[Claus Virch]. Paintings in the Collection of Charles and Edith Neuman de Végvár. [New York], , p. 3.
John Walsh Jr. "New Dutch Paintings at The Metropolitan Museum." Apollo 99 (May 1974), pp. 348–49, fig. 12, describes it as "a relatively sober work of the 1650s, thinly and fluidly painted"; identifies the silver-gilt cup as a type made in Nuremberg in the late sixteenth and early seventeenth centuries, and identifies the porcelain bowl as Ming; suggests the influence of Willem Kalf.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 92, ill.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, pp. 190, notes the upright composition as a "more indigenous Dutch type".
Erika Gemar-Koeltzsch. Luca Bild-Lexikon: Holländische Stillebenmaler im 17. Jahrhundert. Ed. Klaus Ertz and Christa Nitze-Ertz. Lingen, Germany, 1995, vol. 2, p. 104, no. 28/38, ill.
Adriaan van der Willigen and Fred G. Meijer. A Dictionary of Dutch and Flemish Still-life Painters Working in Oils, 1525–1725. Leiden, 2003, p. 33.
Fred G. Meijer. The Collection of Dutch and Flemish Still-life Paintings Bequeathed by Daisy Linda Ward. Zwolle, The Netherlands, 2003, p. 165, notes similar lobster, dish with pointed rim, melon, and other motifs in Van Beyeren's "Still Life with Lobster and Turkey" (Ashmolean, Oxford) and suggests, indirectly, a date in the early 1650s.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 32–34, 119, 321, no. 7, colorpl. 7, as probably datng from the early 1650s.