Large polychromed dish, covered with tin-glazed enamel. It is part of a series of dishes with profile portraits of women from the twenties in Art Nouveau style, influenced by the Spanish painter Romero de Torres and the Czech artist Alfons Mucha.

It was molded in fine light brown clay and finished in a lathe. The firing process was carried out in a box or covering with signs of the use of tripods in the interior of the piece.

It was polychromed using green, yellow and blue pigments, applied in relief. There is a hint of red in the areas surrounding the heart, the mouth and the jewerly of the character; this color hadn't been used in talavera, since the mineral used to achieve the red hue melts at a lower temperature. It is a particularity of Ventosa's pieces, who probably used a third firing process to achieve that color.

Ventosa outlined his characters in shaded light blue with particular sensuality, endowing them with great life with the use of intense embossed colors. We have no record of such application or ornamentation in other ceramic pieces of the time in Mexico or Europe. In the base of the piece, the signatures are outlined in light blue: Talavera Uriarte-Ventosa.

Another almost identical piece with the same woman, but in this case, playing with her necklace between her hands and with a more detailed drawing of the peacock feathers on the hat, was published by Enrique A. Cervantes in the book Loza fina y azulejo de Puebla.

There is one more piece with very similar characteristics, which is part of the collection at the Hispanic Society of America. One more, depicting two women appears in the online catalogue of Arte Ventosa Internacional, based in the United States.