Born, Wolfgang: Still-life painting in America (New York: Oxford University Press, 1947)

Samuel Greene Wheeler Benjamin, Art in America, New York,
1880.

Clara Erskine Clement (Waters) and Laurens Hutton, Artists
of the Nineteenth Century, Boston, 1907.

Mantle Fielding, Dictionary of American Painters, Sculptors and
Engravers, Philadelphia, 1925.

Mary E. Frankenhauser, Biographical Sketches of American
Artists, Michigan State Library, Lansing, 1924.

Samuel Isham, The History of American Painting . . . new ed.,

with supplemental chapters by Royal Cortissoz, New York,
1927.

Evelyn Rila Jackman, American Arts, Chicago, 1928.

Ralph Clifton Smith, A Biographical Index of American Artists,
Baltimore, 1930.

Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bilden-
den Kiinstler von der Antike bis zur Gegenwart, Leipzig,
1907-.


STATING THE PROBLEM

3:18a Wolfgang Born, Notes on Still-Life Painting, Antiques,
L, September 1946, pp. 158-60.

I: SOURCES AND PARALLELS

Max J. Friedlinder, On Art and Connoisseurship, 2nd

ed., London, 1943, p. 132, fig. 17.

Karl Voll, Hans Memling, Stuttgart, 1909, lists the paint-

ing as attributed to the master, but does not consider the

attribution certain. In the context of this discussion it is

of no great importance whether the painting is by the

master himself or by one of his followers. It evidently is

inspired by Memling.

5:7b Gustav Gliick, Die Kunst der Renaissance in Deutsch-
land, den Niederlanden, Frankreich . . ., 2nd ed.
Berlin, 1928, p. 22, fig. 144.

5:20b D. Coke, Confessions of an Incurable Collector, London,
1928, ch. vi, pp. 54-63. Wolfgang Born, ‘Early Peep-
Shows and the Renaissance Stage, The Connoisseur,
cxn, 1941, pp. 67-71, 161, 180. Edgar Preston Rich-
ardson, ‘Samuel van Hoogstraten and Carel Fabritius,
Art in America, XXV, 1937, Pp. 141-52. R. H. Wilenski,
An Introduction to Dutch Art, London, 2nd impression,
reprinted 1937, p. 266: ‘Houbraken bears witness to
Hoogstraten’s passionate interest in optics, and he relates
that his house was full of cardboard representations of
fruit, fish and so forth which appeared to have three di-
mensions. .

5: 25b Robert Gavelle, La Réalité et son imitation suggérée:

aspects de trompe Vœil, LAmour de lart, XIX, Paris,

5:4a

5:30a

2

1938, p. 231. ‘Trompe Tœil, The Illustrated London
News (Christmas Number), London, 1938, pp. 11-16.
Elizabeth du Gue Trapier, ‘Correa and trompe Lcœil,
Notes Hispanic, 1945, pp. 15-30.
6:32a Herbert Furst, The Art of Still-Life Painting, London,
1927. Arthur Edwin Bye, Pots and Pans, Princeton,
N. J., 1921. Arthur Everett Austin, Jr., The Painters of
Still Life, An Exhibition of the Wadsworth Atheneum,
Hartford, Conn., 1938.
6:39a G. I. Hoogewerff, Nature Morte“ Italiane del Seicento
e del Settecento, in Dedalo, 1v, 1923-4: part 1, pp. 599-
624; part 11, pp. 710-30.
6:46a Ralph Warner, Dutch and Flemish Flower and Fruit
Painters of the xvith and xviuth Centuries, London,
c. 1928. E. Zarnowska, La Nature Morte Hollandaise,
Brussels, 1929. Julio Cavestany, Sociedad Espafiola de
Amigos del Arte, Floreros y Bodegones, Madrid, 1936-40.
6:9b Austin, op. cit. no. 19 (illustrated).
6:25b Ibid. no. 16 (illustrated).
6:50b Especially Juan Valdes Leal. Compare: Werner Weis-
bach, Die Kunst des Barock, Berlin, 1924, p. 114 and
fig. 548.
7:8a Julius von Schlosser, Kunst und Wunderkammern der
Spitrenaissance, Leipzig, 1908.
7:26a Wolfgang Born, ‘Fetish, Amulet and Talisman, Ciba
Symposia, vit, 1945, Pp. 102-32.
7:2b Op. cit. The Illustrated London News includes a repro-
duction of Haintz’s painting.
7:19b Furst, op. cit. p. 215.
7:30b Gavelle, op. cit. (illustrated), p. 234.
7:39b Germain Bazin, ‘L. B. Oudry, Animalier, dessinateur et