the artist, Great Neck, N.Y. (1933–34; sold through New Art Circle [J. B. Neumann], New York to MMA)
Pittsburgh. Carnegie Institute. "Thirty-First Annual International Exhibition of Paintings," October 19–December 10, 1933, no. 16 (as "Still Life").
Beaumont, Tex. Beaumont Women's Club. October 7–28, 1941, no catalogue.
New York. Tailored Woman. April 5–19, 1946 [on display in the store window for the MMA Diamond Jubilee Campaign fund].
Cincinnati Art Museum. "An American Show: Louis Bouché, Edward Hopper, Walt Kuhn, Yasuo Kuniyoshi, John Marin, Max Weber," October 1–November 2, 1948, no. 95 (as "Still Life").
New York. Whitney Museum of American Art. "Max Weber Retrospective Exhibition," February 5–March 27, 1949, no. 38 (dated 1934).
Minneapolis. Walker Art Center. "Max Weber Retrospective Exhibition," April 17–May 29, 1949, no. 38.
Circulating exhibition. "20 Contemporary American Paintings from The Metropolitan Museum of Art," August 1949–April 1950, including the following venues.
Nashville, Tenn. Watkins Institute. "20 Contemporary American Paintings from The Metropolitan Museum of Art," October 7–31, 1949, no catalogue.
Columbia. Maxcy College, University of South Carolina. "20 Contemporary American Paintings from The Metropolitan Museum of Art," November 9–December 3, 1949, no catalogue.
Nashville. Carl Van Vechten Gallery, Fisk University. "24th Annual Festival of Music and Art: Metropolitan Exhibit, 20th Century American Still-life Painting," April 23–May 6, 1953, no catalogue.
Norwich, Conn. Slater Memorial Museum. "A Survey of American Art," February 4–25, 1968, no. 20.
New York. The Metropolitan Museum of Art. "American Still Life: 1915–1950," February 1, 1995–January 28, 1996, no catalogue.
Richmond, Va. Marsh Art Gallery. "Still Life: The Object in American Art, 1915–1995. Selections from The Metropolitan Museum of Art," January 3–February 28, 1997, no. 43.
Little Rock. Arkansas Arts Center. "Still Life: The Object in American Art, 1915–1995. Selections from The Metropolitan Museum of Art," March 28–May 23, 1997, no. 43.
Newport Beach, Calif. Newport Harbor Art Museum. "Still Life: The Object in American Art, 1915–1995. Selections from The Metropolitan Museum of Art," June 20–August 15, 1997, no. 43.
Tulsa, Okla. Philbrook Museum of Art. "Still Life: The Object in American Art, 1915–1995. Selections from The Metropolitan Museum of Art," September 12–November 7, 1997, no. 43.
Palm Beach, Fla. The Society of the Four Arts. "Still Life: The Object in American Art, 1915–1995. Selections from The Metropolitan Museum of Art," January 9–February 8, 1998, no. 43.
Salina, Kansas. Salina Art Center. "Still Life: The Object in American Art, 1915–1995. Selections from The Metropolitan Museum of Art," March 6–May 3, 1998, no. 43.
New York. The Metropolitan Museum of Art. "Max Weber from the Collection," March 9–June 13, 1999, no catalogue.
Harvey Gaul. "International of 1933 is a Wonder Show." Pittsburgh Post-Gazette (October 19, 1933), p. 24, calls it "a splendid still life".
Mary Morsell. "A Critic at the International." Carnegie Magazine 7 (November 1933), p. 172, calls it "a finely orchestrated composition".
Anna Wecht. "Jewish Contribution to World of Art." Jewish Press (September 6, 1934), p. E8, remarks on MMA's purchase of this painting.
E[manuel]. M. Benson. "A New Yorker Looks His Museums in the Face." American Magazine of Art 27 (October 1934), p. 538.
J. B. Neumann. Artlover 3, no. 3 (1935), p. 34, ill. p. 33, dates it 1934.
"On the Local Horizons." New York Times (June 21, 1936), p. X7.
Carlyle Burrows. "Hearn Paintings at the Metropolitan." New York Herald Tribune (May 30, 1937), p. E6, calls it "Still Life".
Edward Alden Jewell. "Metropolitan Purchases: Museum Displays Its Recently Acquired Paintings by Living American Artists." New York Times (May 30, 1937), p. X7.
"The Hearn Collection." Art Digest 11 (July 1, 1937), p. 25, calls it "Still Life".
Evening Star (May 5, 1946), p. 7, ill. (installation view Exh. New York 1946), calls it "Still Life".
Charles L. Fontenay. "Dr. Dutch's Talk, Preview Mark Exhibit Opening." Nashville Tennessean (October 8, 1949), p. 5.
"To Be Shown in Columbia." Times and Democrat (November 1, 1949), p. 6, calls it "Celadon Vase".
Ruth Campbell. "Art Collection in Fisk Show Impressive." Nashville Tennessean (April 24, 1953), p. 52.
Albert Ten Eyck Gardner. A Concise Catalogue of the American Paintings in The Metropolitan Museum of Art. New York, 1957, p. 49.
"Mint Museum Showing Weber Painting." Charlotte News (March 23, 1968), p. 25C, ill., notes this work was on view at the Mint Museum as an extended loan from MMA.
Michael Kimmelman. "At the Met with Wayne Thiebaud: A Little Weirdness Can Help an Artist." New York Times (August 23, 1996), p. C25, dates it about 1933.
Sabine Rewald inStill Life: The Object in American Art, 1915-1995. Selections from The Metropolitan Museum of Art. Exh. cat., Marsh Art Gallery, Richmond, Va. New York, 1996, pp. 106, 116, 171, no. 43, ill. p. 117 (color).
Lowery Stokes Sims and Sabine Rewald. "Still Life: The Object in American Art." American Art Review 9 (September–October 1997), ill. p. 141 (color).
Beatriz Cordero inThe Irascibles: Painters Against the Museum, New York, 1950. Ed. Bradford R. Collins et al. Exh. cat., Fundación Juan March. Madrid, 2020, p. 82.
Max Weber (American (born former Russian Empire, now Poland), Bialystok 1881–1961 Great Neck, New York)
1908
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