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\fancyhead[LO,RE]{\footnotesize To Theo van Gogh. Saint-Rémy-de-Provence, Sunday, 14 or Monday, 15 July 1889.}
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\begin{document}
\title{To Theo van Gogh. Saint-Rémy-de-Provence, Sunday, 14 or Monday, 15 July 1889.}
\date{Sunday, 14 or Monday, 15 July 1889}}
\maketitle
\selectlanguage{english}
\section*{Metadata}
\subsection*{Source status:}

Original manuscript

\subsection*{Location:}

Amsterdam, Van Gogh Museum, inv. no. b648 V/1962

\subsection*{Date:}

The present letter and \href{let790.xml}{letter 790}, which were sent together, must have been written in this order on the same day. In the first line of \href{let790.xml}{letter 790}, Van Gogh says that he is ‘writing ... again today’, and refers later on to a painting that is in the consignment announced in the present letter. Cf. also Dorn 1990, pp. 529-530.
The dating of the two letters is determinable owing to the fact that Van Gogh writes in \href{let790.xml}{letter 790} that he is working on Wheatfield with sheaves and rising moon (F 735 / JH 1761). He must have painted the moonrise on the evening of 13 July (see Olson et al. 2003). Because Theo already responded to the letters on 16 July (\href{let792.xml}{see letter 792}), they must date from Sunday, 14 or Monday, 15 July 1889.

\subsection*{Additional:}

This letter and \href{let790.xml}{letter 790} were sent at the same time, together with a letter to Gauguin which has not survived; cf. also \href{let790.xml#n-1}{letter 790, n. 1.}

\section*{Original}
\selectlanguage{french}

\marginpar{[1r:1]}
\\
Mon cher Theo,
\\
demain je t’enverrai \\petite vitesse un rouleau de toiles. \\Il y en a quatre c. à d. les suivantes

\\
1 Vue d’Arles, vergers en fleur\footnote[1]{\TeiAnchor{

Orchard in blossom with a view of Arles (F 516 / JH 1685).
}}

\\
2 Le lierre\footnote[2]{\TeiAnchor{

Trees with ivy in the garden of the asylum (F 609 / JH 1693).
}}

\\
3 Les lilas\footnote[3]{\TeiAnchor{

Lilacs (F 579 / JH 1692).
}}

\\
4 Maronniers roses au jardin des plantes à Arles\footnote[4]{\TeiAnchor{

Avenue of chestnut trees in blossom (F 517 / JH 1689).
}}

\\
qui se tiendront avec les autres que tu \\as déjà tels que la vigne rouge \& verte,
\footnote[5]{\TeiAnchor{

The green vineyard (F 475 / JH 1595) and The red vineyard (F 495 / JH 1626).
}} \\le jardin,
\footnote[6]{\TeiAnchor{
Probably The public garden (‘The poet’s garden’) (F 468 / JH 1578), which Van Gogh viewed as a pendant to Avenue of chestnut trees in blossom (F 517 / JH 1689). \href{let767.xml#n-7}{See letter 767, n. 7.}

}} la moisson,
\footnote[7]{\TeiAnchor{

The harvest (F 412 / JH 1440).
}} le ciel étoilé.
\footnote[8]{\TeiAnchor{

Starry night over the Rhône (F 474 / JH 1592).
}}

\\
\TeiAbV{J’y joins encore 7 études qui sont sèches \\mais qui sont plutôt des études d’après \\nature que des motifs de tableaux.}
\\
\TeiAbV{Et ainsi est-il toujours, il faut en faire \\plusieurs avant qu’on trouve un ensemble \\ayant de la tenue. Maintenant \\voici les sujets de ces 7 études.}
\\
\TeiAbV{Les iris\footnote[9]{\TeiAnchor{

Irises (F 608 / JH 1691).
}} – Vue de la maison de Santé à St Remy,
\footnote[10]{\TeiAnchor{

The garden of the asylum (F 734 / JH 1698).
}} \\toiles de 30. Pêchers en fleur (Arles),
\footnote[11]{\TeiAnchor{

La Crau with peach trees in blossom (F 514 / JH 1681). Its size – 65.5 x 81.5 cm – means that it is a no. 25 canvas.
}} \\Prairies (Arles),
\footnote[12]{\TeiAnchor{

Field with flowers under a stormy sky (F 575 / JH 1422). It measures 59.5 x 70 cm (slightly smaller than a no. 20 canvas).
}} Oliviers (St Remy),
\footnote[13]{\TeiAnchor{
This was presumably Olive grove (F 714 / JH 1858), measuring 49 x 63 cm (no. 15 canvas), cf. \href{let780.xml#n-1}{letter 780, n. 1}. Less likely candidates are Olive grove (F 711 / JH 1791) and Olive grove (F 709 / JH 1760). Specifying that the first two works are ‘no. 30 canvases’ implies that the others are smaller, so he cannot be referring to the three olive groves on no. 30 canvases (F 585, F 712 and F 715).
}} \\Vieux Saules (Arles),
\footnote[14]{\TeiAnchor{

