It is possible to date this piece to circa 1775 as two analogous compositions by Jeaurat de Bertry were painted in 1775 and 1777 and illustrated in Faré, La vie silencieuse en France: la Nature Morte au XVIIIe siècle, n. 204-305.
As Faré notes, op. cit. p. 195, Jeaurat de Berty was very much influenced by the work of Chardin. He was admitted to the Académie Royale in 1756 as a still life artist and was appointed artist to the Queen Marie Leczinska. He exhibited in the Salon until 1796.