L'Univers illustré (September 6, 1873), ill. p. 569 (engraving).
Castagnary. "Salon de 1873." Le Siècle (May 10, 1873) [reprinted in Castagnary, "Salons (1872–1879)," vol. 2, Paris, 1892, p. 92]
, states that Cot redeems with a pretty face the unsavory succes earned by his swing, referring respectively to the portrait of Mlle P... shown at the 1873 Salon, and the present painting.
Ernest d'Hervilly. "Le Salon de 1873." La Renaissance littéraire et artistique 2 (May 31, 1873), p. 129 [reprint ed., Geneva, 1973], calls it "Amants sur un balançoire".
Ph[ilippe]. de Chennevières. "Le Salon de 1880." Gazette des beaux-arts 21 (June 1880), p. 510 [reprinted as "Le Salon de peinture en 1880," 1880], describes it as a "vrai pendant" to Cot's "The Storm" (MMA 87.15.34).
Roger-Ballu. La Peinture au Salon de 1880. Paris, 1880, p. 67, calls it "Balançoire;" describes the figures.
Maurice du Seigneur. L'Art et les artistes au Salon de 1880. Paris, 1880, p. 31, describes the figures as the same couple who appear in Cot's "The Storm" (MMA 87.15.134), and identifies them as Daphnis and Chloë [see Refs. for "The Storm"]; notes that the composition has been extensively reproduced in a range of media.
The Art Treasures of America. reprint, 1977. Philadelphia, , vol. 1, pp. 54, 64, ill. between pp. 54 and 55, calls it both "Springtime" and "Spring;" describes it hanging beside Bouguereau's "Nymphs and Satyr" (Sterling and Francine Clark Art Institute, Williamstown, Mass.).
Émile Michel. "Le Salon de 1880." Revue des deux mondes, 3ème pér., 39 (May 1, 1880), pp. 682–83, notes the painting's persistent popularity, including reproductions in engraving, enamel, and porcelain.
René Delorme. "La Peinture de genre." L'Exposition des beaux-arts (Salon de 1880). Paris, 1880, unpaginated, describes the figures as the same couple who appear in Cot's "The Storm" (MMA 87.15.34) and identifies them as Paul and Virginie [see Refs. for "The Storm"].
"High Prices for Paintings: Lively Competition to Secure Gems from John Wolfe's Collection." New York Times (April 6, 1882), p. 2, notes that it sold for $9,700 [the highest price of the evening] to D.C. Lyall of Brooklyn.
"Current Events." Brooklyn Daily Eagle (April 6, 1882), p. 2, writes that it sold for $9,700, the highest price of the evening at the Wolfe sale.
"Art Exhibition and Bazar for the Sheltering Arms Nursery." Brooklyn Daily Eagle (January 19, 1883), p. 2.
"Splendid: The Loan Exhibition at the Art Association Rooms." Brooklyn Daily Eagle (January 22, 1883), p. 4, calls it "one of the most beautiful pictures in the city"; notes that it was among a number of pictures loaned by Lyall.
C. H. Stranahan. A History of French Painting from its Earliest to its Latest Practice. New York, 1888, p. 411.
"For Friendless Women and Children: Exhibition of Mr. Lyall's Gallery in Aid of the Charity." Brooklyn Daily Eagle (December 12, 1890), p. 1, discusses an exhibit of Lyall's collection, which included this work.
Weston Coyney. "The Lyall Collection." The Collector 3 (October 15, 1892), p. 310.
Weston Coyney in "The Late David C. Lyall's Collection." The Eagle and Brooklyn: History of the City of Brooklyn. Brooklyn, 1893, vol. 2, p. 790.
Montague Marks. "My Note Book." The Art Amateur 30 (May 1894), p. 154, incorrectly calls it a replica and locates the original in the A. T. Stewart collection.
"The Lyall Collection." New York Times (February 4, 1903), p. 9, compares it to the work of Bouguereau and Fragonard; calls it Cot's masterpiece and notes its extraordinary popularity.
"Big Prices at Lyall Sale." New York Times (February 11, 1903), p. 2, writes that it was bought by F. J. Goodwin for $3,100.
"Art Notes." New York Times (February 15, 1903), p. 26, remarks that it did not fetch a high price in the Lyall sale.
"The Brooklyn Museum: Gifts and Loans of Pictures to the Art Museum of Brooklyn Borough by Noted Citizens." New York Times (June 17, 1903), p. 9, writes that the painting was bought in by the family at the Lyall sale and that Lyall's daughters, Mrs. Goodwin and Mrs. Bigelow, have lent the picture to the Brooklyn Museum.
William H. Goodyear. Museum of the Brooklyn Institute of Arts and Sciences: Catalogue of Paintings. [Brooklyn, N.Y.], 1906, p. 12, no. 51, lent by Mrs. E. L. Goodnow and Mrs. F. L. Bigelow.
William H. Goodyear and A. D. Savage. Museum of the Brooklyn Institute of Arts and Sciences: Catalogue of Paintings. [Brooklyn, N.Y.], 1910, p. 19, no. 81, list the work among the museum loans displayed in the galleries.
"Schrier Painting is Sold for $5,500." New York Times (January 18, 1919), p. 11, writes that the original studies for this painting and "The Storm" (MMA 87.15.134) were sold at the John W. Sterling sale for $775 each, to Herbert Day.
Howard Devree. "The Brooklyn Museum's Summer Shows of Paintings and of Arms and Armor." New York Times (July 23, 1933), p. X5.
Madeleine Fidell Beaufort et al. in The Diaries, 1871–1882, of Samuel P. Avery, Art Dealer. New York, 1979, p. xlviii, fig. 65, cite it as an exemplar of academic painting.
James Henry Rubin. "Who was Pierre-Auguste Cot?" Nineteenth Century 6 (Spring 1980), pp. 36–38, fig. 2, discusses its early history and the fate of a copy sold in 1974.
James Henry Rubin. "Pierre-Auguste Cot's 'The Storm'." Metropolitan Museum Journal 14 (1980), pp. 191, 193–94, 196–97, 199–200, fig. 3, discusses its early provenance, suggesting that its presence in the collection of John Wolfe motivated his cousin Catharine Lorillard Wolfe to commission "The Storm" (MMA 87.15.134) and calling the two works "spiritual pendants"
Marguerite Smolen. "High Romance." New Jersey Monthly 13 (October 1988), pp. 108, 112, ill. (color), states that Ross purchased the painting from an art dealer who discovered it hanging in a hotel in Wilkes-Barre, Pennsylvania.
Carol Vogel. "'Springtime' Rediscovered." New York Times (February 9, 1996), p. C26.
Kathryn Manzo. "Collectors and Their Collections: The Collection of Fred and Sherry Ross." Classical Realism Journal 3, no. 2 (1997), p. 35, ill. on cover and p. 2 (color).
Fred Ross. "The Story of 'Springtime'." Artnet. January 6, 2000, ill. (color) [www.artnet.com/magazine/features/ross/ross1-6-00.asp], discusses the details of his purchase of the painting from Michelman.
James F. Peck. In the Studios of Paris: William Bouguereau & His American Students. Exh. cat., Philbrook Museum of Art. Tulsa, 2006, pp. 124, 126, mentions three known reductions of the MMA painting, including one in The Appleton Museum of Art, Ocala, Florida; notes the influence of Bouguereau on the picture.
Carol Vogel. "Reunion of Two Paintings." New York Times (July 6, 2012), p. C20.