The work belongs to a series of paintings executed in 1950, centered on the re-proposition of the same nucleus of objects in which dominates the presence of the large red vase in the background and, on the right, of the characteristic pink bottle with an inclined neck.
One of these canvases (Vitali no. 744) entered the Charles Zadok collection, general manager of the Gimbels Brothers department store in Milwaukee and a well-known collector of modern art.
Another is still kept in the Galleria d'Arte Moderna in Turin, purchased by Guido and Ettore De Fornaris Foundation (Vitali no. 746).

Another painting (Vitali no. 745), which belonged to Carlo Ludovico Ragghianti, an Italian scholar who wrote important insights into Italian art, was sold at the auction Thinking Italian, Christie's, London, 4 October 2018, for £ 1,328,750. The painting demonstrates Morandi's attention to the smallest details of a composition, which, despite the re-proposition of an apparently identical subject, leads, between the end of the 1940s and the beginning of the 1950s, to minimal variations in tone, lighting and arrangement of objects, which lead to modify the visual perception of the objects that pass before his gaze.

In the Natura morta of 1950 purchased in 1957 by the Phillips Collection in Washington D.C. partly the same objects return. In that year, the Phillips Collection was the first American museum to offer a personal exhibition of Giorgio Morandi.
In 1957 in a radio interview for Italians residing in America Morandi said: "The great book of nature is written in mathematical language. Its characters are triangles, circles and other geometric figures… Nothing is more abstract than reality”.

At the turn of the 1940s and 1950s, Morandi's attention was increasingly concentrated on a few themes. The object becomes a means for the artist, a pretext for exploring the deepest reasons of painting.
In Morandi's research of these years the spatial connotation becomes essential. The laying plane of the objects coincides with the infinite line of the horizon. This transforms space into an increasingly indefinite and mental entity. Some examples of this are some drawings from 1949 in which the same objects return, also present in the Natura morta of 1950 in question here.

After being exhibited at the historic Galleria del Milione, the Natura morta from 1950 in question here was acquired by the Galleria La Bussola in Turin. On the back, on the frame at the top center, are the stamp of the Turinese gallery, the signature of Luigi Carluccio, the date "January 31, 1953" and the inventory number 10476. Carluccio, one of the most authoritative Italian art critics, after having directed Galleria La Bussola from 1947 to 1955, he curated some memorable exhibitions held at the Galleria Civica d'Arte Moderna in Turin, including Le Muse Inquietanti. Maestri del Surrealismo (1967) and Il cavaliere azzurro (1971). In 1979 he was appointed Director of the Visual Arts Sector of the Venice Biennale, and subsequently of the São Paulo Biennale in Brazil.

back of the painting with the detail of the stamp Galleria “La Bussola” and the signature of Luigi Carluccio