Flower still lifes have been increasingly present in Christian Rohlf’s work since 1919. This can be traced back to the artist’s marriage to Helene Vogt, who has helped him with his work as a secretary since 1918. Walther Scheidig describes this connection with the following words: “One gets the impression that since the marriage, the young woman’s hand in the studio has always chosen tempting flowers or fruits according to the colours and shapes that stimulated the artist. Art lovers did not ignore the magic of the flower pictures that were created at that time, and so Rohlfs finally found the economic foundation at the age of seventy-five (…). ”(Scheidig. 1965, p. 139.)