Although Blas de Ledesma is recorded by Francesco Pacheco in 1649 in his treatise Arte de la pintura as a painter of still lifes, not a single picture by him was known until 1943 when Julio Cavestany published the signed painting now in The High Museum of Art, Atlanta (see the catalogue of the exhibition, Spanish Still Life in the Golden Age 1600-1650, Kimbell Art Museum, Fort Worth, Texas and The Toledo Museum of Art, Toledo, Ohio, May-Nov. 1985, pp. 69-71, no. 6, pl. 6). The composition of that painting and the present lot are both made up of a highly symmetrical design that has a pyramidal focus. In both a strong light enters from the left and the flowers in the background rise from behind and beneath the ledge further reinforcing the sense of symmetry (see also the painting attributed to Ledesma in a private collection, Madrid; A.E. Pérez Sánchez, La Nature Morte Espagnole du XVIIe Siècle à Goya, 1987, p. 86, fig. 73)