Madame Fantin-Latour. Catalogue de l'oeuvre complet (1849–1904) de Fantin-Latour. [reprint ed. 2000]. Paris, 1911, p. 40, no. 288.
Artemis 79–80: Consolidated Audited Annual Report (1980), pp. 40–41, no. 17, ill. (color), discusses the influence of Chardin; mentions a pendant in a private collection in England that also once belonged to Calouste Gulbenkian.
Charles S. Moffett and Anne Wagner in The Metropolitan Museum of Art: Notable Acquisitions, 1979–1980. New York, 1980, pp. 43–44, ill. (color).
Denys Sutton. "Cross-Currents in Nineteenth-Century French Painting." Apollo 113, no. 230 (April 1981), p. 248, ill. on cover (color).
Douglas Druick. Fantin-Latour. Exh. cat., National Gallery of Canada. Ottawa, 1983, pp. 130–32, no. 36, ill. [French ed., "Fantin-Latour," 1982, pp. 115, 128–30, no. 36, ill], together with a similar still life by Fantin-Latour included in the Salon of 1866 (F285; National Gallery of Art, Washington), identifies the MMA work as one of four still lifes commissioned from Fantin in 1866 by Michael Spartali, a Greek living in London, two of which were bought the following year by Stravos Dilberoglou; suggests a still life now in the Art Gallery of New South Wales, Sydney, and one in a private collection in England (F291) as the other two works in the group.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 20–21, ill. (overall and color detail).
Chuji Ikegami. "Period of Impressionism." New History of World Art. 22, Tokyo, 1993, p. 432, colorpl. 175, as "Fleurs de printemps, pommes et poires".
Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 174, 179, 296, 383, no. 72, fig. 212 (color) [French ed., Paris, 1994], discusses the question of its early provenance.
Paul de Roux. Fantin-Latour: Figures et fleurs. Paris, 1995, pp. 24–25, ill. (color).
Jean-Jacques Lévêque. Henri Fantin-Latour: Un peintre intimiste 1836–1904. Paris, 1996, ill. p. 131 (color).
Dianne W. Pitman. Bazille: Purity, Pose, and Painting in the 1860s. University Park, 1998, p. 80, fig. 49.
Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 104–5, 213, no. 71, ill. (overall and detail, color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 119, 248–49, no. 108, ill. (color and black and white).
Gary Tinterow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, fig. 13 (installation photo).