Advanced Search
Olive Trees

Olive Trees

Artist: Vincent van Gogh (Dutch, 1853 - 1890)

Olive Trees

Date: 1889
Medium: Oil on canvas
Dimensions:
Unframed: 28 3/4 x 36 1/4 inches (73.03 x 92.08 cm)
Framed: 37 3/4 x 45 1/2 x 2 inches (95.89 x 115.57 x 5.08 cm)
Credit Line: Purchase: William Rockhill Nelson Trust
Object number: 32-2
On view
Current Location:G, P29
DescriptionAn olive grove in southern France; trees in brilliant blue and green with touches of black, dots of red in branches in three areas; blue shadows on greenish-white ground; splotches of red to left interpreted as wild poppies.
Exhibition History

Possibly Exposition de 16 toiles peintes par Van Gogh, Le Barc de Boutteville, Paris, April 1892, no. 4, as Oliviers.



Vincent Van Gogh, Museum van Oudheden, Groningen, Netherlands, February 21-26, 1896, no. 40, as Oliviers.

 

Van Gogh exhibition, Galerie Vollard, Paris, ca. December 1896-February 1897, no cat., no. 21, as Jardin des Oliviers.

 

VII. Jahrgang Frühjahr 1905: VII. Ausstellung, Galerie Paul Cassirer, Berlin, April 29-ca. May 25, 1905, no. 23, as Olivenbäume.

 

Vincent van Gogh: Kollektiv-Ausstellung, Galerie H. O. Miethke, Vienna, January 6-31, 1906, no. 44, as Olivenhain.



Internationalen Kunstschau, Vienna, May-October 1909, room 14, no. 2, as Olivenhain.



Művészház nemzetközi impresszionista kiállításához, Művészház, Budapest, April 24-June 19, 1910, room 7, no. 4, as Oliva-erdő.



Die Neue Kunst, Galerie Miethke, Vienna, January-February 9, 1913, no. 19, as Olivenbäume.

 

A Köztulajdonba vett Műkincsek Elsö Kiállitása, Műcsarnok, Budapest, May-July 1919, room 6, no. 7, as Olajerdö.

 

One Hundred Years of French Painting 1820-1920, The Nelson-Atkins Museum of Art, Kansas City, MO,  March 31-April 28, 1935, no. 64, as The Olive Grove.




Possibly Vincent Van Gogh, The Nelson-Atkins Museum of Art, Kansas City, MO, June 12-July 10, 1936, hors cat., as Olive Grove.

 

The Art and Life of Vincent van Gogh:  A Loan Exhibition in Aid of American and Dutch War Relief, Wildenstein, New York, October 6-November 7, 1943, no. 48, as The Olive Trees.

 

Paintings by Vincent Van Gogh, John Herron Museum of Art, Indianapolis, November 14-December 12, 1943, hors cat.

 

Loan Exhibition of Great Paintings: Five Centuries of Dutch Art [Exposition de Tableaux Célèbres: Cinq Siècles d’Art Hollandais], Art Association of Montreal, Canada, March 9-April 9, 1944, no. 129, as The Olive Trees, Les Oliviers.

 

Revolutionaries in Art: 1846-1946, Denver Art Museum, November 8-30, 1946, no cat.

 

A Loan Exhibition of Six Masters of Post-Impressionism: Benefit of Girl Scout Council of Greater New York, Wildenstein, New York, April 8-May 8, 1948, no. 67, as The Olive Grove.

 

Work by Vincent Van Gogh, Cleveland Museum of Art, November 3-December 12, 1948, no. 22, as The Olive Trees (Les Oliviers).

 

Twentieth Anniversary Exhibition: The Beginnings of Modern Painting, France 1800-1910, Joslyn Memorial Art Museum, Omaha, NE, October 4-November 4, 1951, unnumbered, as The Olive Grove.

 

Twenty Years of Collecting, The Nelson-Atkins Museum of Art, Kansas City, MO, December 11-31, 1953, no cat.

 

Painters’ Painters, Buffalo Fine Arts Academy, Albright Art Gallery, Buffalo, NY, April 16-May 30, 1954, no. 29, as The Olive Grove.

 

Van Gogh: Loan Exhibition For the Benefit of The Public Education Association, Wildenstein, New York, March 24-April 30, 1955, no. 51, as The Olive Trees.

 

Possibly Cubists, Fauves, and Impressionists, Denver Art Museum, October 1-November 18, 1956.

 

Vincent Van Gogh: A Loan Exhibition of Paintings and Drawings, Los Angeles Municipal Art Gallery, July 3-August 4, 1957, no. 14, as The Olive Trees.

 

An Inaugural Exhibition: El Greco, Rembrandt, Goya, Cézanne, Van Gogh, Picasso, Milwaukee Art Institute, September 12-October 20, 1957, no. 79, as Olive Grove.

 

Twenty-fifth Anniversary Exhibition, The Nelson-Atkins Museum of Art, Kansas City, MO, December 1958, hors cat.

 

Homage to Effie Seachrest, The Nelson-Atkins Museum of Art, Kansas City, MO,  August 25-October 9, 1966, no. 10, as The Olive Grove.

 

Vincent van Gogh Exhibition, The National Museum of Western Art, Tokyo, October 12-December 8, 1985, Nagoya-City Museum, December 19, 1985-February 2, 1986, no. 82, as Olive Orchard.

 

Van Gogh in Saint-Rémy and Auvers, The Metropolitan Museum of Art, New York, November 25, 1986-March 22, 1987, no. 12, as Olive Orchard.

 

Impressionism: Selections from Five American Museums, The Carnegie Museum of Art, Pittsburgh, November 4-December 31, 1989, The Minneapolis Institute of Arts, January 27-March 25, 1990, The Nelson-Atkins Museum of Art, Kansas City, MO, March 21-June 17, 1990, The Saint Louis Art Museum, July 14-September 9, 1990, The Toledo Museum of Art, September 30-November 25, 1990, no. 36, as Olive Orchard.

