Louis Decamps. "Un musée transatlantique (2e article)." Gazette des beaux-arts, 2nd ser., 5 (May 1872), p. 437.
Edith Greindl. Les peintres flamands de nature morte au XVIIe siècle. Brussels, 1956, pp. 105, 173.
Edith Greindl. Les peintres flamands de nature morte au XVIIe siècle. Sterrebeek, 1983, pp. 127, 361, no. 98.
Fred G. Meijer. Letter to Walter Liedtke. February 13, 1995, retracts his earlier attribution of it to Thomas de Paep, but feels that it looks "too weak" to be an autograph work by de Heem; notes that in any case the style points to de Heem's Antwerp studio and a date of about the mid-1640s.
Henry M. Luttikhuizen et al. in A Moral Compass: Seventeenth and Eighteenth Century Painting in the Netherlands. Exh. cat., Grand Rapids Art Museum. Grand Rapids, Mich., 1999, pp. 64–65, 103, no. 11, ill. (color), suggests that the wine refers to lust and that the painting "invites observers to choose between temporal pleasures and eternal gratification".
Donna R. Barnes and Peter G. Rose. Matters of Taste: Food and Drink in Seventeenth-Century Dutch Art and Life. Exh. cat., Albany Institute of History & Art. Albany, 2002, p. 76–77, no. 24, ill. (color), acknowledge the possible moralistic interpretations of this painting, but note that the absence of the usual allusions to transience may mean that it is simply a celebration of "gustatory delights that stimulate the eye and the palate"; suggest a date of 1640 based on the influence of Pieter Claesz.; give a brief history of oysters in the New World and provide a recipe for stewed oysters.
Nancy T. Minty in Matters of Taste: Food and Drink in Seventeenth-Century Dutch Art and Life. Exh. cat.Albany, 2002, p. 7.
Katharine Baetjer. "Buying Pictures for New York: The Founding Purchase of 1871." Metropolitan Museum Journal 39 (2004), pp. 197, 214, 245, appendix 1A no. 125, ill.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 316–17, no. 74, colorpl. 74, as painted "probably during the late 1630s or about 1640".