This painting is one of two earliest paintings attributed to Leyster. Here we see a good natured, ruddy-cheeked man, lifting up his beer jug as if to show us that his drink has just run out. He wears a greenish-blue long tunic, and the sloping angle of his beret suggests it may be in danger of falling off at any moment. On the table in front of him is a small pipe and some wrapped tobacco.

As art historian Cynthia Kortenhorst-Von Bogendorf Rupprath tells us, the subject of this painting was popularized by the group of artists known as the Utrecht Carravaggisiti before becoming a subject common among Haarlem painters from the 1620s. The subject's clear enjoyment of smoking and drinking might have suggested both the pleasures of life and the dangers of excess. Many paintings of this period included subtle moralizing messages on the transience of life and its indulgences. In adapting this common theme, Leyster clearly shows her knowledge of contemporaneous painterly trends and the desire to give them her own spin.

The idea of vice is contrasted to cheerful demeanour of the subject of the painting. The intricate detail of the sitter's face conveys a sense of the individuality and personality that recognizes his enjoyment of his evening (or afternoon) and predicts that he has not had his last drink.