Focusing on Clara Peeters's (born Antwerp, 1594--c. 1657) 1612 painting Still Life with Gold Goblets and Collectibles, this paper examines the complex visuality of the still life self-image in reference to its implications on and statement about early modern authorship. In the first half of the seventeenth century, still life artists often inserted a reflected self-image within the contours of glass orbs and shiny golden goblets. Taking the position that Peeters's use of a reflected self-image initiates a dialogue between an image of making and the surface on which it manifests itself, this study argues that such reflections articulate contemporary theory about the mutual and collaborative nature of authorship by implicating multiple parties in the authoring process. This thesis thus examines contemporary ideas about the relationship between art and craft and the generative role of nature and natural image-making processes, such as reflections. As such, the paper looks toward a history of images of reflection within Netherlandish art, the legacy of Renaissance ideas regarding the relationship of artisanship and nature, and seventeenth-century Dutch art literature. In building a case for a collaborative understanding of authorship, this paper additionally turns to both modern authorship theory as well as to seventeenth-century studio practice. In conclusion, this thesis argues that Peeters's still life self-images seeks to advertise to the contemporary collector not just her identity or status as author, but her very understanding of how her authorship came to be.