1. This second consignment from Arles can be reconstructed to a significant extent. As well as the five works mentioned by Van Gogh (see nn. 2-6 below), the batch certainly included the following seven paintings, which we know that Theo had from later letters: Joseph Roulin (F 433 / JH 1524 ), Mousmé (F 431 / JH 1519 ), The harvest (F 412 / JH 1440 ), Fishing boats at sea (F 417 / JH 1453 ), Newly mown lawn with a weeping tree (F 428 / JH 1499 ), Cottages in Saintes-Maries (F 419 / JH 1465 ) and Rocks with a tree (F 466 / JH 1489 ). See letters 662, 673, 678 and 680.

The following works from the May-August 1888 period, whose provenance cannot be traced back to Jo van Gogh-Bonger with certainty, are candidates for the remaining two studies in the batch: The Langlois bridge with a lady with a parasol (F 570 / JH 1421 ), Wild flowers in a majolica jug (F 600 / JH 1424 ), View of Saintes-Maries (F 416 / JH 1447 ) and Haystacks (F 425 / JH 1442 ). The last of these is signed, and this makes it likely that it was sent to Theo (cf. the remark about signing works at the end of the letter).

a. Read: ‘puisque’.

2. The painter on the road to Tarascon (F 448 / JH 1491 ).

3. The Trinquetaille bridge (F 426 / JH 1468 ).

4. Sower with setting sun (F 422 / JH 1470 ).

5. Canal with washerwomen (F 427 / JH 1490 ).

6. There is no known painting that fits this description.

7. Pink peach trees (‘Souvenir de Mauve’) (F 394 / JH 1379 ), dedicated to Mauve and given to his widow. See letter 590, n. 5.

8. The letter sketch Quay with sand barges (F - / JH 1557) is after the painting Quay with sand barges (F 449 / JH 1558 ).

9. The drawing is Quay with sand barges (F 1462 / JH 1556 ). Van Gogh added the drawing from the consignment that Milliet took to Theo; see letter 662.

10. Garden with flowers (F 1456 / JH 1537 ), Garden of a bathhouse (F 1457 / JH 1539 ) and Garden with flowers (F 1455 / JH 1512 ). See letter 657.

11. Van Gogh made two paintings of oleanders: Oleander branches in a majolica jug (F 593 / JH 1566) and Oleander branches in a majolica jug (F 594 / JH 1567).

12. The saying ‘grapes are sour’ is taken from Jean de La Fontaine, Le renard et les raisins, Fables, iii, 11. See Fontaine 1974, vol. 1, p. 122.

13. Willemien stayed with Theo for a couple of weeks; she went to Paris on 15 August (FR b2421) and stayed until early September (letter 672). Originally Elisabeth was to have gone with her; cf. letter 615, n. 7.

b. Read: ‘puisque’.

14. Cf. the following passage from chapter 7: ‘Oh, the funk! You young people, you think you know it, but you can’t even imagine it, because, dear God, you folk, if you make a bad job of a work, you’re at liberty to do your utmost to make a better one; nobody will slate you, whereas we, the old men, who have shown our stature, who are obliged to measure up to ourselves, if not to make progress; we cannot slacken without tumbling into a common grave. Go then, famous man, great artist, cudgel your brains, get your blood up, to rise still further, ever higher, ever higher; and, if, at the summit, you find yourself treading on the spot, count yourself fortunate, use your feet to tread for as long as possible, and if you feel you’re going downhill, well then, stop breaking yourself, wallowing in the death-throes of your talent, which is outmoded, in the neglect of your immortal works in which you find yourself, overwhelmed by your impotent efforts to create more!’ (Ah! le trac, jeunes gens, vous croyez le connaître, et vous ne vous en doutez même pas, parce que, mon Dieu! vous autres, si vous ratez un oeuvre, vous en êtes quittes pour vous efforcer d’en faire une meilleure, personne ne vous accable; tandis que nous, les vieux, nous qui avons donné notre mesure, qui sommes forcés d’être égaux à nous-mêmes, sinon de progresser, nous ne pouvons faiblir, sans culbuter dans la fosse commune... Va donc, homme célèbre, grand artiste, mange-toi la cervelle, brûle ton sang, pour monter encore, toujours plus haut, toujours plus haut; et, si tu piétines sur place, au sommet, estime-toi heureux, use tes pieds à piétiner le plus longtemps possible; et, si tu sens que tu déclines, eh bien! achève de te briser, en roulant dans l’agonie de ton talent qui n’est plus de l’époque, dans l’oubli où tu es de tes oeuvres immortelles, éperdu de ton effort impuissant à créer davantage!). See Zola 1960-1967, vol. 4, p. 181; for the novel L’oeuvre: letter 552, n. 11.

15. We have not been able to find any reference to hairstyles in Brazil in Carlyle, but there is a passage about sticks to which fireflies are attached in Sumatra, quoted in On heroes, hero-worship and the heroic in history, a book Van Gogh knew. Since Carlyle links these little creatures with fame and its opposite (‘for one man who can stand prosperity, there are a hundred that will stand adversity’), Van Gogh may have been thinking of this. Carlyle describes how the poet Robert Burns suffered as a result of his suddenly acquired fame and wealth – inquisitive people made his life impossible – and he goes on: ‘Richter says, in the Island of Sumatra there is a kind of “Light-chafers”, large Fire-flies, which people stick upon spits, and illuminate the ways with at night. Persons of condition can thus travel with a pleasant radiance, which they must admire. Great honour to the Fire flies! But – ! –’ (Carlyle 1993, p. 167).

16. The ‘brethren of the common life’ (Fratres vitae communis or Fratres bonae voluntatis) was one of the three foundations spawned by the Modern Devotion. The brotherhood was formed around 1381 in the town of Deventer at the instigation of Geert Grote and Florens Radewijns. They wanted to live a simple, pious life from the fruits of their labour, including writing and teaching, and from church goods and income.

17. The seascape with the large red signature is Fishing boats at sea (F 415 / JH 1452 ). The following works from the consignment are also signed: Haystacks (F 425 / JH 1442 ), The harvest (F 412 / JH 1440 ), Fishing boats at sea (F 417 / JH 1453 ), Sower with setting sun (F 422 / JH 1470 ), Fishing boats on the beach at Saintes-Maries (F 413 / JH 1460 ), Still life with coffeepot (F 410 / JH 1426 ), Wheatfield with setting sun (F 465 / JH 1473 ) and Daisies in a bowl (F 591 / JH 1429).