Jean-Louis Ferrier. Paul Klee: Les années 20. Paris, 1971, ill. pp. 86–87 and n.p. (color and bw).
Christian Geelhaar. Paul Klee and the Bauhaus. Bath, 1973, pp. 107–8, 171, colorpl. 73, calls it "Still Life (Pots, Fruit, Easter egg, Curtains, etc.)" and locates it in the collection of Heinz Berggruen, Paris.
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. 216–17, 285, 318, ill. (color and bw).
Alain Bonfand. Paul Klee, l'oeil en trop. Paris, 1988, vol. 1, pp. 54, 120; vol. 2, colorpl. 16, calls it "Nature morte (pots, fruits, œuf de Pâques, rideaux, etc.)" and locates it still in a private collection, Paris.
Peter Vergo. The Thyssen-Bornemisza Collection: Twentieth-century German Painting. London, 1992, pp. 225, 229, fig. 2, discusses its similarity to "Omega 5 (Traps)" (1927; HR 4509) and notes that the same dice appears in "Still Life with Dice" (1923; HR 3115), both in the Museo Thyssen-Bornemisza, Madrid.
Young-Jou Kang. "La Problématique du signe dans les oeuvres de Paul Klee." PhD diss., Université Panthéon-Sorbonne, 1995, pp. 221, 224, 226–27, 242–44, 250, pl. 109.
Alain Bonfand. Paul Klee: Le geste en sursis. [Paris], 1995, pp. 35–36, 92 n. 29, lists it erroneously as still in a private collection, Paris.
Wolfgang Kersten and Osamu Okuda. Paul Klee. Im Zeichen der Teilung. Exh. cat., Kunstsammlung Nordrhein-Westfalen. Düsseldorf, 1995, p. 189, as "Stilleben (Töpfe, Frucht, Osterei und Gardinen)".
Margit Rowell. Objects of Desire: The Modern Still Life. Exh. cat., Museum of Modern Art. New York, 1997, pp. 139, 222, colorpl. 76.
Naomi Sawelson-Gorse in The Blue Four: Feininger, Jawlensky, Kandinsky, and Klee in the New World. Ed. Vivian Endicott Barnett and Josef Helfenstein. Exh. cat., Kunstmuseum Bern. Cologne, 1997, p. 54, notes that it was purchased by Eaton from Scheyer in July 1930, adding that it is uncertain when Eaton sold it and whether it was sold directly to Mack or through Scheyer to Mack.
Josef Helfenstein and Christian Rümelin, ed. Paul Klee: Catalogue Raisonné. Ed. Paul Klee Foundation, Museum of Fine Arts, Berne. Vol. 5, 1927–1930. New York, 2001, pp. 42, 56, no. 4231, ill. (bw and color), as "Stilleben (Töpfe, Frucht, Osterei, Gardinen etc.) [Still Life (Pots, Fruit, Easter Egg, Curtains etc.)]".
Henriette Mentha in Paul Klee: The Year 1927. Bern, , pp. 90–91, ill. (color), calls it "Still Life (pots, fruit, Easter egg, curtains, etc.)".
Bradford Epley and Christa Haiml in Klee and America. Ed. Josef Helfenstein and Elizabeth Hutton Turner. Exh. cat., Neue Galerie, New York. Houston, 2006, pp. 258, 260, note that Klee painted the wooden strip frame to correspond with areas of color in this painting, adding that the original frame was retained when this painting entered the Berggruen collection.
Osamu Okuda in Klee and America. Ed. Josef Helfenstein and Elizabeth Hutton Turner. Exh. cat., Neue Galerie, New York. Houston, 2006, p. 300, colorpl. 51.
Charles W. Haxthausen in Klee and America. Ed. Josef Helfenstein and Elizabeth Hutton Turner. Exh. cat., Neue Galerie, New York. Houston, 2006, p. 165, referring to the list of works owned by Mack as published in a 1940 Buchholz Gallery catalogue [see archive file], appears to surmise that this work was purchased from Scheyer.