Exposition Renoir, 1841–1919. Exh. cat., Musée de l'Orangerie. Paris, 1933, p. 29, no. 63, remarks that it was painted at Wargemont and appears as pl. XXXVIII in his "Album".
Musée de l'Orangerie. Exposition Renoir, 1841–1919; Album de soixante-quatre reproductions. [Paris], 1933, unpaginated, no. 63, pl. XXXVIII.
Maurice Berard. Maitres du XIXe siècle: Renoir à Wargemont. Paris, 1938, pp. 12–13, unpaginated ill.
"Vom Pariser Markt." Weltkunst 12, no. 26/27 (July 3, 1938), p. 4, ill.
Charles Sterling. La Nature morte de l'antiquité à nos jours. Paris, 1952, p. 90, pl. 89 [2nd French ed., rev. 1981, p. 124, pl. 89].
François Daulte. Letter to Theodore Rousseau. April 4, 1963, gives information about its provenance, including a reference to the "Inventaire des tableaux de Renoir vendus avant 1891," which lists this painting as sold to Durand-Ruel on October 10, 1881.
François Daulte. Letter to Theodore Rousseau. April 30, 1963, corrects his previously given provenance information, stating that Durand-Ruel purchased this picture from the artist on February 7, 1881.
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, pp. 153–54, ill.
, catalogues the painting.
Elda Fezzi. L'opera completa di Renoir. [reprint ed., 1981]. Milan, 1972, pp. 109–10, ill.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, p. 166, ill. (color).
Richard Rand in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 262, fig. 194, notes that when Sterling Clark purchased this picture, he claimed it was superior to his brother's similar "Still Life with Peaches" (MMA 61.101.12); states that Stephen Clark was a member of the purchasing committee of the board of trustees when this work was acquired by the MMA and four years later bequeathed his version to the Museum, remarking "one can easily imagine Stephen's pleasure in voting for the acquisition with the knowledge that his own painting would in time hang alongside it, as Renoir had intended".
Ann Dumas in Inspiring Impressionism: The Impressionists and the Art of the Past. Exh. cat., High Museum of Art, Atlanta. Denver, 2007, pp. 40, 261, no. 82, ill. p. 45 (color).
Susan Alyson Stein 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. 138–39, 253, no. 101, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, p. 155.
Guy-Patrice Dauberville, and Michel Dauberville, with Camille Fremontier-Murphy. "1858–1881." Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles. 1, Paris, 2007, pp. 138–39, no. 46, ill.