Sam Segal has suggested an alternative attribution to Cornelis Kruys (Haarlem c. 1620-before 1660 Schiedam), having examined the original (24 April 1999) noting: 'The work may be compared with a monogrammed painting in a private Danish collection (panel, 43 x 60 cm.) with a similar jug and upside down glass, three pewters and a fruit pie, reproduced in Gammelbo [Dutch Still-Life Painting from the 16th to the 18th Centuries in Danish Collections] 1960, no. 55 and in Vroom [A Modest Message as intimated by the painters of the 'Monochrome Banketje'] 1980, no. 216 and with a painting in a Belgian private collection (panel, 51 1/2 x 84 cm.) with a vine twig, pewters, a half peeled lemon and a roll of bread. A similar berkemeier occurs in several works by Kruys. The painting shows relationships with works by the Haarlem painter Pieter Claesz, e.g. a work of 1632 (formerly with Gallery Koetser, Zurich) and a work of 1640 with an identical knife in the Martin-von-Wagner-Museum in Wurzburg.'
Dr. Martina Brunner-Bulst also suggested that this work could be by '(the young) Cornelis Cruys imitating still lifes by Pieter Claesz.' (letter dated 11 October 1990).