 

Vincent van Gogh and the Painters of the Petit Boulevard, The Saint Louis Art Museum, February 17-May 13, 2001, Städelsches Kunstinstitut und Städtische Galerie, Frankfurt, June 8-September 2, 2001, unnumbered, as Olive Orchard.

 

l’Oro e l’Azzurro: I colori del Sud da Cézanne a Bonnard, Casa dei Carraresi, Treviso, October 10, 2003-March 7, 2004, no. 23, as Ulivi.

 

Gauguin and the Origins of Symbolism, Museo Thyssen-Bornemisza, Madrid, September 28, 2004-January 9, 2005, no. 70, as Olive Grove [Les oliviers].

 

Van Gogh: Heartfelt Lines, Albertina, Vienna, September 5-December 8, 2008, no. 115, as Olive Orchard.

 

Vincent Van Gogh: Between Earth and Heaven; The Landscapes, Kunstmuseum Basel, Switzerland, April 26-September 27, 2009, no. 51, as Olive Orchard.

Gallery Label

Vincent van Gogh

Dutch, 1853–1890

Olive Trees, 1889

Oil on canvas

 

This painting comes from a series of 15 canvases that Vincent van Gogh dedicated to the subject of olive trees during his stay at the asylum of Saint-Rémy-de-Provence, where he committed himself after suffering a series of breakdowns. When free to wander the countryside, he explored the region’s olive groves. “The murmur of an olive grove,” he wrote to his brother Theo, “has something very intimate, immensely old about it.”

 

The artist’s animated brushwork and stylized passages of broken color suggest that he

painted the scene directly from nature. They communicate the essence of olive trees with their twisting trunks and heavy canopy in the light of southern France.

 

Purchase: William Rockhill Nelson Trust, 32-2

Provenance

With the artist, Saint-Rémy-de-Provence, France, June/July 1889-September 20 or 28, 1889 [1];


To his brother, Theo van Gogh (1857-1891), Paris, 1889-January 25, 1891 [2];

 

Inherited by his widow, Johanna van Gogh-Bonger (1862-1925), Bussum and Amsterdam, The Netherlands, stock no. 147, as Oliviers /30/effet du matin, 1891-May 25/June 1905 [3];

 

Purchased from Bonger by Kunstsalon Paul Cassirer, Berlin, stock no. 6588, as Olivenbäume, May 25/June 1905 [4];

 

Purchased from Cassirer by Carl Moll (1861-1945) [for the Galerie H. O. Miethke?], Vienna, May 25, 1905-at least January 1906 [5];


Purchased from the Galerie Miethke/Moll by Baron Adolf Kohner (1865/6-1937), Budapest, inventory no. K. 27, as Olajerdő, by April 24, 1910-October 8, 1930 [6];


[Possibly purchased from Kohner by] Paul Rosenberg and Co., Inc., Paris, London, and New York, no. 2854, as Les oliviers, by October 1930-January 23, 1932 [7];


Purchased half-share from Rosenberg by Durand-Ruel, Paris, for Durand-Ruel, New York, stock no. 5169, as Les Oliviers, October 7, 1930-January 23, 1932 [8];

 

Purchased remainder of share from Rosenberg by Durand-Ruel, New York, January 23, 1932 [9];

 

Purchased from Durand-Ruel, through Harold Woodbury Parsons, by the Nelson-Atkins Museum of Art, Kansas City, MO, 1932 [10].

 

NOTES:

 

[1] The artist may have sent the painting to his brother and dealer on or about September 20 or on September 28, 1889. Letters from Vincent van Gogh to his brother, Theo van Gogh, [on or about September 20, 1889] and September 28, 1889, Van Gogh Museum, Amsterdam, inv. nos. b655 a-b V/1962 and b656 V/1962; pub. in Leo Jansen, Hans Luijten, and Nienke Bakker, eds., Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition, vol. 5 (London: Thames & Hudson, 2009), letter nos. 805 and 806, pp. 100-11.

 

[2] Van Gogh viewed the consignments of paintings he sent to his brother and dealer, Theo van Gogh, as remuneration for the latter’s financial support. Letter from Vincent van Gogh to his brother, Theo van Gogh, [on or about March 20, 1884], Van Gogh Museum, Amsterdam, inv. nos. b398 V/1962 (sheet 1) and b397 d V/1962 (sheet 2); pub. in Leo Jansen, Hans Luijten, and Nienke Bakker, eds., Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition, vol. 3 (London: Thames & Hudson, 2009), letter no. 440, pp. 138-40.

 

[3] Although, formally speaking, Vincent Willem van Gogh (1890-1978) was joint owner of the Van Gogh collection from 1891, his mother, Johanna van Gogh-Bonger, managed the collection until her death in 1925. See the inventory of van Gogh’s works then in van Gogh-Bonger’s collection, Andries Bonger, “Catalogue des œuvres de Vincent van Gogh,” 1891, Brieven en Documenten, b 3055 V/1962 (document),Van Gogh Museum, Amsterdam, no. 147, as Oliviers /30/effet du matin.  For the Cassirer exhibition, see Johanna van Gogh-Bonger, “List of 30 titles and prices of paintings by Vincent van Gogh, made for Cassirer, April 1905,” Van Gogh Museum, Amsterdam, Brieven en Documenten, 1905 b 2185 V/1982 (document, inkt, potlood, papier), no. 14-147, as Olijfbomen.  Cassirer records the purchase of the canvas from Johanna on May 25, 1905 [see note 4], but Johanna records the sale of the canvas to Cassirer in her account book for the month of June 1905; see Theo van Gogh and Johanna van Gogh-Bonger, “Account book of Theo van Gogh and Johanna van Gogh-Bonger, May 21 1889-January 25, 1925,” Van Gogh Museum, Amsterdam, Brieven en Documenten,  b 2205 V/1982 (boek, inkt op papier), p. 14 line no. 10, stock no. 4, as Olijven, and p. 89 line no. 21, as “ontvangen van Paul Cassirer te Berlijn voor 8 gr. En 1 kl. schilderij.”  Copies in NAMA curatorial files.

