• A.G.A. van Rappard, Utrecht
• Ph. de Kanter, Delft
• H.P. Bremner, The Hague [R 1952]
• The Hague, F. Bremner [R 1970]
• Private collector [2012] £1,329,250

• 1932 Amsterdam , 6
• 1950 The Hague, 40
• 1952 Milan, 24
• 1956 Munich, 23
• 1960 Paris, 81
• 1961 Amsterdam, 11
• Munich, 17

Catalogues raisonnés:

• F929: Faille, Jacob Baart de la (1970) [1928] The Works of Vincent van Gogh. His Paintings and Drawings, Amsterdam: J.M. Meulenhoff, no. 929 .
• JH129 : Jan Hulsker (1980), The Complete Van Gogh, Oxford: Phaidon, no.  129.
  
• There were originally three versions, of which one is lost. This is the version van Gogh appears to have given Anthon van Rappard (letter 231). Another version F929a is in chalk and is presumably not the pencil version sent to his brother Theo, because he recommended fixing that (pencil) version with milk (which would have course ruined a chalk drawing) in Letter 217. F929a must therefore be the version he kept for himself, while Theo's is lost. See also Letter 216. A larger version he completed by 1 May 1882 is also lost (see Letter 222). There are three extant impressions of a lithograph F1655 dated November 1882.
• The model was Clasina Maria Hoornik with whom Vincent was in a relationship during much of his time at the Hague (indeed the only such domestic relationship he was ever to hold).
• Letters
• 216 To Theo van Gogh. The Hague, on or about Monday, 10 April 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "Today I sent you 1 drawing by post which I’m sending to you as a token of gratitude for so much that you’ve done for me during this otherwise hard winter. Last summer, when you had that large woodcut by Millet, ‘the shepherdess’, I thought: how much one can do with one single line! Naturally I don’t presume to say as much as Millet with a single outline. But I’ve nevertheless tried to put some sentiment into this figure. Now I only hope that this figure is to your liking. And now you see at the same time that I’m hard at work. Now that I’ve started, I’d like to make around 30 studies of the nude.
  The enclosed is, I think, the best figure I’ve drawn, that’s why I thought I’d send it to you.
  This isn’t the study from the model and yet it’s directly from the model. You should know that I had two sheets underneath my paper. Well, I’d toiled to get the outlines right and when I took the drawing off the plank it was very cleanly impressed on the two underlying sheets and then I immediately worked it up after the first study, so that this one is even fresher than the first.
  I’ve kept the other two and wouldn’t like to part with them."
• 231 To Theo van Gogh. The Hague, Saturday, 27 May 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "Rappard’s visit cheered me up; he seems to be working hard.
  He gave me 2.50 guilders because he saw a tear in a drawing and said, you should have that repaired. I know, I said, but I haven’t got the money and the drawing must be sent off. Then he said straightaway that he’d be glad to give it to me, and I could have had more but I didn’t want to, and I gave him a pile of woodcuts and a drawing [this drawing Sorrow F929] in return. It was one of those meant for C.M. [Cornelis Marius van Gogh (Uncle Cor), bookseller and art dealer in Amsterdam], and so I was very glad to be able to get it repaired, because it was the best of them all.
  That same drawing may be sold later for 50 guilders or so, and now — I hadn’t got the money to have a tear in it repaired.
  Anyway.
  I do hope, brother, that you don’t think badly of Sien and me. ... [Vincent later paid Rappard back in full (letter 236). The drawing fetched £1,329,250 at a Christie's sale in 2012."
• 282 To Theo van Gogh. The Hague, Tuesday, 14 November 1882. Vincent van Gogh: The Letters. Van Gogh Museum. "Last week I did another trial of the figure Sorrow on what I had left of the printing paper."

• Naifeh, Steven and Smith, Gregory White. Van Gogh: the Life, New York: Random House, 2011. ISBN 978-0-375-50748-9, pp. 280-4

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