André Salmon. André Derain. Paris, 1929, ill. p. 13, as "La Table," 1911.
Christian Zervos. Histoire de l'art contemporain. Paris, 1938, ill. p. 176, as "Nature morte".
Howard Devree. "By Contemporaries." New York Times (December 14, 1952), p. X9.
Blanca Stabile. "André Derain." Ver y estimar no. 2 (December 1954), ill. p. 3.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, p. 224, ill., date it 1911 based on comparisons to still lifes of 1910 (Musée d'Art Moderne de la Ville de Paris; K277) and 1912 (private collection; K316).
John Russell. "Gallery View: Pondering the Path of Derain." New York Times (July 20, 1980), p. D23, ill., comments that "its real origins lie rather in the French still life painting of the 17th century than in the progressive art in which Derain had played so important a part as recently as 1905".
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, pp. 77, 83, no. 107, notes that at the second Kahnweiler sale, it was sold to Lefebure, which may be a misprint for André Lefèvre or R. M. Lefebvre, an associate of Katia Granoff.
Ross Woodrow in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, p. 9, ill. (color), notes the influence of medieval religious art in this picture, commenting that "the austere arrangement of the objects, suggests preparation for a Christian ritual".
Lisa M. Messinger in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. [Tokyo], 1989, pp. 196–97, no. 159, ill. (color).
Jane Lee. Derain. Exh. cat., Museum of Modern Art, Oxford. Oxford, 1990, p. 37.
Michel Kellermann. André Derain: Catalogue Raisonné de l'œuvre peint. Vol. 1, 1895–1914. Paris, 1992, p. 172, no. 284, ill. pp. 172, 181 (color and bw).
Miriam Simon in André Derain: Le peintre du "trouble moderne". Exh. cat., Musée d'Art Moderne de la Ville de Paris. Paris, 1994, pp. 188, 190–91, 475, no. 89, ill. (color).
Françoise Marquet in André Derain: Le peintre du "trouble moderne". Exh. cat., Musée d'Art Moderne de la Ville de Paris. Paris, 1994, p. 182.
Merlin James. "Book Reviews: André Derain. Catalogue raisonné de l'œuvre peint. Tome I (1895–1914)." Burlington Magazine 136 (June 1994), p. 392, questions whether this painting was no. 90, "Le pot bleu," in the "Second Post-Impressionist Exhibition," Grafton Galleries, London, 1912, noting that it would have travelled from London to the 1913 Armory Show [Daniel-Henry Kahnweiler stated that this painting was not lent to the Armory Show; see his October 23, 1962 letter and supplementary material in archive file: our painting was not shown at the Grafton Galleries or Armory exhibitions].
Anna Gruetzner Robins. Modern Art in Britain 1910–1914. Exh. cat., Barbican Art Gallery. London, 1997, p. 190, citing Ref. James 1994, lists it as probably no. 90 in Exh. London 1912.
Tomàs Llorens in Forma: El Ideal Clásico en el Arte Moderno. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2001, pp. 108–10, 204, no. 36, ill. (color).
Francesco Poli in André Derain: La forma classica. Exh. cat., Centro Saint-Bénin, Aosta. Milan, 2003, pp. 26–27, ill.
Sabine Rewald in "Selections from the Pierre and Maria-Gaetana Matisse Collection." Metropolitan Museum of Art Bulletin 61 (Spring 2004), p. 12, ill.
Dorthe Aagesen in André Derain: An Outsider in French Art. Exh. cat., Statens Museum for Kunst. [Copenhagen], 2007, pp. 218–20, fig. 1 (color), compares the mysterious, contemplative mood of this picture to the metaphysical painting of de Chirico.
Natalia Demina in Matisse to Malevich: Pioneers of Modern Art from the Hermitage. Ed. Albert Kostenevich. Exh. cat., State Hermitage Museum. Amsterdam, 2010, p. 158, ill. (color), compares it to "Still Life. Bread Basket, Jug and Glass of Red Wine" (1911; State Hermitage Museum, St. Petersburg; K286).