Road with pollard willows (F 520 / JH 1690), measuring 55 x 65 cm (no. 15 canvas).
}} Verger en fleur.
\footnote[15]{\TeiAnchor{

Orchard in blossom with a view of Arles (F 515 / JH 1683), measuring 50.5 x 65 cm (no. 15 canvas).
}}
}
\\
\TeiAbV{Maintenant le prochain envoi qui suivra \\sous peu sera composé surtout de champs de \\blé et de vergers d’oliviers.
}
\\
\TeiAbV{Ainsi que tu vois j’ai été prendre à Arles ces \\toiles. le surveillant d’ici\footnote[16]{\TeiAnchor{
This was possibly Charles-Elzéard Trabuc\footnote{
Charles-Elzéard Trabuc

(1830-1896) orderly in the asylum in Saint-Rémy
}, the chief orderly who posed for Van Gogh two months later (\href{let800.xml}{letter 800}).
}} m’a accompagné. \\Nous avons eté chez M. Salles qui était parti \\en vaccances pour deux mois, puis à l’hospice \\pour voir M. Rey que je n’ai pas trouvé non \\plus. Alors nous avons passé la journée \\avec mes ci devant voisins\footnote[17]{\TeiAnchor{
Regarding Van Gogh’s neighbours at Arles, \href{let744.xml#n-6}{see letter 744, n. 6.}

}} ainsi que \\ma femme de menage de dans le temps\footnote[18]{\TeiAnchor{

Thérèse Balmoissière\footnote{
Thérèse Balmoissière

(1839-1924) Van Gogh's charwoman in the Yellow House in Arles
}.
}} et quelques \\autres.
}
\marginpar{[1v:2]}
\\
\TeiAbV{On s’attache beaucoup aux gens qu’on a vus \\étant malade et cela m’a fait un monde \\de bien de revoir de certaines personnes \\qui ont été bons \& indulgents pour moi \\alors. Quelqu’un m’a dit que M. Rey avait \\passé un examen et avait été à Paris\footnote[19]{\TeiAnchor{
A letter from Rey\footnote{
Félix Rey

(1865-1932) assistant physician in the hospital in Arles
} to Theo of 30 December 1888 reveals that he had to defend his doctoral thesis in Paris. \href{let736.xml#n-15}{See letter 736, n. 15.}

}} mais \\le concierge de l’hospice disait ne pas le \\savoir. Je suis curieux de savoir \\si tu l’aurais vu car il avait projeté \\aller voir l’exposition et te rendre \\visite alors. Le médecin d’ici\footnote[20]{\TeiAnchor{

Théophile Peyron\footnote{
Théophile Zacharie Auguste Peyron

(1827-1895) director of the asylum in Saint-Rémy
}.
}} n’ira peutêtre \\pas à Paris, il souffre beaucoup de \\sa goutte.}
\\
\TeiAbV{J’ai encore reçu le second envoi de toiles \& \\de couleurs et je t’en remercie beaucoup.
\footnote[21]{\TeiAnchor{
This is the order placed in \href{let783.xml}{letter 783}.
}} \\La dernière toile que j’ai faite est une \\vue de montagnes avec en bas une \\cabane noiratre dans des oliviers.\footnote[22]{\TeiAnchor{

The Alpilles with a hut (F 622 / JH 1766).
}}
}
\\
\TeiAbV{Je m’imagine que tu seras bien \\absorbé par la pensée à l’enfant à venir, \\je suis bien content que le cas soit tel, \\avec le temps j’ose croire que tu \\trouveras ainsi beaucoup de sérénité \\intérieure. Qu’à Paris on prend comme \\une seconde nature, qu’en outre les preoccupations \\d’affaires et d’art font qu’on soit moins fort \\que des paysans, n’empêche pas que \\par les liens d’avoir femme et enfant \\on se rattache quand même à cette 
\marginpar{[1v:3]}
\\nature plus simple et plus vraie \\dont l’ideal nous hante parfois.}
\\
\TeiAbV{Quelle histoire cette vente Sécretan.
}
\\
\TeiAbV{Cela me fait toujours plaisir que les Millet \\se tiennent.\footnote[23]{\TeiAnchor{
Various Millet\footnote{
Jean-François Millet

(1814-1875) French artist
}s were sold at the Secrétan\footnote{
Pierre-Etienne Secrétan

