L'Art moderne et quelques aspects de l'art d'autrefois; cent-soixante-treize planches d'après la collection privée de MM. J. & G. Bernheim-Jeune. Paris, 1919, vol. 1, pl. 29, as "Les Grosses pommes".
Bulletin de la vie artistique 7 (March 15, 1926), ill. (frontispiece).
Ten Masterpieces by XIXth Century French Painters. Exh. cat., Alex. Reid & Lefevre, Ltd. Glasgow, 1929, unpaginated, no. 1, ill., dates it about 1890.
"French Pictures: Exhibition in Glasgow." Glasgow Herald (April 22, 1929).
K. "French Masters: 10 Pictures Worth £250,000 on View in Glasgow." Glasgow Bulletin (April 16, 1929).
W. J. W. "Ten Masterpieces of French Art: Worth a Quarter of a Million." Glasgow Evening Times (April 16, 1929).
"Ten Great Pictures: City Exhibition is an Artistic Event." Glasgow Evening News (April 16, 1929).
Lionello Venturi. Cézanne: son art—son oeuvre. Paris, 1936, vol. 1, p. 173, no. 502; vol. 2, pl. 155, no. 502, calls it "Grosses pommes" and dates it 1885–87.
Robert J. Goldwater. "Cézanne in America: The Master's Paintings in American Collections." Art News Annual, section I (The 1938 Annual), 36 (March 26, 1938), p. 158, mentions it among "some small studies of the 'eighties'".
James W. Lane. "Thirty-three Masterpieces in a Modern Collection: Mr. Stephen C. Clark's Paintings by American and European Masters." Art News Annual 37 (February 25, 1939), p. 133, dates it 1885–87 and calls it representative of Cézanne's later period.
Erle Loran. Cézanne's Composition: Analysis of His Form with Diagrams and Photographs of His Motifs. [2nd ed., 1946]. Berkeley, 1943, p. 93.
Liliane Guerry. Cézanne et l'expression de l'espace. [1st ed.; 2nd ed., 1966]. Paris, 1950, p. 95.
"Ninety-first Annual Report of the Trustees for the Fiscal Year 1960–1961." Metropolitan Museum of Art Bulletin 20 (October 1961), p. 64, calls it "Still Life—Apples and Pears" and dates it about 1885–87.
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, p. 109, ill., call it "Still Life—Apples and Pears (Les Grosses Pommes)"; date it 1885–87, following Venturi [Ref. 1936].
Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, pp. 108–9, no. 482, ill.
Margit Rowell. "On Albers' Color." Artforum 10 (January 1972), p. 31, fig. 7.
Theodore Reff. "The Pictures Within Cézanne's Pictures." Arts Magazine 53 (June 1979), pp. 97, 104 n. 37, fig. 22, calls it "The Large Apples" and dates it 1885–87; states that the upper right corner of this work, depicting a stove at the Jas de Bouffan, appears in an unfinished state in the background of another painting, "Still Life with Basket" (1888–90; Musée d'Orsay, Paris; V594, R636); tentatively identifies the same stove in "Smokers" (Kunsthalle Mannheim; V684, R756); identifies the horizontal stripes in the background of our picture as a painted screen, shown here for the first time, and also included in the watercolor "Ginger Pot and Fruit" (collection Jean Dauberville, Paris; V1134) and the paintings "Portrait of Joachim Gasquet" (Národní Galerie, Prague; V694, R809) and "Still Life with Peppermint Bottle" (National Gallery of Art, Washington; V625, R772).
John Rewald. Paul Cézanne: The Watercolors, A Catalogue Raisonné. Boston, 1983, p. 154, under no. 289, notes that it must have been painted in the same room as the watercolor "Ginger Pot and Fruit) (V1134) because of the identical bluish horizontal stripe in the background; identifies this background as wainscoting, the same section of wall depicted in "The Blue Vase" (Musée d'Orsay, Paris; V512, R675) and "Vase of Flowers and Apples" (private collection, Switzerland; V513, R660) [see Ref. Reff 1979].
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 11, 200, 254, ill. (color), describes "traces of a previous pictorial idea visible at far right," which may indicate that this picture is unfinished.
Sjraar van Heutgen et al. in Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, pp. 15, 17, 74–75, no. 24, ill. (color, overall and detail).
Cézanne by Himself: Drawings, Paintings, Writings. London, 1988, pp. 98, 313, ill. (color), dates it about 1885–87.
Christoph Jamme. "The Loss of Things: Cézanne—Rilke—Heidegger." Kunst & Museumjournaal 2, no. 1 (1990), ill. p. 41, dates it 1885–87.
Walter Feilchenfeldt in Götz Adriani. Cézanne: Gemälde. Exh. cat., Kunsthalle Tübingen. Cologne, 1993, pp. 299, 309 n. 22, identifies this painting as sold by Vollard on April 14, 1900 to Emil Heilbut on behalf of the Cassirer gallery and shown in Exh. Berlin 1900.
Michael Kimmelman. "At the Met with Roy Lichtenstein: Disciple of Color and Line, Master of Irony." New York Times (March 31, 1995), p. C27, ill.
Philippe Dagen. Cézanne. Paris, 1995, p. 108, ill. (color).
Walter Feilchenfeldt in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 575 [French ed., Paris, 1995], states that Paul Cassirer probably purchased this picture from Vollard [see Ref. Feilchenfeldt 1993]; notes that Cassirer's first wife kept it after their divorce in 1902, then subsequently married Mr. Ceconi and sold her paintings to Bernheim-Jeune.
John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, pp. 441, 562, 566–67, 569, 571, no. 701; vol. 2, p. 240, fig. 701, calls it "Grosses pommes" and dates it 1891–92; identifies the same background in "Madame Cézanne in a Green Hat" (Barnes Foundation, Merion, Penn.; V704, R700).
Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, pp. 245, 248, 251, 315, 321, no. 51, dates it 1885–87.
Gilbert T. Vincent and Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, pp. 150, 156, 196 n. 74, fig. 123 (color), comment that after Clark decided not to buy the Cézanne "Still Life with Apples and a Pot of Primroses" (MMA 51.112.1), it was purchased by Adolph Lewisohn, who lent it to MoMA's first exhibition, which may have prompted Clark to purchase this work instead.
Rebecca A. Rabinow and Jayne S. Warman in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Exh. cat., The Metropolitan Museum of Art. New York, 2006, p. 279.
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. 108, 191, no. 74, ill. (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. 123, 224–25, no. 112, ill. (color and black and white).