The artist signed these two paintings and they are probably from a late period in his development. They are typical of the still lifes which were popular at the time of the Biedermeier and remained so right up to the last quarter of the 19th century. There is a touch of academism in them, which is also evident in the stereotype repetition of the same slab of marble with an arrangement of fruit or a vase with pretty, unpretentious flowers. The compositional formula, which was decisive in these paintings, was introduced at the beginning of the 19th century in Vienna, later emulators repeated it almost up to the eve of World War I.