Having already appeared on the antique market in Turin, the painting was bought for the Cariplo Collection in 1993 after an auction.

The authentication of the sculptor Leonardo Bistolfi on the back, accompanied in this case by the number 58 in blue pencil, is wholly identical to the one on Delleani’s Countryside at the Approach of Winter (Cariplo Collection), This painting might therefore also figure in the inventory of the works found in the artist’s studio at time of his death, many of which were exhibited in 1909 at the important commemorative exhibition promoted by the newspaper La Stampa and organized at the Società Promotrice di Belle Arti in Turin by Enrico Thovez, Leonardo Bistolfi, Giacomo Grosso and Davide Calandra.

The painting, dated 1903, could be one of the series of small-sized works produced by the artist during the artistic excursions he started making in the province of Biella, between Pollone and Oropa, in the 1880s. Precisely documented, as in this case, with the recording of the exact date of execution, these works were painted from life one after the other in a few quick strokes to capture the impression of changes in atmospheric conditions and light. Within the painter’s vast oeuvre, the studies sometimes assumed the character of finished works, as in the series of 65 presented in Turin at the Esposizione della Società Promotrice di Belle Arti of 1892, which retraced the artist’s repertoire of views of the Netherlands, the Matterhorn, the valleys of Biella, the Roman plains and the Venetian lagoon. In other cases, they were no more than quick sketches serving as model for works of greater commitment that the artist painted during the winter in his studio in Turin.

In the works of his maturity, like the one considered here, Delleani developed a very personal technique of rich colour superimposed in thick layers, almost clotted in some places but so thin in others as to let the underlying preparation show through. The work resembles [[: File:Delleani Lorenzo, Autunno dorato o Tramonto a novembre (effetti di luce).jpg|Golden Autumn, Sunset in November]] (1908) both in the handling of paint and in the careful study of effects of light, which suggest a melancholy vision of nature at the approach of winter.