Edward Alden Jewell. "Shows Aid Causes: Loan Exhibitions Assist the Red Cross and Children's Aid—Art for Britain." New York Times (March 12, 1944), p. X6.
Aline B. Louchheim. "Still-Life." Art News 43 (March 15–31, 1944), p. 10.
Lucy R. Lippard in The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection. Exh. cat., Museum of Modern Art. New York, 1965, p. 38, ill. p. 36 (color), discusses the "almost organic guitar which forms the apex of the pyramidal grouping".
Juan Antonio Gaya-Nuño. Juan Gris. Boston, 1975, p. 247, no. 259, ill. p. 214, calls it "Still Life with Playing-cards" and erroneously locates it in the University of St. Louis, Washington.
Douglas Cooper with Margaret Potter. Juan Gris: Catalogue raisonné de l'oeuvre peint. Paris, 1977, vol. 1, pp. XL, 100–101, no. 58, ill., call it "Violon et cartes (Violin and Playing Cards)"; include it among thirteen pictures executed at Céret from August to the end of October 1913 [see Ref. Derouet 1999].
Malcolm Gee. Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian Art Market Between 1910 and 1930. PhD diss., Courtauld Institute of Art. New York, 1981, appendix F, p. 69, no. 56.
Carol Vogel. "32 Works of Art by Masters Left to Met and the Modern." New York Times (November 25, 1996), pp. A1, C12, notes that it is the first Gris to enter the MMA collection.
William S. Lieberman. "Donnés au Met." Connaissance des arts no. 539 (May 1997), pp. 66–67, ill. (color).
Grace Glueck. "A Surprise, and Then a Collection." New York Times (February 28, 1997), p. C31.
Christian Derouet, ed. Juan Gris: Correspondances avec Léonce Rosenberg, 1915–1927. Paris, 1999, p. 67, letter no. 104 n. 17, lists this picture among twelve painted in Céret, referencing Gris's August 10, 1917 letter to Rosenberg categorizing ten paintings signed at Céret between August 1 and October 30, 1913 [see Ref. Cooper 1977].
William S. Lieberman in Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York. Exh. cat., Kyoto Municipal Museum of Art. [Tokyo], 2002, pp. 56, 167, no. 20, ill. p. 65 (color).
Paloma Esteban Leal in Juan Gris: Paintings and Drawings 1910–1927. Ed. Paloma Esteban Leal. Exh. cat., Museo Nacional Centro de Arte Reina Sofía. Madrid, 2005, vol. 1, p. 38, colorpl. 33; vol. 2, p. 48, no. 33, ill., considers it "almost certainly" executed in Céret.
María Dolores Jiménez-Blanco, ed. Juan Gris: Correspondencia y escritos. Barcelona, 2008, p. 182 n. 287.
García Ponce de Léon. Juan Gris: La pasión por el Cubismo. Madrid, 2008, p. 270, ill. p. 194 (color).
Douglas Cooper, with Margaret Potter, updated by Alan Hyman, and Elizabeth Snowden. Juan Gris: Catalogue raisonné de l’oeuvre peint/ Catalogue Raisonné of the Paintings. 2nd ed. (1st ed., 1977). San Francisco, 2014, vol. 1, pp. 110–11, no. 58, ill. (color), call it "Violon et cartes (Violin and Playing Cards; Violín y Naipes)".