Paul Gauguin. Letter to Georges-Daniel de Monfreid. February 14, 1897 [published in Annie Joly-Segalen, ed., "Lettres de Gauguin à Daniel de Monfreid," Paris, 1950, p. 101], lists it as "Nature morte" among a future shipment of paintings to Monfreid, noting that "si une toile vous plaisait beaucoup, prenez-la".
Maurice Malingue. Gauguin. Monaco, 1943, colorpl. VII.
Raymond Cogniat. Gauguin. Paris, 1947, pl. 107.
Maurice Malingue. Gauguin: le peintre et son oeuvre. Paris, 1948, unpaginated, ill. (color).
Georges Wildenstein. Gauguin. Vol. 1, French ed. [English ed. 1965]. Paris, 1964, p. 228, no. 554, ill., calls it "La Théière et les Fruits"; identifies it as probably the still life listed in Gauguin's letter to Monfreid of February 14, 1897 [see Ref.].
M. Roy Fisher. The Annenberg Collection. Exh. cat., Tate Gallery. London, 1969, unpaginated, no. 17, ill. (color), observes the influence of Cézanne.
G. M. Sugana. L'opera completa di Gauguin. 2nd ed. [1st ed., 1969; Engl. ed, 1973]. Milan, 1972, p. 108, no. 358, ill.
Daniel Wildenstein and Raymond Cogniat. Paul Gauguin. Milan, 1972, p. 79, ill.
Richard Brettell in The Art of Paul Gauguin. Exh. cat., National Gallery of Art. Washington, 1988, pp. 402–3, no. 217, ill. (color), confirms that it is the still life listed in Ref. Gauguin 1897; calls it an homage to Cézanne's "Fruit Bowl, Glass, and Apples (1879–80; private collection), then owned by Gauguin; identifies the background as the same printed or stenciled paper that Gauguin used to wrap the cover of his newspaper, "Le Sourire," which was sent to Monfreid [see Ref. Shackelford 2004].
Pierre Daix. Paul Gauguin. [Paris], 1989, p. 282.
Joseph J. Rishel in Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 94–95, 191, ill. (color and black and white), calls it Gauguin's closest "still life realized completely within the manner of his French contemporaries," with only the figure in the upper right reflecting an "attempt to distance himself from Cézanne and the Western tradition".
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 39.
Jérôme Coignard. "Le Salon de peinture de Mr. et Mrs. Annenberg." Beaux arts no. 92 (July–August 1991), p. 72.
Belinda Thomson, ed. Gauguin by Himself. Boston, 1993, p. 253, colorpl. 203.
Anna Maria Damigella. Paul Gauguin, La vita e l'opera. Milan, 1997, pp. 24, 244, ill. p. 246 (color).
Susan Alyson Stein in "Recent Acquisitions, A Selection: 1997–1998." Metropolitan Museum of Art Bulletin 56 (Fall 1998), pp. 5, 50, ill. (color).
Colta Ives in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 224, no. 95, ill. p. 121 (color).
Susan Alyson Stein in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 173.
Charlotte Hale in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 183–85, 232 n. 34, fig. 74 (x-radiograph), notes that an x-ray of this painting shows that the flower on the left was originally painted with four petals, as it appears on the binding for "Le Sourire" [see Ref. Brettell 1988].
George T. M. Shackelford in George T. M. Shackelford and Claire Frèches-Thory. Gauguin Tahiti. Exh. cat., Galeries Nationales du Grand Palais, Paris. Boston, 2004, pp. 156, 202, 325 n. 25, p. 328 n. 79, notes that the binding used by Gauguin for the manuscript drafts of "Le Sourire," which corresponds to the background flowers in this painting, was made by gluing a cloth fragment of a "pareu" onto paper [see Ref. Brettell 1988].
Christie's, New York. Impressionist and Modern Art (Evening Sale).May 2, 2006, pp. 106 and 109, under no. 35, fig. 1 (color).
Joseph J. Rishel in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 177–81, no. 34, ill. (color).
Joseph J. Rishel in Gauguin, Cézanne, Matisse: Visions of Arcadia. Ed. Joseph J. Rishel. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2012, pp. 6, 12 n. 11, fig. 8 (color), notes that the memory of Cézanne's "Still Life with Fruit Dish" (1879–80, Museum of Modern Art, New York) from Gauguin's own collection rang in his mind when painting this canvas and other still lifes in Tahiti.