This painter, documented between 1647 and 1669 and by whom very few works are documented, is known to have been active from 1656 to 1669 in The Hague, where he died. His compositions are similar to those created by somewhat previous painters, like Willem Claesz Heda (1594-1680) or Pieter Steenwijck (ca.1615-after 1656), making the corner of the table highly visible and arranging the objects parallel to the surface on which they sit.

Both in composition and execution, this work is a good example of Dutch 17^th century still life painting. The profound naturalism of the items depicted and the accurate technique of their rendition, conveying the various textures to perfection, in themselves speak of the quality of the artist.

Still life as a genre reached heights of popularity in the Netherlands that outstripped any other European country. Regarded as a minor genre in France and Italy, where history, mythological and religious painting were much more highly appreciated, in Holland, the themes concerning the “disordered table”—as it was termed in Spain—were important for painters guilds because of the high degree of specialisation they required. It was normal practice for still life painters to take part in larger works in collaboration with landscape artists and painters of flowers and figures. As from the 17^th century, the still life acquired greater renown by allowing artists much more autonomy in the choice of themes and in the study of nature. Hullegarden worked with simple models and with an interest that was more decorative than symbolic.

The work is signed and dated on the edge of the tabletop: “Carel van Hullegarden. Fet. 1647”. It must have belonged to an important collection, for it also bears two inscriptions that would indicate inventories: “L. 100” and “Nº 4”.