Vincent van Gogh. Letter to his brother Theo. [May 13, 1890] [Van Gogh Museum, Amsterdam, inv. nos. b683 a-b V/1962; pub. in Van Gogh Letters 1958, letter no. 634; Van Gogh Letters 2009, letter no. 872], writes that he has "just finished a canvas of pink roses against [a] yellow-green background in a green vase," referring to this picture.
Vincent van Gogh. Draft of a letter to his sister Willemien. [on or about May 21, 1890] [Van Gogh Museum, Amsterdam, inv. no. b721 V/1962; pub. in Van Gogh Letters 1958, letter no. W21; Van Gogh Letters 2009, letter no. RM19], writes "in the last few days at St-Rémy I worked in a frenzy. Big bouquets of flowers, violet irises, big bouquets of roses".
Vincent van Gogh. Draft of a letter to his brother Theo and sister-in-law Jo van Gogh-Bonger. [May 24, 1890] [Van Gogh Museum, Amsterdam, inv. no. b696 V/1962; pub. in Van Gogh Letters 1958, letter no. 648; Van Gogh Letters 2009, letter no. RM20], mentions at least eight canvases still in Saint-Rémy (of which this was one) with which he is "trying not to lose my touch".
Vincent van Gogh. Draft of a letter to Joseph Jacob Isaäcson. [May 25, 1890] [Van Gogh Museum, Amsterdam, inv. no. b663 V/1962; pub. in Van Gogh Letters 1958, letter no. 614a; Van Gogh Letters 2009, letter no. RM21], states that since their last correspondence he has made "a few studies of flowers" and describes them as "an avalanche of roses against a green background (this work and/or F681) and a very large bouquet of violet Irises against yellow background, against pink background".
Vincent van Gogh. Letter to his sister Willemien. [June 5, 1890] [Van Gogh Museum, Amsterdam, inv. no. b722 V/1962; pub. in Van Gogh Letters 1958, letter no. W22; Van Gogh Letters 2009, letter no. 879], writes "in the last few days at St-Rémy I worked like a man in a frenzy, especially on bouquets of flowers. Roses and violet Irises".
Vincent van Gogh. Letter to his brother Theo. [June 24, 1890] [Van Gogh Museum, Amsterdam, inv. no. b692V/1962; pub. in Van Gogh Letters 1958, letter no. 644; Van Gogh Letters 2009, letter no. 891], mentions that the canvases have arrived from Saint-Rémy, including "some roses".
Julius Meier-Graefe. Entwicklungsgeschichte der Modernen Kunst. Stuttgart, 1904, vol. 1, p. 119 n. 1, states that it is owned by van Gogh's mother.
Lettres de Vincent van Gogh à Émile Bernard. Paris, 1911, pl. 93, as "Les Roses".
Julius Meier-Graefe. Vincent. Munich, 1921, vol. 1, p. 219; vol. 2, pl. 94 [English ed., "Vincent van Gogh," London, 1922, vol. 2, pl. 94; later English ed., New York, 1933, pl. 54], as "Rosenstilleben".
Gustave Coquiot. Vincent van Gogh. Paris, 1923, p. 317, as "Roses au pot vert".
J.-B. de La Faille. L'Epoque française de Van Gogh. Paris, 1927, p. 60.
J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, p. 194, no. 682; vol. 2, pl. 192, calls it "Les Roses blanches" and dates it May 1890.
Fritz Knapp. Vincent van Gogh. Bielefeld, 1930, p. 56, pl. 33, as "Weisse Rosen".
W. Scherjon. Catalogue des tableaux par Vincent van Gogh décrits dans ses lettres. Périodes: St. Rémy et Auvers sur Oise. Utrecht, 1932, p. 114, no. 113, ill., as "Roses dans un vase vert".
Walter Pach. Vincent van Gogh, 1853–1890. New York, 1936, pl. 6.
W. Scherjon and Jos. De Gruyter. Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (complete catalogue). Amsterdam, 1937, p. 304, St. Rémy no. 113, ill., as "Pink Roses in Green Vase".
Alexander Dorner. Vincent van Gogh: Blumen und Landschaften. Berlin, 1937, p. 16, colorpl. 5, as in a private collection, Berlin.
J.-B. de La Faille. Vincent van Gogh. London, , pp. 485, 560, 581, 588, no. 703, ill., as in the collection of G. Hirschland, Essen.
Thomas Carr Howe, Jr. Salt Mines and Castles: The Discovery and Restitution of Looted European Art. Indianapolis, 1946, p. 232, describes seeing this picture at the Allied Central Collecting Point in Marburg, Germany among works of art from German museums that had been recovered from safekeeping in mines.
John E. Cross. Vincent van Gogh. New York, 1947, no. 22, ill. (color).
