Trained in Antwerp, he is documented in the workshop of Jan de Wael, father of the painters Lucas and Cornelis, and, subsequently, in that of Frans Snyders where he specializes in the representation of still lifes. Arriving in Italy in 1614, he first went to Rome and, in 1616, to Genoa, where he settled permanently until his death, opening a very active and very successful shop. Although his production includes both biblical, allegorical and mythological subjects and vigorous portraits in which the Vandychian suggestion is evident, the notoriety in the local artistic culture is linked to his specialization in performing still lifes, as already reported by the sources a he coeval: “[…] he showed himself exceedingly excellent in competing with nature in the expression of fruits, flowers & animals” (Soprani 1674). In this work, in fact, the absolute protagonist of the composition is a real triumph of flowers and fruits - grapes, oranges, chestnuts, figs, pomegranates, poppy bulbs, watermelon, pumpkins and almonds - portrayed inside a setting characterized by the presence, in the background, of a column base and a red cloth. The naturalness of the subject and the pictorial virtuosity with which Roos tactfully returns the different elements of the composition are a consequence of the practice of studying and processing the subjects in repertoires (carnets, models, sketches) that make these still life passages recognizable in other paintings. , both by the same painter, as in the case of the Vendemmia di Sileno in Palazzo Bianco, and by other artists, first of all Van Dyck, with whom he collaborated during the years of his stay in Genoa.