 

[4] See Kunstsalon Paul Cassirer Berlin, Einkaufsbücher (3) 1903-1919 [book of purchases], May 25, 1905, Paul Cassirer-Walter Feilchenfeldt Archiv, Zurich, p. 44, stock no. 6588, as Olivenbäume. Kunstsalon Paul Cassirer Berlin, Verkaufsbuch (1) October 2, 1903-April 28, 1910 [stock book of sales], May 1905, Paul Cassirer-Walter Feilchenfeldt Archiv, Zurich.

 

[5] Call Moll was the artistic director of Galerie H. O. Miethke from 1904-1912. It is unclear if Moll purchased the painting for gallery stock or for his personal collection.


[6] Kohner’s birthdate is unclear: The year 1866 is given in Tamás Kieselbach, ed., Modern Hungarian Painting 1892-1919 (Budapest: Tamás Kieselbach, 2003); the year 1865 is given in  Ilona Sármány-Parsons, “Notes on Patronage of Modernism in the Fine Arts in Vienna and Budapest at the Turn of the Century,” CEU History Department Yearbook (1993): 151. See inventory case K. 27, inventory loose card reproduced in Judit Geskó, ed., Van Gogh in Budapest, exh. cat. (Budapest: Museum of Fine Arts, 2006), 149.


[7] According to Péter Molnos, the painting was exported from Budapest on October 8, 1930, and was likely sent to Pierre Rosenberg. See Péter Molnos, Aranykorok Romjain: Tanulmányok A Modern Magyar Festészet és Műgyűjtés Történetéből a Kieselbach Galéria Alapításának Huszadik Évfordulójá (Budapest: Kieselbach Galéria Kereskedelmi Kft., 2015), 107. See The Paul Rosenberg Archives, a Gift of Elaine and Alexandre Rosenberg, III.D, Rosenberg Galleries: Miniature Photo and Card Index, ca. 1910-1987, and IV.A.I.a, Liste de Photographies, Paris, [1917-1939] [1940-present], The Museum of Modern Art, New York. According to Ilda François, secretary to Elaine Rosenberg, Paul Rosenberg purchased the painting between June 1929 and November 1930. See also email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial file. Durand-Ruel says that Rosenberg purchased the painting for 104,000 Pengos, which was the official Hungarian currency; therefore it is possible that Rosenberg purchased the painting directly from Kohner.


[8] See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial file. Durand-Ruel erroneously records the purchase of the painting by the Kansas City Art Institute. Actually, the painting was sent on approval to NAMA from March 18, 1931 until its purchase in January 1932, where it was placed on view at the Kansas City Art Institute since the museum was not yet built. At this time, a petition spearheaded by local dealer Effie Seachrest (1869-1952) was signed by about 135 people, who encouraged the museum to purchase the work.  See “Petition to purchase Van Gogh Olive Orchards,” ca. April 21, 1931, NAMA Archives, William Rockhill Nelson Trust Office Records (RG 80/05), Series II: Objects Offered, 1926-33, box 7, folder 12, Durand-Ruel, 1931-32; and letter from J. C. Nichols to Sybil Brelsford, July 21, 1931, NAMA Archives, William Rockhill Nelson Trust Office Records (RG 80/05), Series I: General Correspondence and Records, 1926-33, box 6, folder 21, University Trustees 1931, f. 2. See also “Pictures remaining in the Art Institute after May 20, 1932,” May 20, 1932, NAMA Archives, William Rockhill Nelson Trust Office Records 1926-33, RG 80/05, Series I, box 02, folder 17, Exhibition at the Kansas City Art Institute, 1932.

 

[9] See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Meghan Gray, NAMA, February 5, 2016, NAMA curatorial file.

 

[10] “The offer [to Durand-Ruel] was made in answer to petitions to the Trustees signed by at least two hundred admirers urging the purchase of this picture” [see footnote 8].  See “University Trustees Meeting Minutes,” January 12, 1932, NAMA Archives, William Rockhill Nelson Trust Office Records (RG 80/05), Series I: General Correspondence and Records, 1926-33, box 6, folder 20, University Trustees 1932.

Published References

Possibly Frederik van Eeden, “Kunst: Vincent van Gogh,” De Nieuwe Gids, year 6, vol. 1, issue 2 (December 1890): 268-69.

 

Possibly Emile Bernard, Exposition de 16 toiles peintes par Van Gogh, exh.cat. (Paris, 1892), unpaginated.

 

Vincent van Gogh, exh. cat. ([Groningen: Museum van Oudheden], 1896), 2, as Oliviers.

 

VII. Jahrgang Frühjahr 1905: VII. Ausstellung, exh. cat. (Berlin: Paul Cassirer, 1905), unpaginated, as Olivenbäume.

 

E[gbert] D[elpy], “Salon Cassirer,” Berliner Lokal-Anzeiger, no. 233 (May 16, 1905), as Olivenbäume.

 

Hugo von Habermann, Vincent van Gogh: Kollektiv-Ausstellung, exh. cat. (Vienna: Galerie H. O. Miethke, 1906), 15, as Olivenhain.

 

L[udwig] H[eves]i, “Aus dem Wiener kunstleben: Vincent van Gogh; Die Scholle,” Pester Lloyd, no. 15 (January 18, 1906): 5, as Olivenhain.

 

Ludwig Hevesi, Altkunst- Neukunst: Wien 1894-1908 (1909; repr. Klagenfurt, Austria: Ritter Verlag, 1986), 527-29, as Olivenhain.

 

Katalog der Internationalen Kunstschau Wien 1909, exh. cat. (Vienna: Arbeitsausschuss der Internationalen Kunstschau, 1909), 27, as Olivenhain.

 

Miklós Rózsa, ed., Kalauz a Művészház nemzetközi impresszionista kiállításához, exh. cat. (Budapest: Művészház, 1910), 51, (repro.), as Oliva-erdő.

 

h. ö, “Budapesti magángyűjtemények. I. Dr. Kohner Adolf [Private Collections in Budapest. I. Dr. Adolf Kohner],” Pesti Napló (April 22, 1910): 12.

