Louis Decamps. "Un musée transatlantique (2e article)." Gazette des beaux-arts, 2nd ser., 5 (May 1872), p. 437.
Henry James. "The Metropolitan Museum's '1871 Purchase'." Atlantic Monthly (June 1872) [reprinted in John L. Sweeney, ed., "The Painter's Eye," London, 1956, p. 65].
Allgemeines Lexikon der bildenden Künstler. 16, Leipzig, 1923, p. 162, mentions it as one of three known works by Haverman.
Ralph Warner. Dutch and Flemish Flower and Fruit Painters of the XVIIth and XVIIIth Centuries. London, 1928, p. 88, pl. 39a, tentatively suggests the date to be 1756.
Margaretta Salinger. "Early Flower Paintings." Metropolitan Museum of Art Bulletin 8 (May 1950), pp. 259–60, ill. p. 256, identifies the flowers depicted, and finds the "bluish unifying tone" to be "artificial though very handsome".
Peter Mitchell. Great Flower Painters: Four Centuries of Floral Art. Woodstock, N.Y., 1973, p. 129, fig. 174, as "the best-known example of this rare artist".
Ann Sutherland Harris and Linda Nochlin in Women Artists: 1550–1950. Exh. cat., Los Angeles County Museum of Art. New York, 1976, p. 36, fig. 11, considers the work to demonstrate that Haverman had by 1716 mastered Van Huysum's technique and did not need to deceive the French academy by submitting one of his works as her own.
Karen Petersen and J.J. Wilson. Women Artists: Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century. New York, 1976, p. 56, fig. IV, 24, repeats the "jealous" Van Huysum topos as fact, and imagines that the artist was "much maligned".
Ingvar Bergström et al. Natura in posa: la grande stagione della natura morta europea. Milan, 1977, p. 192, ill.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 9, 17, 331, fig. 19 (color).
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 190.
Claus Grimm. Stilleben: die niederländischen und deutschen Meister. Stuttgart, 1988, p. 243, pl. XXXI.
Marianne Berardi in Dictionary of Women Artists. London, 1997, vol. 1, pp. 651–52, ill. p. 650, describes the composition, identifies the flowers, suggests that the metallic blue tone is a result of the removal of tinted spot varnishes, and discusses evidence for a pendant.
Els Kloek et al. Vrouwen en Kunst in de Republiek: een Overzicht. Hilversum, The Netherlands, 1998, p. 144.
Adriaan van der Willigen and Fred G. Meijer. A Dictionary of Dutch and Flemish Still-life Painters Working in Oils, 1525–1725. Leiden, 2003, p. 101.
Katharine Baetjer. "Buying Pictures for New York: The Founding Purchase of 1871." Metropolitan Museum Journal 39 (2004), pp. 182, 210, 244–45, appendix 1A no. 112, ill., clarifies its provenance.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 308–10, no. 72, colorpl. 72.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 7, 9, fig. 5 (color).