Harry B. Wehle. "A Loan of Paintings." Metropolitan Museum of Art Bulletin 31 (October 1936), p. 209.
Wladyslawa Jaworska. Gauguin and the Pont-Aven School. [first ed., Neuchâtel, 1971]. Greenwich, Conn., 1972, p. 36, ill.
Douglas Cooper. Letter to Sir John Pope-Hennessy. October 24, 1978, states that he has never believed in its authenticity and is unable to reconcile it stylistically with genuine paintings by Gauguin of 1891 or any other date; declares that the signature is "quite certainly false" and that he will not include it in his catalogue raisonné of Gauguin; gives provenance information; tentatively attributes it to Schuffenecker.
Charles Durand-Ruel. Letter to Charles S. Moffett. December 12, 1978, gives details of provenance from 1926 to 1937.
Alix de Fontenay. Letter to Charles S. Moffett. December 27, 1978, states that the Wildenstein Foundation, Paris, now has enough information about this painting to confirm that it is not by Gauguin.
Douglas Cooper. Letter to Charles Moffett. January 2, 1979, compares it with the "Still Life" (Gorbisch collection, Boston), signed and dated 1890, which he believes to be painted by either Schuffenecker or a member of the Pont-Aven school; calls the MMA picture a pastiche consistent with known works by Schuffenecker, and notes that it could have been painted any time after 1895.
Caroline Boyle-Turner. Letter to Susan Alyson Stein. September 29, 1987, rejects attribution to Jan Verkade, Mogens Ballin, Schuffenecker, or anyone in the Pont-Aven school.
Caroline Boyle-Turner. Letter to Gary Tinterow. April 29, 1987, rejects attribution to Sérusier and suggests Paul Ranson.
Charlotte Hale in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 175, 183–86, 225, 232 nn. 28, 35, 40, no. 117, figs. 73 (color) and 75 (x-radiograph), comments that "the stylistic and technical crudeness of this painting rule out the possibility that it is a work by Gauguin"; states that an x-radiograph reveals a copy of the Cézanne still life "Peaches and Pears" (about 1890; Barnes Foundation, Merion, Pennsylvania) beneath this composition.