This work is an example of theorem painting, which involved the use of stencils to create interlocking forms of fruits and flowers displayed in decorative arrangements and was commonly taught to women in the 1800s. Many surviving theorem paintings lack signatures and cannot be attributed to the women who made them. Although these women were trained in the sense that they learned this mode of painting from tutors or in seminaries, they were considered folk artists by the people who began building the first major collections of American folk art in the 1920s, including Abby Aldrich Rockefeller.