A[braham]. Bredius. "Seltene Niederländer des 17. Jahrhunderts." Kunstchronik 20 (December 25, 1884), col. 197, records De Steurs's purchase of the painting at the Amsterdam auction of October 14, 1884, referring to it as one of the nicest early paintings by Pieter Claesz of 1623.
Alfred von Wurzbach. Niederländisches Künstler-Lexikon. Vol. 1, Vienna, 1906, p. 285, lists it as dated 1623 in the sale in Amsterdam, 1884.
E. W. Moes in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme. Vol. 7, Leipzig, 1912, p. 38, as in the collection of Alphonse de Stuers, Paris; reads the date inscribed on the painting as 1623.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 322, 333, fig. 577 (color), calls it a "tonalist" still life, comparable to landscapes by Van Goyen.
James A. Welu. "Arrangements with Meaning: Dutch and Flemish Still Life." 600 Years of Netherlandish Art: Selected Symposium Lectures. Memphis, 1982, p. 34, as dated 1623, describes the composition and its meaning with particular attention to the overturned glass as a vanitas symbol.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 190, fig. 271, as dated 1623; notes the use of realism to convey a vanitas theme.
Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, p. 55, mentions it among the Dutch paintings acquired by the MMA after World War II.
Sam Segal. Jan Davidsz de Heem en zijn Kring. Exh. cat., Utrecht. The Hague, 1991, pp. 23, 52 n.28, p. 132 under no. 4, fig. 5, as dated 1628; calls it a "monochrome" work that comes from the tradition established by De Gheyn; discerns the influence of this kind of vanitas still life by Claesz in works by W. C. Heda and by Jan de Heem.
Marcel G. Roethlisberger. Abraham Bloemaert and His Sons: Paintings and Prints. Doornspijk, The Netherlands, 1993, vol. 1, p. 102, under no. 55, mentions it among the early vanitas still lifes that are "more narrative" than the MMA's painting by De Gheyn.
M[artina]. Brunner-Bulst in Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Ed. Gunter Meissner. Vol. 19, Munich, 1998, p. 354.
Alan Chong Wouter Kloek in Still-Life Paintings from the Netherlands, 1550–1720. Exh. cat., Cleveland Museum of Art. Amsterdam, 1999, pp. 140–42, no. 15, ill. (color), describe the subject and composition; compare it with the MMA's painting by De Gheyn, and claim that the vanitas meaning of the painting is open-ended.
Martina Brunner-Bulst. Pieter Claesz.: der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert. Lingen, Germany, 2004, pp. 133, 170, 185, 225–26, 352, no. 37, ill. (overall and detail), notes the close relationship between this composition and the right half of W. C. Heda's "Vanitas" of 1628 (Museum Bredius, The Hague); places the painting among other "pure vanitas still lifes" that Claesz painted, and reports on the re-reading of the date as 1628 in 1982.
Martina Brunner-Bulst in Pieter Claesz: Master of Haarlem Still Life. Ed. Pieter Biesboer. Exh. cat., National Gallery of Art. Zwolle, The Netherlands, 2004, pp. 46, 120, no. 18, ill. pp. 50, 89, 120 (color, overall and detail), as dated 1628.
Holland Cotter. "Within Images of Excess, A Glint of Moral Theater." New York Times (September 30, 2005), p. E37, ill.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 22, 50, fig. 59 (color).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 127–29, 213, no. 28, colorpl. 28.
Jan Piet Filedt Kok in Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam. Ed. Jonathan Bikker. Vol. 1, Artists Born Between 1570 and 1600. Amsterdam, 2007, p. 188 n. 2.
Old Master & British Paintings. Sotheby's, London. December 9, 2009, p. 44, under no. 13, provides information on Alphonse de Stuers, noting that he owned at least two still lifes by Claesz, this one and "Still Life with a Brazier, a Wine Glass, a Bread Roll, Smoking Paraphernalia, Two Herrings and a Pewter Plate Adorned with Oysters and Tobacco Paper, all Arranged on a Table Top".
Peter Cherry in In the Presence of Things, Four Centuries of European Still-Life Painting; Part One: 17th and 18th Centuries. Exh. cat., Calouste Gulbenkian Museum. Lisbon, 2010, pp. 35–36.
John Loughman in In the Presence of Things, Four Centuries of European Still-Life Painting; Part One: 17th and 18th Centuries. Exh. cat., Calouste Gulbenkian Museum. Lisbon, 2010, pp. 240–42, no. 60, ill. (color).