Her style is defined by bold, expressive line work and a sensitive use of light. In works like Tween the Gleamin and the Mirk, she used titles derived from Scottish poetry to describe the specific quality of twilight. She often used different types of paper and varying ink tones to change the mood of a single composition. Her ability to suggest texture and depth through varied needle pressure made her one of the few women admitted to the Royal Society of Painter-Etchers in London.

Modern collectors value her prints for their quiet, atmospheric quality. Her depictions of Long Island and the Pennsylvania countryside avoid the grandiosity of larger oil paintings. Instead, she focused on intimate views of ponds and woodland edges. These monochrome works provide a sophisticated alternative to more traditional wall art. They offer a sense of calm and a connection to the natural world.