A. Tabarant. Manet, histoire catalographique. Paris, 1931, pp. 90–91, no. 61, dates this painting 1862 and suggests that it was done prior to the series of peonies executed in 1864.
Paul Jamot and Georges Wildenstein. Manet. Paris, 1932, vol. 1, p. 129, no. 106; vol. 2, fig. 389, date it 1864.
Alfred M. Frankfurter. "Manet: First American Retrospective." Art News 35 (March 20, 1937), p. 14.
Édouard Manet, 1832–1883. Exh. cat., Wildenstein & Co., Inc. New York, 1937, p. 25, no. 8, pl. VIII, dates it about 1864.
Germain Bazin. La pintura francesa de David a nuestros días. Exh. cat., Museo Nacional de Bellas Artes. Buenos Aires, 1939, p. 91, no. 83, dates it 1862.
A. Tabarant. Manet et ses œuvres. 4th ed. (1st. ed. 1942). Paris, 1947, pp. 93, 535, no. 78, dates it 1861 or 1862, but lists it with works from 1864.
Vier Eeuwen Stilleven in Frankrijk. Exh. cat., Museum Boijmans Van Beuningen. Rotterdam, 1954, pp. 76–77, no. 87, pl. 43, dates it about 1864.
XIXth and XXth Century French Masters. Exh. cat., Marlborough Fine Art Ltd. London, 1956, pp. 17–18, no. 21, ill., dates it 1862.
Sandra Orienti in The Complete Paintings of Manet. New York, 1967, p. 90, no. 38, ill., dates it 1861–62.
Denis Rouart and Daniel Wildenstein. Édouard Manet, catalogue raisonné. Paris, 1975, vol. 1, pp. 94–95, no. 89, ill., date it 1864.
Sandra Orienti. Tout Manet, 1853–1873: La peinture. Paris, 1981, vol. 1, pp. 28–29, no. 36, ill., dates it 1861.
Françoise Cachin. Manet. [Paris], 1990, p. 148, no. 25, ill., dates it 1861.
Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, p. 405 n. 1, under no. 98.
Susan Alyson Stein in "Recent Acquisitions, A Selection: 1993–1994." Metropolitan Museum of Art Bulletin 52 (Fall 1994), p. 46, ill. (color), dates it about 1860, rather than grouping it with his series of peonies that date from 1864–65, and suggests that it may be Manet's earliest known flower painting.
George Mauner and Henri Loyrette. Manet: The Still-Life Paintings. Exh. cat., Musée d'Orsay. New York, 2000, p. 84 [French ed., "Manet: Les natures mortes," Paris, 2000, p. 98], dates it 1862.
Gary Tinterow and Susan Alyson Stein. "Une pivoine pour Françoise Cachin." Mélanges en hommage à Françoise Cachin. Ed. Henri Loyrette et al. Paris, 2002, pp. 130–31, fig. 42, discuss the dating of this picture, noting that the table rug that appears here is the same one that is in the portrait of Manet's parents (RW30; Musée d'Orsay, Paris) which is dated 1860; consider the possibility that the rug remained in the studio for a few more years, but point to the dark palette and dense facture that suggests a date before 1860 rather than after; find the choice of subject intriguing and question to whom the pearls and fan belong, suggesting that the pearls probably belonged to his mother and discount the possibility that the fan is somehow linked to Berthe Morisot whom he had not met yet.