In 1648 a contemporary writer noted that Willem Claesz Heda was a specialist in breakfast and banquet still lifes, painting "fruit, and all kinds of knick-knacks." At first sight, Heda's largest known still-life
painting appears to welcome the viewer to a sumptuous feast. Yet pewter plates teeter precariously over the table's edge, while a translucent goblet and a silver tazza have toppled over, indicating that the feast has
already been enjoyed. A number of objects in the painting hint at the transience of worldly existence. For example, the snuffed-out candle and the iron candle snuffer symbolize the abruptness by which life can end.
Heda was a master of uniformly cool-gray or warm-tan color schemes favored in Dutch art during the 1630s. The gold, silver, pewter, and Venetian glass on top of the white tablecloth play against the neutral backdrop of
the wall and the brown drape that covers the table. Starting in the mid-1600s, brighter colors would characterize the classical period of Dutch painting.
Willem Claesz Heda taught several apprentices, including his son Gerret (or Gerrit) Willemsz Heda (active 1640s and 1650s); the "sz" at the end of Claesz and Willemsz is an abbreviation for szoon, meaning "son
of". Gerret's Still Life with Ham that is part of the National Gallery’s collection reveals a strong debt to his father Willem's style and motifs.