W. Sandberg. "Rembrandt, Hokousaï, Van Gogh." Verve 7, nos. 27–28 (1952), ill. p. 56 (color).
Charles Sterling. La Nature morte de l'antiquité à nos jours. Paris, 1952, p. 104, pl. 100 [English ed., New York 1959, pp. 114–15, pl. 100].
Jean Leymarie. Van Gogh: Arles, Saint-Rémy. Paris, 1956, unpaginated, colorpl. 15.
John Rewald. Post-Impressionism: From Van Gogh to Gauguin. 1st ed. New York, 1956, pp. 380, 383, ill. p. 381(color) [3rd, rev. ed., 1978, pp. 354–55, ill. p. 351 (color)].
Wallace Brockway. The Albert D. Lasker Collection: Renoir to Matisse. New York, , p. 27, ill. p. 28 (color).
"Collector's Prize." Time 71 (January 6, 1958), pp. 38–39, ill.
Peter Selz in Fruits and Flowers in Painting: An Exhibition Spanning Five Centuries of Art in the Western World. Exh. cat., Santa Barbara Museum of Art. [Santa Barbara, Calif.], 1958, pp. 10, 22, no. 52, ill., as "White Roses".
Vincent van Gogh. The Complete Letters of Vincent van Gogh with Reproductions of All the Drawings in the Correspondence. Greenwich, Conn., 1958, under letter nos. 614a, 634, 644, W21, W22.
Edward R. Murrow Mary Lasker in Interview between Edward R. Murrow and Mary Lasker. May 22, 1959 [published online through the Lasker Foundation website, http://www.laskerfoundation.org/about/murrow.html, accessed 2/11/08], states that Albert D. Lasker bought it in 1951.
John T. Mason Jr. Mary Lasker in Interview between John T. Mason Jr. and Mary Lasker. November 1, 1963 [interview conducted under the auspices of the Columbia University Libraries Oral History Research Office, pt. 1, session 23, pp. 712–13, published online at http://www.columbia.edu/cu/lweb/digital/collections/nny/laskerm/index.html, accessed 2/11/08], recounts Albert D. Lasker's purchase of this painting from Wildenstein.
Alfred Frankfurter in Great Private Collections. New York, 1963, pp. 230, 236, ill. (color), describes it hanging with Van Gogh's "The Zouave" (F 424) in the Laskers' drawing room.
J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 267, 638, no. 682, ill., as "Still Life: Roses in Green Pot"; lists some early provenance information that conflicts with that of Feilchenfeldt [Ref. 1988].
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, p. 229, no. 793, ill. p. 226.
Matthias Arnold. "Duktus und Bildform bei Vincent van Gogh." PhD diss., Ruprecht-Karl University, Heidelberg, 1973, pp. 121, 188 nn. 215, 219, p. 192 n. 346.
Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, pp. 450, 452, no. 1979, ill. p. 453, as "Vase with Pink Roses".
Bogomila Welsh-Ovcharov. Vincent van Gogh and the Birth of Cloisonism. Exh. cat., Art Gallery of Ontario. Toronto, 1981, p. 158.
Ronald Pickvance The Metropolitan Museum of Art. Van Gogh in Saint-Rémy and Auvers. New York, 1986, pp. 72, 187, fig. 46.
Walter Feilchenfeldt. Vincent van Gogh & Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914. Zwolle, The Netherlands, 1988, pp. 27, 29, 112, 141, 146, 150, 155, 157, ill. pp. 64 (color) and 112.
Catherine Barnett. "A Very Private View: Inside Walter Annenberg's Personal Paradise." Art & Antiques 6 (March 1989), pp. 96, 99, ill. p. 97 (color).
Colin B. Bailey. "La Collection Annenberg." L'Oeil nos. 408–9 (July–August 1989), colorpl. 9.
Judith Bumpus. Van Gogh's Flowers. Oxford, 1989, pp. 19, 45, colorpl. 10.
Walter Feilchenfeldt. "Van Gogh Fakes: The Wacker Affair, with an Illustrated Catalogue of the Forgeries." Simiolus 19, no. 4 (1989), p. 308, ill., identifies a forged van Gogh (F 681bis) painted after our work while it was in the Oppenheim collection, Berlin.
Evert van Uitert et al. Vincent van Gogh: Paintings. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Milan, 1990, p. 254.
Roland Dorn in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, pp. 144, 175 n. 2.
Walter Feilchenfeldt in Vincent van Gogh and the Modern Movement: 1890–1914. Exh. cat., Museum Folkwang, Essen. Freren, Germany, 1990, p. 44, states that Cassirer bought it from Van Gogh's mother's estate and sold it to Fritz Oppenheim.
