The painting depicts a merchantman flying a commodore's flag which would have been used in about 1670. The setting is imaginary, showing various features of southern ports in an antique Mediterranean atmosphere. The ship is shown in stern with a carved figure which may represent the maid of Amsterdam wearing the imperial crown, and surrounded by black figures and a sea god. On the left a small Mediterranean boat apparently flying the flag of Genoa is sailing towards the Dutch merchantman. Two galleys lie beyond, one moored up against the buildings under the prominent mountain peak, and the other crrossing the merchantman's bow under oar power, possibly heading into an unseen harbour entrance to the left. The presence of the cut-off head and shoulders of a figure at the bottom, and the front part of a horse against the cliff or wall in the bottom left corner, suggest the picture was perhaps originally part of a rather larger canvas.

Storck was one of several marine painters who produced fantastical views of Mediterranean ports. Merchant shipping appears alongside architectural ruins, depicted in the crystal-clear colours of Italian art of the period. Such scenes anticipated the popular 18th-century Italian capriccio. He trained and worked with his father and became a member of the Guild of St Luke in Amsterdam. His river and coastal scenes were influenced by Ludolf Backhuysen, Willem van de Velde, the younger and Jan Abrahamsz Beerstraten. He showed considerable accuracy in depicting ships' rigging and technical details, and his Dutch harbour and river views often depict the recreational and ceremonial aspects of shipping. In particular, he concentrated on showing pleasure yachts and ceremonial gatherings of ships. He also concentrated on depictions of both spectators and passengers. In such work, he showed great skill depicting the human figure, through characterization and attention to costume and detail.