Henry McBride. "Rockefeller, Whitney, Senior, Odets, Colin." Art News 50 (June-July-August 1951), ill. p. 35 (installation photo), states that Odets owns over sixty Klees and reproduces a photograph of Odets's study with this picture hanging above his desk.
Will Grohmann. Paul Klee. New York, , pp. 222, 396, 413, no. 151, ill. p. 165, calls it "Hanging Fruit" and lists it in the collection of Clifford Odets, New York; groups it among "fugal images," works influenced by the formal musical pattern of the fugue.
Gualtieri di San Lazzaro. Klee: A Study of His Life and Work. New York, 1957, pp. 178, 290, no. 34, ill. p. 263, as "Hanging Fruits," in the collection of Clifford Odets, New York.
Will Grohmann. Paul Klee. New York, , p. 88.
Richard Verdi. "Musical Influences on the Art of Paul Klee." Art Institute of Chicago Museum Studies 3 (1968), p. 106 n. 25, calls it "Hanging Fruit".
Max Huggler. Paul Klee. Die Malerei als Blick in den Kosmos. Frauenfeld, 1969, p. 64.
Françoise Cachin-Nora in Paul Klee. Exh. cat., Musée national d'Art Moderne. Paris, 1969, p. 50, no. 52, ill.
Jean-Louis Ferrier. Paul Klee: Les années 20. Paris, 1971, ill. pp. 54–55 and n.p. (color and bw).
Sara Lynn Henry. "Paul Klee, Nature, and Modern Science, the 1920s." PhD diss., University of California, Berkeley, 1976, p. 66, fig. 126, as "Hanging Fruit," formerly in the collection of Clifford Odets, New York.
Eva-Maria Triska. "Die Quadratbilder Paul Klees—ein Beitrag zur Analyse formaler Ausdrucksmittel in seinem Werk und seiner Theorie. Mit einem Exkurs zur Ableitung von Klees Farbenlehre." PhD diss., Universität Wien, 1980, p. 185 n. 24.
Richard Verdi. Klee and Nature. 2nd ed. (1st ed., 1984). New York, 1985, pp. xiii, 115, 199, fig. 103, calls it "Hanging Fruit" and lists it as whereabouts unknown; notes that Klee analyzed the structure of fruit in his Bauhaus lectures of the early 1920s, "from which it is clear that their appeal for him was not only as symbols of fertility but as key examples of the phenomenon of spiral development around a centre (in this case, the seed) in nature".
Sabine Rewald. Paul Klee: The Berggruen Klee Collection in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 144–45, 279, 318, ill. (color and bw), discusses it among Klee's "color-gradation" watercolors of 1921–23, noting that in this picture the layering of colors creates a sense of motion.
Philippe Comte. Klee. [Paris], 1989, p. 42.
Lily Harmon. "The Art Dealer& the Playwright: J. B. Neumann and Clifford Odets." Archives of American Art Journal 29, no. 1/2 (1989), ill. p. 17 (installation photo), erroneously dates the photograph of this picture hanging above Odets's desk to 1950 [see Ref. McBride 1951].
Ulrich Bischoff Staatsgalerie moderne Kunst. "Paul Klee: Wachstum der Nachtpflanzen, 1922." Paul Klee: Wachstum der Nachtpflanzen, Vogelgarten. Munich, 1992, p. 40, erroneously locates it still in a private collection, Switzerland.
Hajo Düchting. Farbe am Bauhaus: Synthese und Synästhesie. Berlin, 1996, p. 81 n. 11.
Sabine Rewald in Klee aus New York: Hauptwerke der Sammlung Berggruen im Metropolitan Museum of Art. Exh. cat., Staatliche Museen zu Berlin. Berlin, 1998, pp. 35, 88–89, 135, no. 16, fig. 33 (installation photo), ill. (color and bw).
Josef Helfenstein and Christian Rümelin, ed. Paul Klee: Catalogue Raisonné. Ed. Paul Klee Foundation, Museum of Fine Arts, Berne. Vol. 3, 1919–1922. New York, 1999, p. 306, no. 2661, ill., as "Hängende Früchte (Hanging Fruits)".
Will Grohmann. Der Maler Paul Klee. 4th ed. (1st ed., 1966). Cologne, 2003, p. 68 [German ed. of Ref. Grohmann 1967].
Josef Albers. Interaction of Color. New complete ed. (1st ed., 1963). New Haven, 2009, vol. 1, pp. 52, 54, 110–11; vol. 2, colorpl. XX-2, discusses the overlapping layers of watercolor in this picture as a demonstration of the Weber-Fechner Law: "the visual perception of an arithmetical progression depends upon a geometric progression".
Matthew Gale in The EY Exhibition—Paul Klee: Making Visible. Exh. cat., Tate Modern. London, 2013, pp. 24, 246, ill. p. 27 (color).