Automne, Pomona, Femme Debout is signed with Dalí's monogram and dated 1973. The title translates as Autumn, Pomona, Woman Standing; Pomona being the Roman goddess of fruit and the word also meaning a greeny color that is predominately yellow. The woman's skin is alabaster-white, which is exaggerated when set against the murky, charcoal color of the background. Although her body has been given great detail, by contrast her face has an indistinct look, as if smudged. The face is also distinctly darker in color than the rest of her body.
    The woman has a peaceful, almost mournful demeanor. Her eyes are closed and her head is downcast; she shares the regular features of Dalí's many portrayals of the Virgin Mary. The face is remarkably similar to the face in his sketch, Madonna (1946). The yellow that spreads around the woman's head seems like a halo which adds to the serene, almost religious tone of this painting.
    Dalí used a mixture of mediums for this painting: pastel, gouache, and watercolor. The result has given the work a discordant, meshed look, as if it is a collaboration of various images that are pooled to create one form.

    Gala Bouquet was painted, using watercolor and oil on card, in 1979. The oil has been used to create definition, particularly on the vase. It has also been used within the flowers, to give the form of the stems and to highlight a few flowers from within the mass of color. The watercolor looks as if it has been spilled on to the paper; it has been allowed to bleed heavily into the paper and to drip down to mix with the oil, creating a blurred, out of focus image. The colors have bled into each other to form new colors, giving an almost tie-dye effect to the painting. In the 1956 painting Vase de Fleurs, Dalí used the same subject as well as the same medium. Where the paintings differ is in the definition that Dalí has given to the flowers in the earlier painting that Gala Bouquet lacks.
    Although this painting is supposedly a dedication to Gala, by 1979 Gala and Dalí were virtually living separate lives. If Dalí wished to visit Gala, he had to write to ask her permission first. She was in her eighties, he was 75 and also suffering from Parkinson's Disease.