Ulmann hand-coated and sensitized her papers for the oil prints and contact printed the images with brush-applied lithographic inks. This is one of her final images made in oil pigment, a labor-intensive process she used only from around 1907 to 1925. The work is also a fine example of Ulmann's early presentations, with a full signature, a multi-layered mount comprised of a cream-colored lightweight cardboard with tipped-on Japanese tissue, and an overmat of the same stock. After 1925, she no longer used the tissue layer and, by the early 1930s, some prints were released without an overmat, others were unmounted, many unsigned.

Oil prints by Ulmann are rare in that they comprise less than 2 of her entire ouevre. This image is one of six variants of the sitter.
(cf. Lovejoy, The Oil Pigment Photography of Doris Ulmann).