Madame Fantin-Latour. Catalogue de l'oeuvre complet (1849–1904) de Fantin-Latour. Paris, 1911, p. 115, no. 1126, as "Roses".
Colin B. Bailey 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. 28–29, 148, ill. (color and black and white), states that it was probably painted in the summer of 1883 at the artist's wife's family's country home at Buré in Normandy; identifies the flowers as tea roses and attributes their frequent depiction in the artist's oeuvre to the influence of Edwin Edwards, his agent, and Edwards's wife, Ruth; notes that the footed vase also appears in "Roses and Larkspur" (1885; Hunterian Museum and Art Gallery, University of Glasgow; F1212) and "Roses and Lilies" (MMA 2001.202.4); discusses the influence of Dutch seventeenth-century flower painting and Chardin, yet calls the works of Anne Vallayer-Coster the "true eighteenth-century ancestors of Fantin's peculiarly English genre".
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 36.
Colin B. Bailey 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. 52–54, no. 11, ill. (color).