Gustave Geffroy. "Chronique—Cl. Monet." La Justice (March 15, 1883), p. 2 [see Ref. Wildenstein 1974].
"The French Impressionist Pictures." New York Mail and Express (May 24, 1886) [see Ref. Wildenstein 1974].
P. H. "L'Exposition de Monet à l'Union League Club, New York." L'Art dans les Deux Mondes no. 15 (February 28, 1891), p. 173.
Madeleine Octave Maus. Trente années de lutte pour l'art: 1884–1914. Brussels, 1926, p. 43 n. 2.
"Havemeyer Collection at Metropolitan Museum: Havemeyers Paid Small Sums for Masterpieces." Art News 28 (March 15, 1930), p. 35.
Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 56.
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), p. 481.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 154–55, ill.
Stephen Gwynn. Claude Monet and His Garden: The Story of an Artist's Paradise. New York, 1934, p. 168.
Oscar Reuterswärd. Monet. Stockholm, 1948, p. 280.
The Metropolitan Museum of Art Miniatures, French Impressionists: Manet, Monet, Pissarro, Renoir, and Boudin. 27, Album 51, New York, 1951, unpaginated, ill. (color).
Luigina Rossi Bortolatto. L'opera completa di Claude Monet, 1870–1889. Milan, 1966, pp. 104, 112, no. 251, ill.
Charles Merrill Mount. Monet, a biography. New York, 1966, p. 320.
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, p. 133, ill.
Douglas Cooper. "The Monets in the Metropolitan Museum." Metropolitan Museum Journal 3 (1970), pp. 296–97, 303 n. 2, pp. 304–5, fig. 23, claims that there is a second painting by Monet of Chrysanthemums in the Courtauld Institute, London (W626) [but those flowers are actually mallows; see Ref. Farr and House 1987].
Daniel Wildenstein. "1840–1881: Peintures." Claude Monet: Biographie et catalogue raisonné. 1, Lausanne, 1974, pp. 388–89, no. 634, ill., dates it 1880, despite the date on the canvas; gives early provenance information.
John House. "The New Monet Catalogue." Burlington Magazine 120 (October 1978), p. 680, disagrees with Wildenstein's [see Ref. 1974] re-dating of it, although he erroneously believes that Wildenstein dated it 1881 rather than 1880; states that it is "the best candidate to be one of the large still lives which Monet mentions in his letters to Durand-Ruel of September–November 1882 (a reference not made by M. Wildenstein)"; claims that the canvas in the Courtauld Institute depicts the same vase as this picture.
Daniel Wildenstein. "1882–1886: Peintures." Claude Monet: Biographie et catalogue raisonné. 2, Lausanne, 1979, p. 13 n. 145, p. 44 n. 465, p. 47 n. 484.
Brian Petrie. Claude Monet, The First of the Impressionists. Oxford, 1979, pp. 79–80, colorpl. 69, mistakenly identifies fig. 68 as this painting, with fig. 69 corresponding to "A Vase of Flowers" (Courtauld Institute, London).
Grace Seiberling Yale University. Monet's Series. New York, 1981, pp. 188–89, 335 n. 2, mentions three other still lifes of chrysanthemums (W492, 635, 812), as well as four paintings of chrysanthemums from 1897 (W1495–1498) where the flowers are no longer contained in vases, but cover the entire surface of the canvas.
Frances Weitzenhoffer. "The Earliest American Collectors of Monet." Aspects of Monet. New York, 1984, p. 82.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 132–33, 252, ill. (color, overall and detail).
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 135, 256, gives detailed provenance information.
Dennis Farr and John House in Impressionist & Post-Impressionist Masterpieces: The Courtauld Collection. Exh. cat., Cleveland Museum of Art. New Haven, 1987, unpaginated, under no. 12, contrast its handling with that of "Vase of Flowers" (W626).
William R. Johnston. "Alfred Sisley and Early Interest in Impressionism in America, 1865–1913." Alfred Sisley. Exh. cat., Royal Academy of Arts, London. New Haven, 1992, fig. 47 [French ed., "Sisley," Paris, 1992, fig. 47], reproduces an 1896 photograph showing this picture hanging on the top balcony of the Grand Art Hall in Catholina Lambert's Belle Vista castle.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 226, pl. 217.
Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 33.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 364, no. A400, ill.
Daniel Wildenstein. "Catalogue raisonné–Werkverzeichnis: Nos. 1–968." Monet. 2, 2nd ed. Cologne, 1996, p. 241, no. 634, ill. (color).
Caroline Durand-Ruel. "Quand les Havemeyers aimaient la peinture française." Connaissance des arts no. 544 (November 1997), p. 108.
Richard Shone. The Janice H. Levin Collection of French Art. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 65, fig. 30.
David Joel. Monet at Vétheuil and on the Norman Coast, 1878–1883. Woodbridge, England, 2002, p. 109.
Michael Clarke and Richard Thomson. Monet: The Seine and the Sea, 1878–1883. Exh. cat., Royal Scottish Academy. Edinburgh, 2003, pp. 76, 176, no. 22, ill. p. 78 (color), state that Monet's date of 1882 is probably erroneous, and that this picture was likely painted with a group of still lifes in 1880–81 whose subjects are fruit (W630–31) and flowers (W625–29, 634–35).
Eric M. Zafran in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, pp. 84, 92, 96.
Kathryn Calley Galitz in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 124, 240–41, no. 88, ill. (color and black and white).
Impressionist & Modern Art: Evening Sale. Sotheby's, London. February 5, 2007, p. 84, under no. 46, fig. 2 (color).