In the first months of 1913 Boldini concentrated on painting the models Lina and Peggy. Emilia Cardona mentions "How much easier are his (portraits) of Lina, or the beautiful girls of the theatre or the "mondaines" who he meets daily at Maxim's or Voisin's..." and although "Lina was not perfect,...,the artist used her very flaws to give this model great character, while she had a rather ordinary physionomy...". By contrast to the other female portraits in the collection, Lina's apparel conveys the new informality of the period. The wooded background of the composition recalls La Passegiata al Bois (see lot 2), painted in 1910, and the animated brushwork is comparable to Boldini's portrait of Casati painted the following year.(see lot 6). Lina accompanied Boldini to England at the beginning of the war, and by its end they had settled in Nice.

A bust-length portrait of a woman wearing a tricorn hat, said to be Lina, dated 1914, and of similar countenance, is illustrated in E. Camesasca's L'opera completa di Boldini (no. 525). In 1914, Boldini also painted two other versions of Lina, lying on a bed. (location unknown, previously in the Sacerdotti Collection).