Jan Hulsker. Vincent and Theo van Gogh: A Dual Biography. Trans. and rev. ed. [1st ed. Weesp, Holland, 1985]. Ann Arbor, Mich., 1990, p. 414.
Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 110–11, 201–2, ill. (color and black and white), discusses the coloration of the roses, and the partial fading of pigment from pink to white, noting that the change probably began early on.
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), pp. 39, 41, ill. (color).
Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux arts no. 92 (July–August 1991), p. 72.
Charles S. Moffett in Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art. Exh. cat., National Gallery of Art. Washington, 1991, p. 238.
Jan Hulsker. Vincent van Gogh: A Guide to His Work and Letters. Amsterdam, 1993, pp. 42, 57–58, 76, dates letter no. 644 to June 24 or 25, 1890, letter no. W21 to about May 20, 1890, and letter no. W22 to about June 5, 1890; lists all the works mentioned in the letters, and corrects passages of the French to English translation [see Refs. van Gogh 1890].
Ingo F. Walther and Rainer Metzger. Vincent van Gogh: The Complete Paintings. Cologne, 1993, vol. 2, ill. p. 624 (color) [German ed., 1989, "Vincent van Gogh: Sämtliche Gemälde"], as "Still Life: Pink Roses in a Vase".
Susan Alyson Stein in "Recent Acquisitions, A Selection: 1993–1994." Metropolitan Museum of Art Bulletin 52 (Fall 1994), p. 52, ill. p. 53 (color).
Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, pp. 290–91.
Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, pp. 450, 452, 496, no. 1979, ill. p. 453, as "Vase with Pink Roses".
Cynthia Saltzman. Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece. New York, 1998, pp. 110, 234, states that Cassirer sold it for DM 9,000 in March 1908.
Ira Berkow. "Jewels in the Desert." Art News 97 (May 1998), p. 147, ill. (color, installation photo).
Bogomila Welsh-Ovcharov. Van Gogh in Provence and Auvers. [New York], 1999, ill. p. 225 (color).
Colin B. Bailey and John Collins. Van Gogh's Irises: Masterpiece in Focus. Exh. cat., National Gallery of Canada. Ottawa, 1999, p. 18.
Ronald Pickvance. Van Gogh. Exh. cat., Fondation Pierre Gianadda. Martigny, 2000, pp. 59, 63, 112, 115.
David Grossvogel. Behind the Van Gogh Forgeries: A Memoir. San Jose, Calif., 2001, p. 134.
Chris Stolwijk and Han Veenenbos. The Account Book of Theo van Gogh and Jo van Gogh-Bonger. Amsterdam, 2002, pp. 148, 184, ill., identify it as one of three paintings sold by Van Gogh-Bonger for 8,150 guilders to Paul Cassirer in 1908, noting that Van Gogh-Bonger recorded only one of these works ("Garden"; F814; private collection) in her account book, since the other two (this work and "Irises"; F680; MMA, 58.187) came from the estate of her mother-in-law, Anna Van Gogh-Carbentus, who had died in 1907.
Walter Feilchenfeldt. By Appointment Only: Cézanne, Van Gogh and Some Secrets of Art Dealing. English ed. London, 2006, p. 64, ill. p. 101 (color), as "Roses" and "Roses in a Terracotta Pot"; identifies it as the painting copied by Otto Wacker for a fake Van Gogh (F681bis) and suggests that Wacker might have had access to our painting, since it was then in the Oppenheim collection, Berlin.
Zsuzsa Gonda in Van Gogh in Budapest. Exh. cat., Museum of Fine Arts. Budapest, 2006, pp. 358-59.
Stefan Koldehoff in Van Gogh and Expressionism. Exh. cat., Neue Galerie New York. Ostfildern, 2007, p. 171, states that Cassirer sold it to Franz and Margaret Oppenheim, Berlin, for 9,000 DM in March 1908.
Laura Ann Coyle. "The Still-Life Paintings of Vincent van Gogh and Their Context." PhD diss., Princeton University, September 2007, pp. 476–79, fig. 7.12, the reproduction is identified as 7.12 in the text, but misnumbered as 7.11 in the illustration section.
Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, fig. 17 (installation photo, color).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 174–75, 260–61, no. 163, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 221, 233–34.
Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. ix, 225–28, no. 42, ill. (color) and p. vi (installation photo).
Vincent van Gogh. Vincent van Gogh—The Letters. London, 2009, vol. 5, pp. 236–37, fig. 1 (color), under letter no. 872, pp. 250, 254, fig. 11 (color), under letter no. 879, p. 268, fig. 4 (color), under letter no. 891, p. 317, fig. 3 (color), under letter no. RM19, pp. 320–21, fig. 11 (color), under letter no. RM21.