George Isarlov. Georges Braque. Paris, 1932, p. 17, no. 87, as "Le Guéridon," 1910.
Guillaume Apollinaire. Georges Braque. Paris, 1933, ill. p. 17, date it end of 1908.
Carl Einstein. Georges Braque. Paris, 1934, pl. VI, as "Le Jaquet" [sic], 1910.
Michel Seuphor. L'Art abstrait: Ses origines, ses premiers maîtres. Paris, 1949, ill. p. 136, as "Le Guéridon, " 1910.
L[arry]. C[ampbell]. "Reviews and Previews: Contemporary French." Art News 51 (March 1952), p. 57, calls it "Backgammon".
Georg Schmidt in Maîtres de la première génération du vingtième siècle: A Group of Paintings in the Collection of Peter and Elizabeth Rübel, New York. Exh. cat.Zurich, 1956, pp. 11, 88–89, no. 38, ill.
"The Rübel Collection." Arts 31 (March 1957), ill. p. 37, as "Backgammon," 1910–11.
E. C. M. "Reviews and Previews: Rubel Collection." Art News 56 (April 1957), p. 12.
Daniel-Henry Kahnweiler. Der Weg zum Kubismus. Stuttgart, 1958, pp. 49, 62, 127, ill. p. 55, as "Stilleben mit Spielkarten," in a private collection, United States.
Stanislas Fumet. Georges Braque. Paris, 1965, p. 215, ill. p. 30, as "Le guéridon".
Raymond Cogniat. Braque. New York, 1970, ill. p. 16, as "The Gueridon" in the Peter A. Reebel [sic] collection, New York.
Massimo Carrà. L'Opera completa di Braque dalla scomposizione cubista al recupero dell'oggetto 1908–1929. Milan, 1971, p. 88, no. 60, ill., calls it "Natura Morta su un Tavolo (Il tavolino)" and locates it in the Rübel collection, New York.
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. 54, no. 92, tentatively identifies it as no. 16 in the 1921 Uhde sale.
Nicole Worms de Romilly and Jean Laude. [Catalogue de l'œuvre de Georges Braque]. Vol. , Le Cubisme, fin 1907–1914. [Paris], 1982, p. 267, no. 64, ill. p. 114 (color), call it "Nature Morte (Still Life)" and date it 1909–10; locate it in the Perls Galleries, New York.
William Rubin, ed. Picasso and Braque: Pioneering Cubism. Exh. cat., Museum of Modern Art. New York, 1989, ill. p. 174 (color), tentatively dates it L'Estaque, autumn 1910.
Jean-Louis Prat, ed. G. Braque. Exh. cat., Fondation Pierre Gianadda. Martigny, 1992, pp. 64–65, no. 18, ill. (color), identifies backgammon as the subject of this picture; discusses the theme of games for Braque and Picasso related to their development of Cubism, a combination of calculation and chance, rules and fun.
Joseph Low (Pepe) Karmel. "Picasso's Laboratory: The Role of his Drawings in the Development of Cubism, 1910–14." PhD diss., Institute of Fine Arts, New York University, 1993, vol. 3, pp. 371–73, no. 28; vol. 4, fig. 28, calls it "Candlestick and Playing Cards" and dates it spring 1910, noting that it appears in Kahnweiler's stockbook among a group of works that entered the gallery in summer 1910.
Sabine Rewald in "Recent Acquisitions. A Selection: 1996–1997." Metropolitan Museum of Art Bulletin 55 (Fall 1997), p. 70, ill. (color), calls it "Still Life with Candlestick and Playing Cards"; identifies the two playing cards, the ace of hearts and the six of diamonds, to the right of the candlestick; calls this one of the Braque's first oval canvases.
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, 58, 166, no. 14, ill. (color).
B. Marrey in Wilhelm Uhde. De Bismarck à Picasso. Paris, 2002, p. 290 [possibly this picture].
Harry Cooper in Picasso and Braque: The Cubist Experiment 1910–1912. Exh. cat., Kimbell Art Museum, Fort Worth. Santa Barbara, 2011, pp. 43–44, fig. 4 (color).