The print shows a scene from George Balanchine's ballet La Chatte, designed by Gabo and Pevsner, music by Henri Sauguet, book by Sobeka (Boris Kochno) after Aesop, produced by Diaghilev Ballets Russes in 1927. A Young Man falls in love with a cat and in answer to his prayers, Aphrodite transforms her into a girl. They fall in love, but Aphrodite puts the girl to the test by tempting her with a mouse, whereupon the girl pursues it and she is transformed back into a cat.

The set and costumes were executed in the then new material, talc, flexible, transparent and reflective. The shimmering, fantastic structure was set on and against floor and walls of gleaming black American cloth. The gleaming rhomboidal structure above the set symbolised the Aphrodite.

By the1920s, there was an increasing interest in the Diaghilev Ballet and material relating to dance in general. Beaumont had already produced a series of booklets on individual Diaghilev Ballets under the series title Impressions of the Russian Ballet and a number of plywood Diaghilev dancers in their famous roles. He added a series of hand coloured prints of typical scenes from the Diaghilev Ballet repertory. He kept no records of when he began publishing the prints nor how many were produced, although catalogues from 1923 list the prints of which 22 images were reproduced. These were the work of Adrian Allinson, Ethelbert White, Randolf Schwabe and Eileen Mayo, who also worked on Impressions of the Russian Ballet booklets and the plywood figures.

In all these works, Beaumont strove to capture the exact moments of the ballet as well as artists' interpretations. Possibly the design of each print followed the painstaking search for accuracy that had characterised the creation of the illustrations for Impressions of the Russian Ballet series, described in Bookseller at the Ballet - choosing the significant moment, watching the ballet night after night to check details of the poses and grouping (not easy when the stage was full of individual dancers and movement), going backstage to sketch scenery and borrow costumes - although some prints appear to be 'composite' rather than specific tableaux.
Most of the hand-colouring for Impressions of the Russian Ballet booklets was the work of Beaumont and his wife, Alice, and it is possible that both were also involved in colouring the prints, although eventually other artists including Mayo, were employed on both projects.