On a flat surface, two naked female figures are rendered, which the artist places facing and leaning. The right (toward the viewer) figure, placed in the first level of the scene, rests on her right bent arm, while turning towards the interior of the composition, thus observing the back of her torso. The left one is depicted on the second level, holding with both hands the strongly pleated fabric that covers the bed. The sense of interiority is enhanced by the depiction of a curtain on either side of the figures, while its right leaf is seen to be raised from left to right. Regarding the style of the composition, we assume that Angelos Theodoropoulos is probably influenced by the shift towards more realistic depictions in art, a trend that began with the end of the First World War in the French artistic scene. Among the artists in whom this shift is observed are Derain and Galanis. After all, one should not overlook the analogies of the right figure in the composition of Angelos Theodoropoulos, whose back is turned to the viewer, with the similar painted composition of Galanis (today in the EPMAS collection, project no. K.525). In this context, it is no coincidence that Chrysantho Christou mistakenly attributed the engraving to Galanis.