1. The consignment to Tersteeg included The Seine with the Clichy bridge (F 303 / JH 1323 ); it arrived in The Hague on 6 April (see letter 589, n. 4).

2. Pink peach trees (‘Souvenir de Mauve’) (F 394 / JH 1379 ); see further on this work: letter 590, n. 5.

a. Read: ‘Probablement’.

3. The weekly newspaper De Portefeuille had published an article dedicated to the memory of Mauve, which also appeared in an extended offprint. It must have been this offprint that Van Gogh had received from his sister, because it had the portrait of Mauve on the first page, whereas this was not printed in the paper. See E. Rittner Bos, ‘In memoriam Anton Mauve, overl. 6 februari 1888’, De Portefeuille. Kunst- en Letterbode 9 (1887-1888), vol. 1, pp. 647-648. The offprint was titled In memoriam A. Mauve (Amsterdam, Van Gogh Museum Library) and also contained Hendrik Adriaan Christiaan Dekker, ‘A. Mauve’ (originally in De Portefeuille. Kunst- en Letterbode 9 (1887-1888), vol. 1, pp. 237-239) and an epilogue. The portrait survived in the estate (t*1371). Ill. 2176 .

4. For the altered inscription on the painting, see letter 590, n. 7.

5. The opening and closing lines of the song that Miarka, the central character in Jean Richepin’s Miarka, la fille à l’ourse, sings ‘in a sad, soft voice, through the rain and through her tears’ (une voix triste et douce, à travers la pluie et à travers ses larmes). 5th ed. Paris n.d., livre quatrième, p. 237. The poem was set to music by Ernst Amédée Chausson, as the first of his ‘Deux chansons de Miarka’, op. 17, 1888.

6. In letter 590 Van Gogh said he was working on six studies. These probably included – besides the Pink peach trees (‘Souvenir de Mauve’) (F 394/ JH 1379 ) mentioned above – Orchard with apricot trees in blossom (F 553 / JH 1387 ), Orchard with apricot trees in blossom (F 556 / JH 1383 ) and Peach tree in blossom (F 557 / JH 1397 ); the rest cannot be identified. See letter 590, n. 4.

7. We do not know of a no. 30 work from this period, nor a no. 25 canvas (which Van Gogh sometimes described as a no. 30). Van Gogh probably postponed his plan, since in letter 593 he said he was waiting for an absorbent no. 30 canvas. See further letter 594, n. 2.

8. Cf. letter 628 to Emile Bernard, where a passage about the same method is illustrated with a sketch.

9. Reid evidently wanted to buy a work from Guillaumin at a low price, and the latter had complained to Theo (cf. undated letter from Guillaumin to Theo, sale Piasa, Hôtel Drouot, Paris, 20 November 2008, lot 201).

10. We do not know whether Theo did indeed buy Guillaumin’s work at this time. There were four Guillaumins in his estate; two of them, Self-portrait with palette and Portrait of a young woman, are now in the Van Gogh Museum. See Account book 2002, p. 22, and cat. Amsterdam 1987, pp. 350-351.