J.-B. de La Faille. L'Oeuvre de Vincent van Gogh: Catalogue Raisonné. Paris, 1928, vol. 1, p. 166, no. 588; vol. 2, pl. 162, places it in the Arles period.
Henri Marceau and Horace H. F. Jayne. "Flowers in Art: An Exhibition." Pennsylvania Museum Bulletin 28 (March 1933), p. 63, ill. p. 62.
Alfred M. Frankfurter. "Cézanne, Derain, Kuhn, Matisse, Picasso, Renoir, and Van Gogh in an Informal Show." Art News 34 (February 22, 1936), p. 7, ill.
W. Scherjon and Jos. De Gruyter. Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (complete catalogue). Amsterdam, 1937, p. 196, Arles no. 193, ill.
J.-B. de La Faille. Vincent van Gogh. London, , pp. 416, 568, 573, 588, no. 602, ill., places it in the Arles period.
Louis Hautecœur. Van Gogh. Monaco, 1946, ill. p. 95, dates it 1888.
Art News 54 (April 1955), ill. p. 5 and cover (color detail), dates it 1888, during the artist's Arles period.
J.-B. de La Faille. The Works of Vincent van Gogh: His Paintings and Drawings. Amsterdam, 1970, pp. 242, 634, no. 588, ill., dates it Arles 1888, but states that the date and period are uncertain, as it might have been painted in Saint Rémy.
Paolo Lecaldano. L'opera pittorica completa di Van Gogh e i suoi nessi grafici. Vol. 2, Da Arles a Auvers. repr. [1st ed., 1966]. Milan, 1971–77, p. 211, no. 551, ill. p. 210, dates it 1888, but suggests that it might be datable to the later Saint Rémy period.
Jacques Lassaigne. Vincent van Gogh. Milan, 1972, pp. 44–45, ill. (color), dates it "1888(?)".
Jan Hulsker. The Complete Van Gogh: Paintings, Drawings, Sketches. [1st ed., Amsterdam, 1977]. New York, 1980, p. 300, no. 1335, ill. p. 301, as "Little Chrysanthemums and Other Flowers in a Vase"; lists it in the Paris period, October–December 1887.
A[braham]. M. Hammacher. Vincent van Gogh: Genius and Disaster. 2nd ed. [1st ed., New York, 1968]. New York, 1985, ill. p. 76.
Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey Joseph J. Rishel and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 100–101, 194–96, ill. (color and black and white), dates it about 1886, relating it to a series of flower paintings from the Paris period; identifies the majority of the flowers depicted as chrysanthemums; proposes the flower paintings of Adolphe Monticelli as a possible source for this work, especially "Vase of Flowers" (about 1875; Van Gogh Museum, Amsterdam), which Theo and Vincent owned jointly and which influenced the documented Paris period flowers.
Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux arts no. 92 (July–August 1991), pp. 69, 72, ill. (color).
Susan Alyson Stein in "Recent Acquisitions, A Selection: 1993–1994." Metropolitan Museum of Art Bulletin 52 (Fall 1994), p. 52, ill. (color), dates it "June or July 1890(?)".
Matthias Arnold. Vincent van Gogh: Werk und Wirkung. Munich, 1995, p. 836 n. 424, includes it in a list of works whose authenticity, in his opinion, has to be examined.
Jan Hulsker. The New Complete Van Gogh: Paintings, Drawings, Sketches. rev. ed. Amsterdam, 1996, p. 300, no. 1335, ill. p. 301, calls it "Little Chrysanthemums and Other Flowers in a Vase" and dates it winter 1887–88.
Péter Molnos and Judit Geskó in Van Gogh in Budapest. Ed. Judit Geskó. Exh. cat., Museum of Fine Arts. Budapest, 2006, pp. 154-55, ill. (color), discusses the work's provenance in Hungarian collections; suggests that Jules Andorko, identified by De la Faille [Ref. 1928] as an owner, is the painter Gyula Andorkó.
Laura Ann Coyle. "The Still-Life Paintings of Vincent van Gogh and Their Context." PhD diss., Princeton University, September 2007, pp. 352–53 n. 296.
Susan Alyson Stein in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 232–36, dates it 1890, based on X-radiographs which reveal the canvas to be the same type used by van Gogh from the summer of 1888 until 1890, as well as on stylistic comparisons with other Auvers period paintings; notes that this bouquet, typical of the Auvers still lifes, has recently been identified as composed primarily of Chinese asters, possibly mixed with marigolds and carnations; asserts that in the summer of 1890, van Gogh was influenced by two Cézanne flower pictures in the collection of Dr. Paul Gachet.
Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 229–32, no. 43, ill. (color).