(1836-1899) French art collector
} auction: the paintings 
The angelus
(no. 63) and 
Returning from the fountain
(no. 64), and the pastels 
Peasant watering two cows
(no. 100) and 
The shepherdess
(no. 101). They sold for 553,000 francs (to the State), 20,600, 26,000 and 25,200, respectively (see ‘Resumé du catalogue’). See auct. cat. Paris 1889 (Lugt 1938-1987, no. 48407). Cf. also \href{let785.xml#n-8}{letter 785, n. 8.}

}} mais combien désirerais je \\voir davantage de bonnes reproductions \\de Millet. pour que cela aille au peuple. \\L’oeuvre est surtout sublime considérée \\dans son ensemble et de plus en plus \\cela deviendra difficile de s’en faire une idée \\alors que les tableaux se dispersent.}
\\
\TeiAbV{Je regrette de ne pas pouvoir ajouter \\le champ de blé avec le faucheur\footnote[24]{\TeiAnchor{

Reaper (F 617 / JH 1753).
}} à cet \\envoi.
}
\\
\TeiAbV{Ecris moi bientôt un mot.
}
\\
\TeiAbV{Poignée de main à toi et à Jo.}

\\
t. à t.

\\
Vincent

\selectlanguage{english}
\section*{Translation}

\marginpar{[1r:1]}
My dear Theo,

Tomorrow I’ll send you a roll of canvases by goods train. There are four of them, i.e. the following

1 View of Arles, orchards in blossom\footnote[1]{\TeiAnchor{

Orchard in blossom with a view of Arles (F 516 / JH 1685).
}}

2 The ivy\footnote[2]{\TeiAnchor{

Trees with ivy in the garden of the asylum (F 609 / JH 1693).
}}

3 The lilacs\footnote[3]{\TeiAnchor{

Lilacs (F 579 / JH 1692).
}}

4 Pink chestnut trees in the botanical gardens in Arles\footnote[4]{\TeiAnchor{

Avenue of chestnut trees in blossom (F 517 / JH 1689).
}}

which will hold their own with the ones you already have, such as the red and green Vineyard,\footnote[5]{\TeiAnchor{

The green vineyard (F 475 / JH 1595) and The red vineyard (F 495 / JH 1626).
}} The garden,\footnote[6]{\TeiAnchor{
Probably The public garden (‘The poet’s garden’) (F 468 / JH 1578), which Van Gogh viewed as a pendant to Avenue of chestnut trees in blossom (F 517 / JH 1689). \href{let767.xml#n-7}{See letter 767, n. 7.}

}} The harvest,\footnote[7]{\TeiAnchor{

The harvest (F 412 / JH 1440).
}} The starry sky.\footnote[8]{\TeiAnchor{

Starry night over the Rhône (F 474 / JH 1592).
}}

\TeiAbIII{I’m also enclosing another 7 studies which are dry but which are studies after nature rather than subjects for paintings.}

\TeiAbIII{And that’s how it always is, you have to do several of them before you find a whole with character. Now here are the subjects of these 7 studies.}

\TeiAbIII{The irises\footnote[9]{\TeiAnchor{

Irises (F 608 / JH 1691).
}} – View of the asylum at St-Rémy,\footnote[10]{\TeiAnchor{

The garden of the asylum (F 734 / JH 1698).
}} no. 30 canvases. Peach trees in blossom (Arles),\footnote[11]{\TeiAnchor{

La Crau with peach trees in blossom (F 514 / JH 1681). Its size – 65.5 x 81.5 cm – means that it is a no. 25 canvas.
}} Meadows (Arles),\footnote[12]{\TeiAnchor{

Field with flowers under a stormy sky (F 575 / JH 1422). It measures 59.5 x 70 cm (slightly smaller than a no. 20 canvas).
}} Olive trees (St-Rémy),\footnote[13]{\TeiAnchor{
This was presumably Olive grove (F 714 / JH 1858), measuring 49 x 63 cm (no. 15 canvas), cf. \href{let780.xml#n-1}{letter 780, n. 1}. Less likely candidates are Olive grove (F 711 / JH 1791) and Olive grove (F 709 / JH 1760). Specifying that the first two works are ‘no. 30 canvases’ implies that the others are smaller, so he cannot be referring to the three olive groves on no. 30 canvases (F 585, F 712 and F 715).
}} Old willows (Arles),\footnote[14]{\TeiAnchor{

Road with pollard willows (F 520 / JH 1690), measuring 55 x 65 cm (no. 15 canvas).
}} Orchard in blossom.\footnote[15]{\TeiAnchor{

Orchard in blossom with a view of Arles (F 515 / JH 1683), measuring 50.5 x 65 cm (no. 15 canvas).
}}
}

\TeiAbIII{Now the next consignment, which will follow shortly, will consist mainly of wheatfields and olive groves.}

\TeiAbIII{As you can see, I’ve been to Arles to fetch these canvases. The orderly from here\footnote[16]{\TeiAnchor{
This was possibly Charles-Elzéard Trabuc\footnote{
Charles-Elzéard Trabuc