 

Simon Meller, “Kohner Adolf Művészeti Gyűjteménye,” Vasárnapi Ujság 58, no. 18 (April 30, 1911): 354, 363, (repro.), as olivaerdejével.

 

Didier Rózsaffy, “Une visite à la Collection de M. le Dr. Kohner,” Revue de Hongrie 7, no. 6 (June 15, 1911): 711, as Forêt d’oliviers.

 

Hugo Haberfield, “Die französischen Bilder der Sammlung Kohner,” Der Cicerone: Halbmonatsschrift für die Interessen des Kunstforschers und Sammlers 3, no. 15 (August 1911): 589, as Olivengarten.

 

“Magyar amatőrök I.  Dr. Kohner Adolf,” Interieur: a kávéház és lakóház: szak- és iparművészeti képes folyóirat 1, no. 4 (March 15, 1912), 5.

 

József Patai, “Báró Kohner Adolf Műgyűjteménye,” Mult és Jövő 3 (July 1913): 361.

 

Die Neue Kunst, exh. cat. (Vienna: Galerie Miethke, 1913), unpaginated, as Olivenbäume.

 

A Köztulajdonba vett Műkincsek Elsö Kiállitása, exh. cat. (Budapest: Műcsarnok, 1919), 44, as Olajerdö.

 

Éber László, “Van Gogh tragikuma,”Ars Una: Müvészeti szemle 1, no. 1 (October 1923): 27, (repro.), as Olajerdö.

 

Éber László, Vincent Van Gogh Levelei (Budapest: Amicus Kiadas, 1924), (repro.).

 

Ferenc Lehel, Ecce Criticus: Kritikakritika (Budapest: Ferenc Lehel, 1924), (repro.), as Kert Olajfákkal.

 

François Lehel, Notre Art Dément: Quatre Études sur l’Art Pathologique (Paris: J. Povolozky et Cie, 1926), (repro.).

 

J.-B. De La Faille, L’Œuvre de Vincent Van Gogh: Catalogue Raisonné (Paris: Éditions G. Van Oest, 1928), no. 715, pp. 1:203, 2pt2: (repro.), as Les oliviers.

 

Chroniquer, “A műgyűjtő: Báró Kohner Adolf gyűjteménye,” Képzőművészet 3, no. 16 (January 1929): 9-17.

 

Elek Petrovics, “Báró Kohner Adolf Gyüjteménye,” Magyar Müvészet 5, no. 6 (1929): 319, 321, (repro.), as Olajerdő.

 

“Dine with Art Trustees: Institute Board Bids Others to Annual Meeting Tonight,” The Kansas City Times 94, no. 81 (April 4, 1931): 2.

 

“In Gallery and Studio,” The Kansas City Star 51, no. 199 (April 4, 1931): E.

 

“Buys an 1889 Painting: Nelson Gallery Gets its First ‘Modern’ Canvas,” The Kansas City Star 52, no. 155 (February 19, 1932): 2, as The Olive Grove.

 

The Art News 30, no. 21 (February 20, 1932): 10, (repro.), as Les Oliviers.

 

“The First Modern Master,” The Kansas City Star 52, no. 156 (February 20, 1932): D, as The Olive Grove.

 

“Nelson Trust Buys a van Gogh,” The New York Times 81, no. 27,056 (February 21, 1932): 1-10, as Les Oliviers.

 

“Kansas City Acquires a Memorable Van Gogh,” The Art Digest, 6, no. 11 (March 1, 1932): 8, (repro.), as Les Oliviers.

 

M[inna] K. P[owell], “Art: Mr. Parsons Will Be Heard Thursday Night on ‘The Italian Renaissance;’ What Is to Be Seen in the Group of Recently Acquired Paintings for the William Rockhill Nelson Gallery of Art Was Told the Hospitality Committee Yesterday by Him,” The Kansas City Times 95, no. 88 (April 12, 1932): 10.

 

“Kansas City Adds Important Works to its Holdings,” The Art News 30, no. 30 (April 23, 1932): 8, as Les Oliviers.

 

“In Gallery and Studio,” The Kansas City Star 53, no. 266 (June 10, 1933): 4.

 

M[inna] K. P[owell], “In Gallery and Studio,” The Kansas City Star 54, no. 62 (November 18, 1933): 12.

 

Mrs. Henry Field, “‘the social whirl’…” Chicago Herald and Examiner 52, no. 173 (November 30, 1933): 25.

 

Thomas Carr Howe, “Kansas City Has Fine Art Museum: Nelson Gallery Ranks with the Best,” [unknown newspaper] (c. December 1933), clipping, scrapbook, NAMA Archives, vol. 5, p. 6.

 

“Nelson Gallery of Art Special Number,” The Art Digest 8, no. 5 (December 1, 1933): 14, 22-23, (repro.), as The Olive Grove and Les Oliviers.

 

Pierre Domène, “Le nouveau musée de Kansas City,” Beaux-Arts 72, no. 48 (December 1, 1933): 2.

 

“The William Rockhill Nelson Gallery of Art, Kansas City Special Number,” The Art News 32, no. 10 (December 9, 1933): 28, 30, 46, (repro.), as Olive Grove and Les Oliviers.

 

Minna K. Powell, “The First Exhibition of the Great Art Treasures: Paintings and Sculpture, Tapestries and Panels, Period Rooms and Beautiful Galleries Are Revealed in the Collections Now Housed in the Nelson-Atkins Museum,” The Kansas City Star 54, no. 84 (December 10, 1933): 4C, as The Olive Orchard.

 

“$15,000,000 Nelson Art Gallery Opens: Gift of Kansas City Star Publisher,” Boston Evening Transcript 104, no. 288 (December 11, 1933): 11.

 

“Nelson Gallery of Art Opened at Kansas City: $14,000,000 Gift of ‘Star’ Publisher and His Heirs Already Fully Furnished,” New York Herald Tribune 93, no. 31,802 (December 11, 1933): 12.

