Carl Einstein. Die Kunst des 20.Jahrhunderts. Berlin, 1926, pp. 75–76, 562, ill. p. 313, dates it 1924 and erroneously locates it as still in the Reber collection.
George Isarlov. Georges Braque. Paris, 1932, p. 24, no. 353, as "Femme portant des fruits," 1924.
Louisa Dresser in The Dial and the Dial Collection. Exh. cat., Worcester Art Museum. Worcester, Mass., 1959, p. 60, no. 7, ill., notes that a half-tone cut was made of this painting although it was not published in "The Dial" or "Living Art".
Nicholas Joost. Scofield Thayer and The Dial: An Illustrated History. Carbondale, Ill., 1964, p. 235, ill. n. p., as "Standing Figure"; notes that this picture was withdrawn from the Worcester Art Museum venue of the Dial collection exhibition in 1924 because of the fear, in Thayer's words, that "a conservative public might be prejudiced".
Nicole S. Mangin. Catalogue de l'œuvre de Georges Braque. Vol. , Peintures 1924–1927. [Paris], 1968, p. 1, ill., calls it "Femme portant des fruits" and dates it 1923–24.
Nicholas Joost. "The Dial Collection: Tastes and Trends of the 'Twenties." Apollo 94 (December 1971), fig. 4, as "Standing Figure".
Massimo Carrà. L'Opera completa di Braque dalla scomposizione cubista al recupero dell'oggetto 1908–1929. Milan, 1971, pp. 95–96, no. 203, ill., dates it 1923–24.
Douglas Cooper. Braque: The Great Years. Exh. cat., Art Institute of Chicago. Chicago, 1972, pp. 21, 54, no. 4, fig. 31, compares the woman in this picture with the first of Braque's classically inspired monumental figure paintings, the two "Canéphores" (1922; both Musée National d'Art Moderne, Paris), calling ours "more human... but also more mannered"; reproduces a pencil drawing for the MMA painting.
Peter P. Donker. "Thayer's Nudes Were Controversial." Worcester Sunday Telegram (March 8, 1981), p. 28A, ill.
Nadine Pouillon with Isabelle Monod-Fontaine. Braque:Œuvres de Georges Braque (1882–1963). Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 1982, p. 77, under nos. 19–20, fig. 4, call it "Femme portant une corbeille de fruits" and date it 1922–24; note that the series of classical nudes began with the "Canéphores" (MNAM) and culminated with "Nude Woman with Basket of Fruit" (1926; National Gallery of Art, Washington, D.C.).
Michael Brenson. "Met Museum Given Major Private Collection." New York Times 1982 (August 25, 1982), pp. A1, C18.
Dorothy M. Kosinski. "G. F. Reber: Collector of Cubism." Burlington Magazine 133, no. 1061 (August 1991), p. 522.
Jean Leymarie in Rétrospective Georges Braque. Exh. cat., Marugame Genichiro Inokuma Museum of Contemporary Art. Tokyo, 1998, pp. 25–26, 86–87, no. 30, ill. (color).
Peter Kropmanns and Uwe Fleckner. "Von Kontinentaler Bedeuteung: Gottlieb Friedrich Reber und Seine Sammlungen." Die Moderne und Ihre Sammler: Französische Kunst in Deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik. Ed. Andrea Pophanken and Felix Billeter. Berlin, 2001, p. 394, no. 14, erroneously as still in the Dial collection.