Ingvar Bergström et al. Natura in posa: la grande stagione della natura morta europea. Milan, 1977, p. 219, ill.
Scott A. Sullivan. "Rembrandt's 'Self Portrait with a Dead Bittern'." Art Bulletin 62 (June 1980), pp. 242–43, fig. 9, suggests that this kind of hunting piece is really a token of the hunt, rather than a depiction of the results of an actual hunt; notes that the diversity of fowl in the painting would have required different methods of capture.
Stephanie Dickey et al. Dutch Painting in the Age of Rembrandt from The Metropolitan Museum of Art. Exh. cat., Picker Art Gallery, Colgate University. Hamilton, N.Y., 1983, pp. 32–33, no. 11, ill., describes the arbitrary combination of motifs, making "the scene an emblem of wealth and leisure rather than a naturalistic still life".
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, pp. 190.
Gregor J. M. Weber. Stilleben alter Meister in der Kasseler Gemäldegalerie. [Kassel], 1989, p. 39, fig. 34a (color), cites the painting as an example of Weenix depicting a classical relief with Pan, Priapus, Silenus, or similar gods.
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 MMA's more significant purchases of Dutch art since World War II.
Peter C. Sutton. Northern European Paintings in the Philadelphia Museum of Art: From the Sixteenth through the Nineteenth Century. Philadelphia, 1990, p. 359, fig. 131-2, notes the repetition of the relief on the jardiniere in a similar painting by Weenix, dated 1700, in the Philadelphia Museum of Art.
Frederik J. Duparc and Linda L. Graif. Italian Recollections: Dutch Painters of the Golden Age. Exh. cat., Montreal Museum of Fine Arts. Montreal, 1990, pp. 209–10, no. 70, ill. (color), note the ornate antique urn in the composition and suggest that it recalls his earlier southern scenes; observe the statues and other classical motifs that are prevalent in his works from the 1660s and characteristic of his work in general.
Beverly Louise Brown. "Montreal, Dutch Italianate Painters." Burlington Magazine 132 (August 1990), p. 603, claims that the "overblown still life" reveals "how overpowering the urge to aggrandise was at the end of the century".
Sophie Lillie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna, 2003, p. 1018, no. 424, lists it in the 1939 inventory of art works owned by Alphonse Rothschild.
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.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 144; vol. 2, pp. 939–41, no. 216, colorpl. 216.