​The discovery of the signature “F.v. Mieris F. 1667” confirms that this work is from the circle of Frans van Mieris. According to the research by Ana Diéguez-Rodríguez, it has been hypothesized that the painting may be the work of either Frans van Mieris the Elder or his grandson Frans van Mieris II, who often used his signature and painted scenes similar to those produced by the family workshop.

The golden tone of his work led to the belief that the artist painted on gold leaf, a notion that was recently refuted when it was demonstrated that this effect was the by-product of a meticulous technique deriving from the chiaroscuro he had learned from Gerrit Dou (1613-1675), who regarded van Mieris as his most accomplished pupil. The composition here is simple, free from any symbolic intent despite the meticulous arrangement of the items on the table. The play of highly pronounced diagonals, softened by suggested verticals, helps to create volume and depth in an enclosed environment.