 

“Art Critics View Nelson Gallery: Preview of Edifice, Costing $15,000,000 With Contents, Held at Kansas City,” The New York Times 83, no. 27,715 (December 11, 1933): 24.

 

Luigi Vaiani, “Art Dream Becomes Reality with Official Gallery Opening at Hand: Critic Views Wide Collection of Beauty as Public Prepares to Pay its First Visit to Museum,” Kansas City Journal-Post 80, no. 187 (December 11, 1933): 7, as Olive Grove.

 

“Nelson Gallery of Art Opens,” Editor and Publisher 66, no. 31 (December 16, 1933): 10.

 

George H. Leonard, “Art and Life,” The Holyoke [MA] Daily Transcript; The Holyoke Telegram, no. 16,200 (December 16, 1933): 8.

 

Paul V. Beckley, “Art News,” Kansas City Journal Post 80, no. 193 (December 17, 1933): 2C.

 

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 55, (repro.), as The Olive Grove.

 

A. J. Philpott, “Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American,” The Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.

M[inna] K. P[owell], “Cezanne [sic] and the Patches of Color by Which He Transformed Modern Art,” The Kansas City Star 54, no. 120 (January 15, 1934): [16]D, as Olive Grove.

 

Jenő Bálint, “Kohner Adolf teljesen összetört …,”  [or title might be “Báró Kohner Adolf európai hírű műkincsei az árverelő kalapács alatt… ,”] A Reggel 13 (February 19, 1934): [7-8?].

 

“Form Lost in Paintings: Paul Gardner Explains Work of the Impressionists,” The Kansas City Times 97, no. 64 (March 15, 1934): 9, as The Olive Orchard.

“A Thrill to Art Expert: M. Jamot is Generous in his Praise of Nelson Gallery,” The Kansas City Times 97, no. 247 (October 15, 1934): 7.

 

“In Gallery and Studio: News and Views of the Week in Art,” The Kansas City Star 55, no. 32 (October 19, 1934): 18, as Olive Grove.

 

“Museums, Art Associations and Other Organizations,” in “For the Year 1933,” American Art Annual 30 (1934): 175, as The Olive Grove.

 

One Hundred Years French Painting, 1820-1920, exh. cat. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1935), unpaginated, as Olive Grove.

 

“The Olive Grove,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 8 (March 10-30, 1935): 2, as The Olive Grove.

 

“Van Gogh’s ‘The Olive Grove’ Is the Masterpiece for Week,” Kansas City Journal-Post 81, no. 183 (March 24, 1935): 8-B, (repro.), as The Olive Grove.

 

P[aul] V. B[eckley], “Art News,” Kansas City Journal-Post 81, no. 197 (April 7, 1935): 8-B, as Olive Grove.

 

P[aul] V. B[eckley], “Art News,” Kansas City Journal-Post 81, no. 211 (April 21, 1935): 8-B, as Olive Orchard.

 

“French Loan Exhibition Last Call,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 10 (April 21-May 3, 1935): 1, as The Olive Grove.

 

M[inna] K. P[owell], “In Gallery and Studio: News and Views of the Week in Art,” The Kansas City Star 55, no. 221 (April 26, 1935): 15, as The Olive Grove.

 

“News from Abroad,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 14 (September 1935): 3, as Olive Orchard.

 

“Gallery Links Abroad: Paul Gardner Tells of his Discoveries in Brussels,” The Kansas City Times 98, no. 261 (October 31, 1935): 3.

 

Alfred H. Barr, Jr., ed., Vincent van Gogh: With an introduction and notes selected from the letters of the artist, exh. cat., 3rd ed. (New York: Museum of Modern Art, 1936), 47, as Olive Trees.

 

“Van Gogh Exhibition,” The Missouri Club Woman 11, no. 6 (June 1936): 11, as Olive Orchard.

 

“Van Gogh Exhibition,” Clinton County Democrat 71, no. 10 (June 5, 1936): 1, as Olive Orchard.

 

“Van Gogh Art is Here: Million-Dollar Display Arrives Under Guard,” The Kansas City Star 56, no. 263 (June 6, 1936): 2, as The Olive Grove.

“Van Gogh Exhibition,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 2, no. 13 (July 1-31, 1936): 1, as Olive Grove.

 

M[inna] K. P[owell], “Art: Van Gogh Paintings Will Remain One More Week at the Nelson Gallery Before Being Shipped to Minneapolis,” The Kansas City Times 99, no. 161 (July 6, 1936): 6, as The Olive Grove.

 

W. Scherjon and Jos. de Gruyter, Vincent van Gogh’s Great Period: Arles, St. Rémy and Auvers sur Oise (Complete Catalogue) (Amsterdam: De Spieghel, 1937), part 2, St. Rémy no. 76, pp. 251, 268, 270-71, (repro.), as Olive Trees.

 

“Club Women to Gallery: Art Collection Wins Praise of 745 Visitors,” The Kansas City Times 101, no. 116 (May 16, 1938): 8, as The Olive Grove.

 

“Important Gauguin Goes to Missouri Museum,” Art Digest 13, no. 3 (November 1, 1938): 13, as Olive Grove.

 

“Footnotes,” Lincoln (NE) Evening State Journal (December 2, 1938): 8.

 

J. D. W., “A Happier View of Van Gogh as Artist Absorbed in Work,” The Kansas City Star 59, no. 191 (March 27, 1939): D[16], as The Olive Grove.

 

J.-B. de la Faille, Vincent Van Gogh, trans. Prudence Montagu-Pollock (New York: French and European Publications, 1939), no. 641, p. 441, (repro.), as The Olive-Trees.

 

H. C. H., “Art Judgments Are Governed Purely by Personal Factors: New Biographer of Vlaminck Points Out Fallacy of Expecting the Same Emotional Response from Different Individuals,” The Kansas City Star 62, no. 72 (November 28, 1941): 16, as Olive Orchard.

 

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41, 53, 168, (repro.), as The Olive Grove.

 

Georges de Batz, ed., The Art and Life of Vincent Van Gogh: Loan Exhibition in Aid of American and Dutch War Relief, exh. cat. (New York: Wildenstein, 1943), 36, 89, (repro.), as The Olive Trees.

