Location:
Amsterdam, Van Gogh Museum, inv. nos. b8374 a-b V/2006 (sheets 1, 2); Paris, Fondation Custodia, inv. no. 1977-A-1715 (sheet 3); whereabouts of the greater part of sheet 4 unknown.
Date:
Letters 435,
437 and
439 to Van Rappard were probably all written in March 1884. There are no points of reference from which to date them exactly. The sequence is also problematic.
Letter 435 stands alone in that there are no references to other letters. On the basis of the poems copied out in it and the remark in the first sentence that he was sending some of Breton’s poems ‘too’, however, we assume that it is a follow-up to the previous batch of poems sent on or about 2 March (
letter 433). We therefore regard this letter as the first of the three.
The order of the other two letters is determined by what Van Gogh writes about sending his drawings to Van Rappard: in the first he says that he will send them, and in the second he thanks Van Rappard for his reply. Van Gogh must have received this reply by 20 March at the latest, because he told Theo about it on that date (
letter 440). Since these three letters to Van Rappard cannot be dated more accurately, we have spaced them evenly through the period 3-19 March. We therefore date the present letter on or about Saturday, 8 March,
letter 437 on or about Thursday, 13 March and
letter 439 on or about Tuesday, 18 March 1884.
Arrangement:
In De brieven 1990 five extra poems by Jules Breton were printed with this letter: ‘Le soir (à Louis Cabat)’ (Evening (for Louis Cabat)), ‘Les deux croix’ (The two crosses), (recto and verso of a half sheet in Paris, Fondation Custodia), as well as ‘Crépuscule (à Charles Daubigny)’ (Twilight (for Charles Daubigny)), ‘Dans la plaine’ (On the plain) and ‘Le retour des champs (à François Millet)’ (Returning from the fields (for François Millet)) (the last ones have only partly survived). These half sheets were once joined together, since the last – missing – verse of ‘Le soir’ was added in the space below ‘Le retour des champs’, as a photocopy of this sheet shows. We too assume that these fragments were originally part of the present letter. In 1957 L.H.M. Brom of Utrecht had this sheet in his possession and sent a photocopy of it to V.W. van Gogh. (Correspondence between L.H.M. Brom and V.W. van Gogh, April-September 1957, Van Gogh Museum, Documentation). Van Rappard was a leading member of the Kunstliefde association in Utrecht, where he became friends with the silversmith Jan Hendrik Brom; this Jan Brom, father of Leo, owned a study by Van Rappard, who also made his portrait. Brom probably acquired the sheet with the five poems through Van Rappard. Cf. exhib. cat. Amsterdam 1974, pp. 20, 85, 91.
The formulation ‘Here, too, are some of the poems by Jules Breton; if you don’t have them I’m sure they’ll really touch you’
(ll. 3-4) does not mean that he had sent poetry by Breton before (‘too’ must refer to the fact that he had previously sent poems by Coppée (
letter 430)). As far as we know there are no missing letters from Van Gogh to Van Rappard in these two months. We see no grounds for placing the poems with a later letter.
In 1977 the Fondation Custodia in Paris bought half of this sheet from a French private collection through the bookseller André Jammes. The other half was cut up and only part has survived. In March 2001 a seller on eBay offered one verse
(ll. 361-364) for sale.
Two fragments (
l. 274-278 and – on the verso – part of
l. 341, and
l. 378-379) were auctioned on 31 March 1998 in
The Collection of George Cosmatos. Sotheby’s London. London 1998, lot 450 (ill.).
Part of the sheet on squared paper (7.3 x 4.1 cm), with ‘à Charles Daubigny’
(l. 273) and
ll. 318-321) on one side and ‘Le retour des champs’ (
l. 340 and
ll. 341-344) on the other was in Galerie St Etienne, 24 West 57th Street in New York in November 2002.