The painting stands as a magnificent example of the Lombard figurative culture between 1620 and 1630. There is a strong relationship with the properly Milanese "archaic" still life, represented by the Silver Plate with Peaches (private collection) by Giovanni Ambrogio Figino (1553-1608), painted between 1591 and 1594. Compared with the Lombard tradition, the composition is here developed in a larger dimension, with an arrangement of several planes and a light background. The vine shoot with the crumpled leaves is then an obvious reference to Caravaggio's Basket of Fruit, in the collection of Cardinal Federico Borromeo as early as 1607. The lenticular precision with which the reflections of the window on the glass vase are rendered, like the many other realistic annotations that connote the painting, seems to show knowledge of Nordic painting and in particular of Francesco Codino’s compositions.
V. Damian, Une nouvelle contribution sur la nature morte lombarde: deux inédits. Une collection de natures mortes, Galerie Canesso, Paris 2002, pp. 8-15.
