, and Society. New York, 1994, p. 142 nn. 3, 7 [revision of Ref. Schapiro 1968].
Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, pp. 245–47.
Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, pp. 242, 354, 495, no. 1569, ill. p. 359.
Georg Klusmann. Vincent van Gogh: Still Life with Peonies. Mainburg, Germany, 1996, pp. 11, 44, 73–74, 77, fig. 7 (color).
Nobuyuki Senzoku in Vincent van Gogh and His Time: Still Lifes from the Van Gogh Museum and the H.W. Mesdag Museum. Exh. cat., Seiji Togo Memorial Yasuda Kasai Museum of Art. [Tokyo], 1996, pp. 28-29, 129, fig. 24.
Ira Berkow. "Jewels in the Desert." Art News 97 (May 1998), p. 148.
Cynthia Saltzman. Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece. New York, 1998, pp. 225, 329, incorrectly states that Kramarsky acquired it in 1953.
Wessel Krul. Onzuivere Kunst: Over moderne cultuur, waarden en subjectiviteit. Amsterdam, 1999, p. 30 n. 57.
Bogomila Welsh-Ovcharov. Van Gogh in Provence and Auvers. [New York], 1999, ill. p. 85 (color).
Chris Stolwijk and Han Veenenbos. The Account Book of Theo van Gogh and Jo van Gogh-Bonger. Amsterdam, 2002, pp. 53, 130, 151, 174, ill., note that this is one of two paintings that J. H. de Bois, acting for the firm C. M. van Gogh, sold for Van Gogh-Bonger for which she recorded payment of 4,800 guilders on May 19, 1911; add that the two works went to different buyers, this one being purchased by Kröller-Müller [see also Ref. Heijbroek and Wouthuysen 1993].
Hildelies Balk in The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum. Otterlo, 2003, p. 437.
Jos ten Berge in The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum. Otterlo, 2003, pp. 387–88 n. 3, p. 389, ill. (color), provides detailed early provenance.
The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum. Otterlo, 2003, p. 443.
Cliff Edwards. The Shoes of Van Gogh: A Spiritual and Artistic Journey to the Ordinary. New York, 2004, p. 51.
Susan Alyson Stein in Vincent van Gogh: The Drawings. Exh. cat., Van Gogh Museum, Amsterdam. New York, 2005, pp. 278–79, fig. 213.
Lupina Lara Elizondo in Lupina Lara Elizondo. Van Gogh, Atl, O'Higgins: Expresión humana, esencia del paisaje. Mexico City, 2006, pp. 92, 255.
Ella Hendriks and Louis van Tilborgh Universiteit van Amsterdam. New Views on Van Gogh's Development in Antwerp and Paris: An Integrated Art Historical and Technical Study of His Paintings in the Van Gogh Museum. [Amsterdam], , p. 65 n. 1, date it to Van Gogh's Arles period.
Cornelia Homburg in Van Gogh in Budapest. Exh. cat., Museum of Fine Arts. Budapest, 2006, p. 340.
Laura Ann Coyle. "The Still-Life Paintings of Vincent van Gogh and Their Context." PhD diss., Princeton University, September 2007, pp. 337–38 n. 262, fig. 5.87, the figure is identified as 5.87 in the text, but misnumbered as 5.83 in the illustration section.
Leo Jansen, Hans Luijten, and Nienke Bakker. Vincent van Gogh: Painted with Words, The Letters to Émile Bernard. Exh. cat., Morgan Library & Museum. New York, 2007, pp. 293, 295, 298 n. 13, p. 309 n. 1, fig. 80 (color).
Susan Alyson Stein in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. ix, 190–97, no. 37, ill. (color), dates it late August 1888; notes that the signature has faded, due to the use of red lake pigments; suggests that this picture was shipped to Pont-Aven in October 1888, but brought back to Arles by Gauguin later that month; states that van Gogh painted this subject ten times between 1881 and 1889.
Vincent van Gogh. Vincent van Gogh—The Letters. London, 2009, vol. 4, pp. 250–51, fig. 2 (color), under letter no. 671, p. 257, fig. 12 (color), under letter no. 674, pp. 306–7, fig. 12 (color), under letter no. 696.
Elena Phipps. "Cochineal Red: The Art History of a Color." Metropolitan Museum of Art Bulletin 67 (Winter 2010), pp. 35, 37, 48, fig. 61 (color).
Anabelle Kienle in Van Gogh: Up Close. Exh. cat., Philadelphia Museum of Art. New Haven, 2012, pp. 55, 199, 270, fig. 40 (color).
Richard Shiff in Van Gogh: Up Close. Exh. cat., Philadelphia Museum of Art. New Haven, 2012, p. 137.