(1830-1896) orderly in the asylum in Saint-Rémy
}, the chief orderly who posed for Van Gogh two months later (\href{let800.xml}{letter 800}).
}} accompanied me. We went to Mr Salles\footnote{
Frédéric Salles

(1841-1897) clergyman in Arles
}’s house, who had gone away on holiday for two months, then to the hospital to see Mr Rey\footnote{
Félix Rey

(1865-1932) assistant physician in the hospital in Arles
}, whom I didn’t find either. So we spent the day with my former neighbours,\footnote[17]{\TeiAnchor{
Regarding Van Gogh’s neighbours at Arles, \href{let744.xml#n-6}{see letter 744, n. 6.}

}} as well as my charwoman from those days\footnote[18]{\TeiAnchor{

Thérèse Balmoissière\footnote{
Thérèse Balmoissière

(1839-1924) Van Gogh's charwoman in the Yellow House in Arles
}.
}} and a few others.
\marginpar{[1v:2]}
}

\TeiAbIII{One becomes very attached to people one has seen while ill, and it did me a world of good to see some people again who were kind and indulgent towards me then. Someone told me that Mr Rey\footnote{
Félix Rey

(1865-1932) assistant physician in the hospital in Arles
} had taken an examination and had been to Paris,\footnote[19]{\TeiAnchor{
A letter from Rey\footnote{
Félix Rey

(1865-1932) assistant physician in the hospital in Arles
} to Theo of 30 December 1888 reveals that he had to defend his doctoral thesis in Paris. \href{let736.xml#n-15}{See letter 736, n. 15.}

}} but the porter at the hospital said he didn’t know. I’m curious to know if you might have seen him, for he had planned to go and see the exhibition and then pay you a visit. The doctor\footnote{
Théophile Zacharie Auguste Peyron

(1827-1895) director of the asylum in Saint-Rémy
} from here\footnote[20]{\TeiAnchor{

Théophile Peyron\footnote{
Théophile Zacharie Auguste Peyron

(1827-1895) director of the asylum in Saint-Rémy
}.
}} will perhaps not go to Paris, he suffers a great deal from his gout.}

\TeiAbIII{I’ve also received the second consignment of canvases and colours, and I thank you very much for them.\footnote[21]{\TeiAnchor{
This is the order placed in \href{let783.xml}{letter 783}.
}} The latest canvas I’ve done is a view of mountains with a darkish hut among olive trees at the bottom.\footnote[22]{\TeiAnchor{

The Alpilles with a hut (F 622 / JH 1766).
}}
}

\TeiAbIII{I imagine that you’ll be very absorbed by thoughts of the child to come, I’m very pleased that this should be so, with time I dare believe that you’ll thus find much inner serenity. The fact that one takes on a kind of second nature in Paris, that moreover preoccupations with business and art make one less strong than the peasants, doesn’t prevent one, through the bonds of having wife and child, from reattaching oneself all the same to that 
\marginpar{[1v:3]} simpler and truer nature whose ideal sometimes haunts us.}

\TeiAbIII{What a business, that Secrétan\footnote{
Pierre-Etienne Secrétan

(1836-1899) French art collector
} sale.}

\TeiAbIII{It always pleases me that the Millet\footnote{
Jean-François Millet

(1814-1875) French artist
}s are holding their own.\footnote[23]{\TeiAnchor{
Various Millet\footnote{
Jean-François Millet

(1814-1875) French artist
}s were sold at the Secrétan\footnote{
Pierre-Etienne Secrétan

(1836-1899) French art collector
} auction: the paintings 
The angelus
(no. 63) and 
Returning from the fountain
(no. 64), and the pastels 
Peasant watering two cows
(no. 100) and 
The shepherdess
(no. 101). They sold for 553,000 francs (to the State), 20,600, 26,000 and 25,200, respectively (see ‘Resumé du catalogue’). See auct. cat. Paris 1889 (Lugt 1938-1987, no. 48407). Cf. also \href{let785.xml#n-8}{letter 785, n. 8.}

}} But how I would like to see more good reproductions of Millet. So that it can reach the common folk. The body of work is above all sublime considered as a whole, and it will become more and more difficult to form an idea of it when the paintings are dispersed.}

\TeiAbIII{I’m sorry not to be able to add the Wheatfield with the reaper\footnote[24]{\TeiAnchor{

Reaper (F 617 / JH 1753).
}} to this consignment.}

\TeiAbIII{Write me a line soon.}

\TeiAbIII{Handshake to you and Jo\footnote{
Johanna (Jo or Net) Gezina van Gogh-Bonger

(1862-1925) wife of Theo van Gogh
}.}

Ever yours,

Vincent

\end{document}