The Poet's Garden

Copenhagen, Den Frie Udstilling, 1893, cat. 183.

Art Institute of Chicago, Van Gogh's Bedrooms, Feb. 14 - May 10, 2016, no cat no., plate 15.

Gloria Groom, Van Gogh's Bedrooms, exh. cat. (New Haven and London: Art Institute of Chicago, Yale University Press, 2016), 37-38, 41-45, 47, 48n14, 60, pl. 15.

Louis van Tilborough, Trio Meedendorp and Oda van Maanen, “‘Sunset at Montmajor’: A Newly Discovered Painting by Vincent van Gogh,” Burlington Magazine 155 (October 2013), 699 fig. 61, 700.

Agnieszka Juszczak, "The Iconography of the Valpini Suite," in Paul Gauguin: Paris, 1889, exh. cat (Cleveland Museum of Art, 2010), 161.

Vincent van Gogh and the Painters of the Petit Boulevard, exh. cat. (St. Louis: Saint Louis Art Musuem in association with Rizzoli,, 2001), 175 (ill.).

Art Institute, Van Gogh and Gauguin: The Studio of the South, Sep. 22, 2001-Jan. 13, 2002, cat. 63; Amsterdam, Van Gogh Museum, Feb. 9-June 2, 2002.

Cleveland Museum of Art, Work by Vincent van Gogh, 1948, cat. 12 (ill.).

Christiania (Oslo), exhibition of modern French art organized by Julien Leclercq, Jan. 1898; Stockholm, Feb. 1898, Gothenburg, Helsinki, and Berlin, 1898, no cat. [Shown in Stockholm and Gothenburg, possibly in Helsinki and Berlin, see Carl Nordenfalk 1946 and Supinen 1990].

Carl Nordenfalk, “Van Gogh and Sweden,” Kunshistorisk Tidskrift 15 (December 1946): 92–93.

Art Institute of Chicago, Vincent Van Gogh, 1936, not included in cat.

Springfield, MA, Cézanne to the Present, Dec. 1935-Jan. 1936, cat. 52.

Art Institute of Chicago, A Century of Progress, June 1-Nov. 1, 1934, cat. 315.

The Art Institute of Chicago Bulletin 27 (December 1933), 116 (ill.).

bequeathed to the Art Institute, 1933.

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Paintings and Water Colors, Apr. 6-Oct. 9, 1932, cat. 13.

“Masterpieces of the French Impressionists,” The Fine Arts 19, no. 1 (June 1932): 22 (ill.).

New York, Museum of Modern Art, Summer Exhibition: Retrospective, June-Sep. 1930, cat. 105.

Vincent van Gogh, Further Letters to His Brother, 1886–1889 vol. 3 (London: Constable, 1929), no. 537.

J[acob]-B[aart] de la Faille, L’Oeuvre de Vincent van Gogh, Catalogue Raisonné vol. 1 (Paris and Brussels: G. van Oest, 1928), 131 no. 468, pl. 131.

Sale, A. Mak, Amsterdam, Oct. 1925, lot 33. Howard Young Galleries, New York [stock no. 2486, according to Registrar archival card]. Mrs. Lewis Larned (Annie Swan) Coburn (died 1932), Chicago, by at least 1928 [see Registrar receipt dated May 28, 1928, copy in curatorial object file]

The artist’s sister-in-law, Johanna van Gogh-Bonger (died 1925) [see Nordenfalk 1946 and Supinen 1990]. Galerie d’Art Odenzeel, Rotterdam [La Faille 1928, 131]. Galerie d’Art d’Audretsch, The Hague, Netherlands [according to information on Registrar archival card, copy in curatorial object file]. M. Gieseler, The Hague, Netherlands, by 1925

Vincent van Gogh, Brieven Aan Zijn Broeder, ed. Jo van Gogh-Bonger (Amsterdam: Maatschappij voor goede & goedkoope lectuur, 1924), 174.

Possibly Paris, Galerie Bernheim-Jeune Galerie, Exposition d'Œuvres de Vincent van Gogh, Mar. 15 - 31, 1901, cat. 60.

Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches, revised and enlarged ed. (Amsterdam: J.M. Muelenhoff; Philadelphia: John Benjamins, 1996), 361-62 no. 1578.

Maria Supinen, “Julien Leclercq: A Champion of the Unknown Vincent van Gogh,” Jong Holland, no. 6 (1990): 7-8.

Monique Nonne, Le jardin de Van Gogh (Paris: Flammarion, 1989), 76 (ill.).

Ingo F. Walther and Reiner Metzger, Vincent van Gogh: Sämtliche Gemälde: Arles, Februar 1888–Auvers-sur-Oise, Juli 1890 vol. 2 (Cologne: Benedikt Taschen, 1989), 416 (ill.).

Roland Dorn, “Vincent van Gogh;s Concept of ‘Décoration’,” in Vincent van Gogh: International Symposium (Tokyo, 1988), 378-79, fig. 3a.

Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muiei︡a Metropoliten v Ni︡u-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great French Paintings From the XIX century to the Beginning of the XXth century from Metropolitan Museum of Art in New York and the Art Institute of Chicago], exh. cat. (Leningrad: Izdat ë Ivstvo Avrora, 1988), no. 42 (ill.).

Richard Brettell, Post-Impressionists (Chicago: Art Institute of Chicago, 1987), np. ill.

Art Institute of Chicago, The Art of the Edge: European Frames 1300–1900, Oct. 17, 1985-Apr. 22, 1986, not included in cat.

New York, Metropolitan Museum of Art, Van Gogh in Arles, Oct. 18, 1984-Dec. 30, 1984, cat. 104.

Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sep. 16, 1984, cat. 89; Art Institute of Chicago, Oct. 23, 1984-Jan. 6, 1985; Paris, Galeries Nationales d’Exposition du Grand Palais, Feb. 8-Apr. 22, 1985 (Los Angeles only).

A. M. and Renilde Hammacher, Van Gogh: A Documentary Biography (London: Thames and Hudson, 1982), 166, 179 (ill.), 237, no. 143.

Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches (New York: Harry N. Abrams, 1980), 358 no. 1578, 361 (ill.).

Paolo Lecaldano, L’opera pittorica completa di Van Gogh e i suoi nessi grafici: Da Arles a Auvers vol. 2 (Milan: Rizzoli, 1977), 212-13 no. 571 (ill.).

Art Institute of Chicago, The Artist Looks at the Landscape, June 22-Aug. 25, 1974, no cat.

J[acob]-B[aart] de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings (New York: Reynal & Company, 1970), 212 (ill.), 213 no.F 470.

Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966): 203.