 

“Gallery Changes: Gallery 19,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts Museum) vol. 10, no. 3 (November 1943): 5.

 

Loan Exhibition of Great Paintings: Five Centuries of Dutch Art [Exposition de Tableaux Célèbres: Cinq Siècles d’Art Hollandais], exh. cat. (Montreal: Art Association of Montreal, 1944), 58, 91, (repro.), as The Olive Trees, Les Oliviers.

 

A Loan Exhibition of Six Masters of Post-Impressionism: Benefit of Girl Scout Council of Greater New York, exh. cat. (New York: Wildenstein, 1948), 67, 73, (repro.), as The Olive Grove.

 

Howard Devree, “Modern Retrospect: Work by Post-Impressionist Masters,” The New York Times 97, no. 32,950 (April 11, 1948): X 11, as Olive Grove.

 

“Gallery Notes,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 14, no. 7 (May 1948): unpaginated, as Olive Grove.

 

Work by Vincent van Gogh, exh. cat. (Cleveland: Cleveland Museum of Art, 1948), 20, (repro.), as The Olive Trees (Les Oliviers).

 

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 67, (repro.), as The Olive Grove.

 

“Special Sunday Lecture,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 18, no. 10 (November 1951): unpaginated, as Olive Grove.

 

Twentieth Anniversary Exhibition: The Beginnings of Modern Painting, France 1800-1910, exh. cat. (Omaha: Joslyn Memorial Art Museum, 1951), unpaginated, as The Olive Grove.

 

Winifred Shields, “The Twenty Best, a Special Exhibition at Nelson Gallery: Anniversary Will Be Observed by Showing of Paintings, Some Acquired Recently, Others Even Before the Institution Opened Two Decades Ago,” The Kansas City Star 74, no. 78 (December 4, 1953): 36, as The Olive Grove.

 

Painters’ Painters, exh. cat. (Buffalo: Buffalo Fine Arts Academy, 1954), 41, 64-65, (repro.), as The Olive Grove.

 

Van Gogh: Loan Exhibition For the Benefit of The Public Education Association, exh. cat. (New York: Wildenstein, 1955), 23, 58, (repro.), as The Olive Trees. 

 

Ross E. Taggart, “Kansas City Art,” Library Journal 82, no. 12 (June 15, 1957): 1596.

 

Vincent Van Gogh: A Loan Exhibition of Paintings and Drawings, exh. cat. (Los Angeles: Los Angeles Municipal Art Department, 1957), 17, 28, (repro.), as The Olive Trees.

 

An Inaugural Exhibition: El Greco, Rembrandt, Goya, Cézanne, Van Gogh, Picasso, exh. cat. (Milwaukee: Milwaukee Art Institute, 1957), 49, 54, (repro.), as Olive Grove.

 
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 125, (repro.), as The Olive Grove.
 

Robert Pearman, “Van Gogh Art Arrives,” The Kansas City Times 126, no. 26 (January 30, 1963): 8, (repro.), as The Olive Grove.

 

Homage to Effie Seachrest, exh. cat. (Kansas City, MO: Nelson Gallery-Atkins Museum, 1966), 4-5, 11, 13, (repro.), as The Olive Grove.

 

“Homage to Effie Seachrest,” Gallery Events (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) (July-August 1966): unpaginated, as The Olive Grove.

 

The Independent 67, no. 34 (August 20, 1966): 19, as The Olive Grove.

 

Donald L. Hoffmann, “Effie Seachrest, a Little Lady Who Brought Great Art Here,” The Kansas City Star 86, no. 345 (August 28, 1966): 1E, as The Olive Grove.

 

Paolo Lecaldano, L’opera pittorica completa di Van Gogh e i suoi nessi grafici, new series, vol. 2 (1966, 1971; repr., Milan: Rizzoli Editore, 1977), no. 734, pp. 222, 224, 237, (repro.), as Oliveto (con viottolo).

 

Jean Leymarie, Who Was Van Gogh?, James Emmons, trans. (Geneva: Editions d’Art Albert Skira, 1968), 164.

 

J.-B. de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, rev. ed. (Amsterdam: Meulenhoff International, 1970), no. F 715 [H 641], pp. 276-77, 639, (repro.), as Olive Trees.

 

Mark Roskill, Van Gogh, Gauguin and French Painting of the 1880s: A Catalogue Raisonné of Key Works (Ann Arbor, MI: University Microfilms, 1970), 97.

 

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 164, (repro.), as The Olive Grove.

 

Jan Hulsker, Van Gogh en zijn weg: Al zijn tekeningen en schilderijen in hun samenhang en ontwikkeling (Amsterdam: Meulenhoff International bv, 1977), no. 1759, pp. 400, 403, 406-07, (repro.), as Olijfgaarde.

 

Robert H. Terte, “The Phenomenal Nelson Gallery,” Antiques World 1, no. 3 (January 1979): 46.

 

Evert van Uitert, “Vincent van Gogh and Paul Gauguin in competition: Vincent’s original contribution,” Simiolus: Netherlands quarterly for the history of art 11, no. 2 (1980): 103n83.

 

Jan Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches (New York: Harry N. Abrams, 1980), no. 1759, pp. 400, 406-07, 485n11a, (repro.), as Olive Orchard.

 

Vincent van Gogh Exhibition, exh. cat. (Tokyo: Tokyo Shimbun, 1985), 199, 202, 226-27, 266, (repro.), as Olive Orchard.

 

Cathy Johnson, “Young at Art: Learning from the Masters,” The Artist’s Magazine 3, no. 11 (November 1986): 86, (repro.), as Olive Grove.

 

Ronald Pickvance, Van Gogh in Saint-Rémy and Auvers, exh. cat. (New York: Harry N. Abrams, 1986), 16, 98-100, 102, 297-98, (repro.), as Olive Orchard.

 

Peter C. Sutton, A Guide to Dutch Art in America (Washington, D.C.: Netherlands-American Amity Trust, 1986), 122, 127, (repro.), as Olive Grove.

