Charles Saunier. Anthologie d'art français: La peinture—XIXe siècle. Paris, , vol. 2, ill. p. 183, calls it "Nature morte".
"Havemeyer Collection at Metropolitan Museum: Havemeyers Paid Small Sums for Masterpieces." Art News 28 (March 15, 1930), p. 43, ill. p. 49, calls it "Still Life" and considers it "one of [Cézanne's] less powerful canvases".
Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 58.
"The H. O. Havemeyer Collection." Parnassus 2 (March 1930), pp. 7–8, ill., remarks that "there is no other arrangement from [Cézanne's] hand that is more completely realized".
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), pp. 450, 483, calls it a "sound rather than an extraordinary item" and remarks that the sense of a microcosm normally inherent in Cézanne's still-lifes is not powerfully expressed here; suggests that Arthur B. Davies advised Mrs. Havemeyer to purchase her Cézanne paintings.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 58–59, ill.
Lionello Venturi. Cézanne: son art—son oeuvre. Paris, 1936, vol. 1, pp. 35, 112–13, no. 213; vol. 2, pl. 58, no. 213, calls it "Poterie, tasse et fruits"; identifies the wallpaper in this picture as that seen in six other paintings dated about 1877: "Fruit Dish and Plate of Biscuits (private collection, Japan; V209, R325), "The Plate of Apples" (Art Institute of Chicago; V210, R328), "Apples and Biscuits" (private collection, South America; V212, R327), "Flask, Glass and Jar" (Solomon R. Guggenheim Museum, New York; V214, R326), "Madame Cézanne Sewing" (Nationalmuseum, Stockholm; V291, R323), and "Madame Cézanne in a Striped Skirt" (Museum of Fine Arts, Boston; V292, R324); identifies this wallpaper as that in the house at 67 rue de l'ouest, Paris, where Cézanne lived throughout 1877.
Benjamin Storey. "Retrospettiva Cézanne." Emporium 115 (May 1952), ill. p. 200 (detail), calls it "Natura morta" and dates it about 1887.
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, pp. 98–99, ill., call it "Still Life"; identify the cup in three other still lifes, also dated about 1877 (Polo Corporation, Japan, V186, R319; private collection, V187, R320; present location unknown, V188, 321).
Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, pp. 94, 96, no. 211, ill.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 429, 438, fig. 784 (color), dates it about 1876–77; remarks that it is closer to Impressionism than Cézanne's "Uncle Dominique" (MMA 53.140.1), but "the physical presence of the objects again shows his desire to create something solid"; compares it to Fantin-Latour's "Still Life with Pansies" (MMA 66.194).
John Rewald. Paul Cézanne: The Watercolors, A Catalogue Raisonné. Boston, 1983, p. 134, under no. 204, mentions it in discussing a study of a pottery jar (present location unknown), similar to the one included in this painting.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 180–81, 253, ill. (color, overall and detail).
Jill Anderson Kyle. "Cézanne's 'Les Joueurs de Cartes'." Master's thesis, Rice University, 1985, p. 99, fig. 35, calls it "Poterie, Tasse et Fruits" and dates it 1877; describes it as "a study of round forms within a rectilinear V motif" and comments that the jar reappears in "Vase of Tulips" (about 1890; Art Institute of Chicago; V617, R719).
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 256.
Cézanne by Himself: Drawings, Paintings, Writings. London, 1988, pp. 94, 313, ill. (color).
Sidney Geist. Interpreting Cézanne. Cambridge, Mass., 1988, p. 136, compares the patterned wallpaper with that in "Madame Cézanne in a Striped Skirt" (Museum of Fine Arts, Boston; V292, R324).
John Rewald with the research assistance of Frances Weitzenhoffer. Cézanne and America: Dealers, Collectors, Artists and Critics, 1891–1921. The A. W. Mellon Lectures in the Fine Arts, Princeton, 1989, p. 128 n. 44, pp. 311, 349, fig. 157, as "Still Life with Green Jar and White Cup".
Raymond Jean in Sainte-Victoire, Cézanne. Exh. cat., Musée Granet. Aix-en-Provence, 1990, p. 357, figs. 187 and 188 (upside down), as "Poterie, tasse et fruits"; dates it 1877.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 246, identifies this painting or "Still Life with a Ginger Jar and Eggplants" (MMA 61.101.4) as the picture called "Fruits" which was bought by the Havemeyers through Cassatt during a trip to Europe in April 1907, deposited with Durand-Ruel on May 7, and shipped to the Havemeyers in New York on May 11 [see Ref. Warman 2006, who dates the trip to April 1906, and identifies MMA 61.101.4 as the picture bought during this trip].
Götz Adriani. Cézanne: Gemälde. Exh. cat., Kunsthalle Tübingen. Cologne, 1993, p. 80 n. 2 [English ed., 1995].
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 302–4, no. A72, ill.
Maria Teresa Benedetti. Cézanne. [Italian ed., 1995]. Paris, 1995, p. 117, ill. (color).
John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, pp. 216–17, 220, 223, 319, 568, no. 322; vol. 2, p. 103, fig. 322, calls it "Poterie, tasse et fruits sur une nappe blanche" and dates it about 1877; notes that the green jar, or one similar, appears in many subsequent still lifes, sometimes as a flower vase, and that the white cup was used in three other still lifes [see Ref. Sterling and Salinger 1967]; identifes the wooden chest in "Les accessoires de Cézanne. Nature morte au médaillon de Philippe Solari" (about 1873; Musée d'Orsay, Paris; V67, R211); considers the wallpaper here to be a more elaborate version than that seen in other works [see Ref. Venturi 1936].
Erik Saxon. "'Overall Space': Comparing van Gogh, Mondrian and Pollock." Van Gogh 100. Westport, Conn., 1996, p. 347, fig. 25.2, mentions the use of the diamond as a structural element in this work.
Theodore Reff. "Cézanne et Chardin." Cézanne aujourd'hui. Paris, 1997, p. 21, discusses this picture in relation to Chardin.
Kathryn Calley Galitz in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 254–56, no. 50, ill. (color) [Catalan ed., Barcelona, 2006, pp. 138–39, no. 42, ill. (color)], notes that the white cloth napkin has been interpreted as a reference to Mont Sainte-Victoire.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, p. 18 [Catalan ed., Barcelona, 2006].
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. 340 n. 3, under no. 36, identifies this picture among the seven Cézannes shipped to the Havemeyers by Vollard on June 5, 1901.
Kathryn Calley Galitz in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 122, 219–20, no. 111, ill. (color and black and white).
Michael R. Taylor in Cézanne and Beyond. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2009, p. 559 n. 31, calls it "Still Life with Green Jar and White Cup".
Jayne S. Warman in Gail Stavitsky and Katherine Rothkopf. Cézanne and American Modernism. Exh. cat., Montclair Art Museum. Montclair, 2009, p. 88 n. 34.
Emily Schuchardt Navratil in Gail Stavitsky and Katherine Rothkopf. Cézanne and American Modernism. Exh. cat., Montclair Art Museum. Montclair, 2009, p. 361.