My dear Theo,
I’ve written to you in Brussels again1 to tell you that I hoped you’d be in a position to send me some more money, when you get back to Paris at the latest. Because in order to recover possession of my trunk, I had to pay the whole bill for the time being, while at the same time having got it stated on the receipt that this inflated bill would be verified before the justice of the peace. I’m not sure about winning, although I am absolutely entitled to a deduction of 27 francs and no compensation for all the trouble it’s causing me.
First I had an absolutely consuming period of work and then I was so worn out and ill that I didn’t feel I had the strength to go and live on my own — and I’ve put up with things too much, for their present bill they’re basing themselves on a period when I was paying them more (when I was ill and had asked them for better wine).
But all in all, it’s so much the better that all of that has now forced me to take this decision.  1v:2
In short, I believe I’m a worker and not a soft foreign tourist here to enjoy himself, and it would be lack of energy on my part to let myself be exploited like that. So I’m starting to set up a studio that may at the same time be of use to our pals, if they come, or if there are painters here.
In the crate you’ll first of all find the paintings I did for Jet Mauve and Tersteeg.2 If in the meantime you should foresee that Tersteeg would take offence at it, well, in a word, if it’s better that I don’t talk to him, then you’ll keep it and you can scrape off the dedication3 and we’ll exchange it with a pal. As for the repetitions of these two studies,4 I thought the bridge was better than Tersteeg’s but Jet Mauve’s study is simpler than the repetition. Perhaps as it ages this repetition will improve, I worked on it a lot.  1v:3 Then the series of orchards5 — I think the white orchard of which I sent you pen drawing6 and the largest of all in pink and green on absorbent canvas7 are the best. A large study without a stretching frame and another on a stretching frame in which there’s a lot of stippling8 are unfinished, which I regret because the composition gave an overall idea of the large orchards surrounded by cypresses around here. Well, I’ve already written and told you what I thought of them. And you’ll have them soon, since the crate goes off this evening.

Ever yours,

I think for the frames — the two yellow bridges with blue sky will do well in the dark blue they call royal blue,9 the white orchard in cold white, the large pink orchard in slightly warm cream.


Br. 1990: 610 | CL: 486
From: Vincent van Gogh
To: Theo van Gogh
Date: Arles, Thursday, 10 May 1888

1. Van Gogh also sent letter 607 to Brussels.
a. Read: ‘vivre’.
2. The painting for Jet Mauve was Pink peach trees (‘Souvenir de Mauve’) (F 394 / JH 1379 [2577]), Tersteeg’s was The Langlois bridge with washerwomen (F 397 / JH 1368 [2571]).
[2577] [2571]
3. The dedication on The Langlois bridge with washerwomen (F 397 / JH 1368 [2571]) was indeed scraped off; remnants of lettering can be seen above the signature. Tersteeg never had the work. See cat. Otterlo 2003, pp. 207-209.
4. These repetitions were The pink peach tree (F 404 / JH 1391 [2588]) and The Langlois bridge with washerwomen (F 571 / JH 1392 [2589]).
[2588] [2589]
5. This series of 13 orchards was part of the consignment; see letter 606.
6. The painting he is referring to is The white orchard (F 403 / JH 1378 [2576]). Vincent had sent Theo the drawing The white orchard (F 1414 / JH 1385 [2583]) in mid-April. See letter 600, n. 3.
[2576] [2583]
7. This is The pink orchard (F 555 / JH 1380 [2578]). See letter 607, n. 2.
8. Orchard bordered by cypresses (F 513 / JH 1389 [2587]) and Orchard with peach trees in blossom (F 551 / JH 1396 [2591]). We learn from letters 615 and 631 that Van Gogh regarded these works as pendants.
[2587] [2591]
9. See for the framing of the two versions of Drawbridge with carriage (F 397 / JH 1368 [2571] and F 571 / JH 1392 [2589]) : letter 592, n. 13.
[2571] [2589]