 

Donald Hoffmann, “Lucid artistry fled a mind’s torment,” The Kansas City Star 107, no. 138 (March 1, 1987): 8F, as The Olive Orchard.

 

“Museums to Sports, KC Has It All,” American Water Works Association Journal 79, no. 4 (April 1987): 133.

 

Walter Feilchenfeldt, Vincent van Gogh and Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914 (Zwolle, The Netherlands: Uitgeverij Waanders, 1988), 18-19, 22, 55, 58, 60, 63, 80, 115, 145, 147, 149, 155, 158, (repro.), as Olive Trees.

 

Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 109-10, (repro.), as The Olive Grove.

 

Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills Press, 1989), 20, 94-96, (repro.), as Olive Orchard.

 

David Lewis, “Museum Impressions,” Carnegie Magazine 59, no. 12 (November-December 1989): 15, 46, (repro.), as Olive Orchard.

 

Jan Hulsker, Van Gogh en zijn weg: Het complete werk, 6th ed., rev. and expanded (Amsterdam: Meulenhoff Nederland bv, 1989), no. 1759, pp. 400, 403, 406-07, 488n11a, (repro.), as Olijfgaarde.

 

Bruce Bernard, “Vincent Victorious,” The Independent Magazine, no. 99 (July 28, 1990), 34-35, (repro.), as Olive Orchard.

 

Roland Dorn et al., Vincent van Gogh en de moderne kunst, 1890-1914 (Zwolle: Waander Uitgevers, 1990), 261, as Olijfgaard.

 

Tsukasa Kōdera, Vincent Van Gogh: Christianity Versus Nature (Amsterdam: John Benjamins, 1990), 145.

 

Vincent van Gogh and the Modern Movement, 1890-1914, exh. cat. (Freren, Germany: Luca Verlag, 1990), 412, 414, 416, as Olive Trees.

 

“Art Inspires Art: New Work by Composer Adam Schoenberg,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2012): 8, (repro.), as Olive Orchard.

 

Ingo F. Walther and Rainer Metzger, Vincent van Gogh: The Complete Paintings, part 2 (1990; repr., Cologne: Taschen GmbH, 2012), 522, (repro.), as Olive Grove.

 

Johannes van der Wolk, Ronald Pickvance, and E. B. F. Pey, Vincent van Gogh: Drawings, exh. cat. (Milan: Arnoldo Mondadori Arte, 1990), 286.

 

Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 244, as Olivenhain in Saint-Remy.

 

Vojtĕch Jirat-Wasiutyński, “Vincent van Gogh’s Paintings of Olive Trees and Cypresses from St.-Rémy,” The Art Bulletin 75, no. 4 (December 1993): 651, as Olive Trees.

 

Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 26, 76, 80n15, as The Olive Grove.

 

Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 279.

 

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 47, 277, (repro.), as Olive Orchard.

 

Derek Fell, The Impressionist Garden: Ideas and Inspiration from the Gardens and Paintings of the Impressionists (London: Frances Lincoln, 1994), 98, (repro.), as Olive Orchard.

 

Imre Soós, “Van Gogh Képek Egykor Magyarországon (A magyar műgyűjtés történetéből),” Művészet és Barátai 5, no. 4 (September-October 1995): 16-17, 19, (repro.), as Olajerdő.

 

“96 Music Teachers National Association National Convention, March 23-27, 1996, Kansas City, Missouri,” American Music Teacher 45, no. 4 (February-March 1996): 23.

 

Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches; Revised and Enlarged Edition of the Catalogue Raisonné of the Works of Vincent Van Gogh, rev. ed. (Amsterdam: J. M. Meulenhoff, 1996), no. 1759, pp. 406-07, (repro.), as Olive Orchard.

 

Christian Kennert, Paul Cassirer und sein Kreis: Ein Berliner Wegbereiter der Moderne (Frankfurt am Main: Peter Lang, 1996), 206n45, as Olivenbäume.

 

Naomi Margolis Maurer, The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin (Madison, NJ: Fairleigh Dickinson University Press, 1998), 90-91, (repro.), as Olive orchard.

 

“Recent Acquisitions, A Selection: 1998-1999,” The Metropolitan Museum of Art Bulletin 57, no. 2 (Fall 1999): 46.

 

Ann Dumas and Michael E. Shapiro, Impressionism: Paintings Collected by European Museums (Atlanta: High Museum of Art, 1999), 83-84, 89n37, (repro.), as Olive Grove, Saint-Rémy.

 

“Behind the Scenes: Museum’s European Paintings in Demand,” Newsletter (The Nelson-Atkins Museum of Art) (October 2000): 4, as Olive Orchard.

 

Ronald Pickvance, Van Gogh, exh. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 2000), 35, 89.

Joan E. Greer, “A modern Gethsemane: Vincent van Gogh’s Olive grove,” Van Gogh Museum Journal (2001): 111.

 

László Mravik, “Budapest műgyűjteményei a két világháború között,” Budapesti Negyed 32-33 (February-March 2001): unpaginated.

 

László Mravik, “Őrzők a strázsán: Közgyűjtemények, jogszabályok, esetek,” Mozgó Világ 27, no. 6 (June 2001): 50-51, as Olajerdő.

 

Cornelia Homburg, Vincent van Gogh and the Painters of the Petit Boulevard, exh. cat. (Saint Louis: Saint Louis Art Museum, 2001), 44-45, 242, (repro.), as Olive Orchard.

 

Chris Stolwijk and Han Veenenbos, The account book of Theo van Gogh and Jo van Gogh-Bonger (Amsterdam: Van Gogh Museum, 2002), 20, 32, 49, 124, 145n14/4, 187, (repro.), as Olive orchard.

 

“Vincent Van Gogh: Honor Anniversary of Modern Master’s Life and Art with a Visit to the Nelson-Akins,” Newsletter (The Nelson-Atkins Museum of Art) (March 2003): 8, as Olive Orchard.

 

Judit Geskó, ed.,  Monet et ses amis, exh. cat. (Budapest: Vince Kiadó, 2003), 24-25, erroneously as De la Faille.

