The Comité Marc Chagall has confirmed the authenticity of this painting.
Throughout his career, Chagall turned to the subject of the still life and the depiction of flowers in particular as an expression of romance. During his marriage to Bella Rosenfeld from 1915 until her death in 1944, the artist executed countless works in this genre to express his exuberance over the blissful state of their union. In the years following the passing of his beloved muse and throughout his second marriage to Valentina "Vava" Brodsky beginning in 1952, this genre continued to provide the means for the painter to express sentiments of contentment as well as reflect upon the ephemeral nature of life. The canvases and works on paper were nearly always marked by wild proliferation of vivid blooms emanating from an underlying basket or vase, "offering a variety of delicate color combinations and a fund of texture contrasts" (J.J. Sweeney, Marc Chagall, New York, 1946, p. 56). Chagall had not encountered such flora in his homeland of Russia, and took pleasure throughout his career in rendering the wide variety of flowers and plants available to him surrounding his home in Provence, where he lived with Vava from the time of their marriage.