 

Marco Goldin, l’Oro e l’Azzurro: I colori del Sud da Cézanne a Bonnard, exh. cat. (Conegliano, Italy: Linea d’ombra Libri, 2003), 109, 396, (repro.), as Ulivi.

 

Tamás Kieselbach, ed., Modern Hungarian Painting 1892-1919 (Budapest: Tamás Kieselbach, 2003), 16, (repro.), as Olive Grove.

 

Tobias G. Natter, Die Galerie Miethke: Eine Kunsthandlung im Zentrum der Moderne, exh. cat. (Vienna: Jüdisches Museum, 2003), 130n143, 131n147, 132, and 133n154, 164, (repro.), as Olivenhain.

 

Viviane Rosé, Temps, Affect, Sensation: de Cézanne à Matisse (Lille: Atelier national de reproduction des thèses, 2003), 229n3, as Les Oliviers (avec sentier).

 

Péter Molnos, “A Kohner-gyűjtemény,” Artmagazin 2, no. 1 (March 2004): 19-22, as Olajerdő.

 

F. Dózsa Katalin, Az áttörés kora Bécs és Budapest a historizmus és avantgárd között (1873-1920): Klimt, Schiele, Kokoschka és a dualizmus művészete című kiállítás tárgyleírásai, vol. 2 (Budapest: Budapesti Történeti Múzeum, 2004), 95, as Olive Grove és a Saint Rémy.

 

Kimberly A. Smith, Between Ruin and Renewal: Egon Schiele’s Landscapes (New Haven: Yale University Press, 2004), 33, (repro.), as Olive Trees.

 

Guillermo Solana, Gauguin and the Origins of Symbolism, exh. cat. (Madrid: Fundación Colección Thyssen-Bornemisza, 2004), 189, 327, (repro.), as Olive Grove [Les oliviers].

 

Veronika Grodzinski, “French Impressionism and German Jews: The Making of Modernist Art Collectors and Art Collections in Imperial Germany, 1896-1914,” vol. 2, “Illustrations and Appendices” (PhD diss., University College London, 2005), 142, as Olive Trees.

 

Alessandra Farkas, Pranzo di Famiglia (Milan: Sperling and Kupfer, 2006), 91.

 

Judit Geskó, ed., Van Gogh in Budapest, exh. cat. (Budapest: Museum of Fine Arts, 2006), 19, 38-39, 57-58, 143, 145-150, 165n36, 180, 348, (repro.), as Olive Orchard.

 

Jonathan Pascoe Pratt, “Ambroise Vollard: Dealer and Publisher 1893-1900” (PhD diss., The Courtauld Institute of Art, 2006), 311, as Oliviers/niet opgezet.

 

Ágnes Lampé, “Családregény: Farkas Károly örökségről és háláról,” 168 Óra (July 18, 2007).

 

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 15-16, as Olive Orchard.

 

Klaus Albrecht Schröder et al., eds., Van Gogh: Heartfelt Lines, exh. cat. (Cologne: DuMont Buchverlag GmbH, 2008), 57, 380-81, (repro.), as Olive Orchard.

 

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), X-XI, 35, 124, (repro.), as Olive Orchard.

 

Kunstmuseum Basel, ed., Vincent van Gogh: Between Earth and Heaven, The Landscapes, exh. cat. (Ostfildern, Germany: Hatje Cantz Verlag, 2009), 46, 239, 248-49, 304, (repro.), as Olive Orchard.

 

Walter Feilchenfeldt, Vincent van Gogh: Die Gemälde 1886 - 1890; Händler, Sammler, Ausstellungen, Frühe Provenienzen (Wädenswil, Switzerland: Nimbus, Kunst und Bücher, 2009), 31n38, 211, 288, 321, 324, 327, 329, 331, (repro.), as Die Olivenbäume, Olive Trees.

 

Leo Jansen, Hans Luijten, and Nienke Bakker, eds., Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition, vol. 5 (London: Thames & Hudson, 2009), letter nos. 780, 783, 789, 805, 806, 823, RM21; pp. 34n1, 41n2, 59n2, 101, 106-07, 154-55, 320, (repro.), as Oliviers [Olive trees].



András Zwickl,  Judit Gömöry, and Nóra Veszprémi, A Művészház 1909-1914: Modern Kiállítások Budapesten, exh. cat. (Budapest: Magyar Nemzeti Galéria, 2009), 61.

 

Bernhard Echte and Walter Feilchenfeldt, eds., Kunstsalon Paul Cassirer: Die Ausstellungen 1901-1905; “Man steht da und staunt” (Wädenswil, Switzerland: Nimbus. Kunst und Bücher, 2011), 693, 706, 708, 725, (repro.), as Olivenbäume.

 

Attila Ledényi and Zoltán Somhegyi, eds., Klasszikus magángyűjtemények Magyarországon: válogatás jelentős művészeti gyűjteményekből (Budapest: Art Today Kft., 2012), 42.

 

Walter Feilchenfeldt, Vincent van Gogh: The Years in France; Complete Paintings 1886-1890: Dealers, Collectors, Exhibitions, Provenance (London: Philip Wilson, 2013), 32n38, 213, 291, 312, 315, 318, 320, 322, (repro.), as Olive Trees.

 

Ralph Skea, Vincent’s Trees: Paintings and Drawings by Van Gogh (London: Thames and Hudson, 2013), 87.

 

Bettina Kaufmann, “Homme de l’art, Kunsthändler, Kunstsachverständiger, Kunstexperte, Provenienzforscher, Kurator...” Du, no. 857 (June 2015), 40, 42-43, 50, (repro.), as Olivenhain.

 

Péter Molnos, Aranykorok Romjain: Tanulmányok A Modern Magyar Festészet és Műgyűjtés Történetéből a Kieselbach Galéria Alapításának Huszadik Évfordulójá (Budapest: Kieselbach Galéria Kereskedelmi Kft., 2015), 12, 98-99, 100n20, 101-2, 106-8, 144, 182, (repro.), as Olajerdő.


“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): unpaginated.