Support: The support is a 1 x 1 plain-weave, processed-linen, commercially primed canvas with warps stretched in the vertical orientation over an "American Type", double-bevel-faced, miter-cut ended, mortise-and-tenon joined, keyable softwood, commercial stretcher bar, pre-cut to the whole inch, 1 ¾" wide x ¾" thick in 9" and 7" sized lengths. The canvas is stretched and tacked using blued steel tacks spaced evenly apart. One original key is extant and taped to the stretcher. The canvas has 32 warp threads per inch (tpi) and 39 weft threads per inch (tpi).

Ground or Support Preparation: The processed linen canvas has a commercially applied primer consisting of 2PbCO3•Pb(OH)2) and ZnO in oil, characterized using x-ray fluorescence spectroscopy at 15kV, 33 and 40kV, and 28.8, 18, and 3.8 µA under full vacuum.

Design Layers: The paints have been applied over charcoal/graphite line under-drawing in single layers, such that the texture of the primed canvas is generally visible through the paint, and the canvas or primer functions as a reflective design surface. The artist has prepared her higher-value whites and lighter colors to achieve a matte, slightly stiff, cream-like consistency, which is slightly thicker than background paints and retains brush texture as a compositional and textural effect. White paint appears extremely matte. Darker values, by contrast, were prepared with more fluid, cream consistencies and allowed to flow and level into the texture of the canvas. O'Keeffe applies paint at the margins of forms using nearly continuous, curvilinear brush strokes with the brush positioned at a low angle to the canvas, resulting in a continuous, raised ridge of paint at the edge of each form. Surrounding brushwork is generally parallel to the linear directions defined by these edges, with no underlying or subsequent brushwork moving perpendicular to the linear form. Occasionally, adjacent forms do not overlap, and the artist has chosen to allow a "holiday" of unpainted, primed canvas to be a visible detail in the composition, with graphite underdrawing residues sometimes visible. Colors in the painting have been characterized using x-ray fluorescence spectroscopy at 15kV, 33 kV, and 40kV, and 28.8, 18, and 3.8 µA under full vacuum, as zinc oxide white, P/Ca bone black, Co-Fe-Pb-Cr violet, and Fe ochre-Cr tan.

Surface Coating: The work appears to be unvarnished.

Framing, Backing, and Hanging Hardware: The work is framed in a contemporary, micro-environmentally buffered, and gasketed Ni/Al metal-leaf "clam shell" profile frame, a reproduction of Georgia O'Keeffe's original design, created by framer/artist George Of. The buffering media is ArtSorb sheet, buffered to 45% RH, contained with the Marvelseal-lined frame backing panel with a micro-chamber activated charcoal/zeolite clay embedded paper cover as the dust-proof barrier. The glazing is Optium® tin salt-coated, UV-absorbing, static-free, non-reflective acrylic. The Optium glazing has a Volara closed-cell polyethylene gasket/pad. The frame is fitted with a laminated, Volara-gasketed backing strainer, which has a Security mirror-hanger and T-bolt hardware as well as D-rings.

Currently, all paints appear secure and stable, despite microscopic, intermittent, limited, and superficial cracking in the paints at the stretcher bar turn-down edges and isolated high warp threads. Despite the single key, the canvas remains moderately taut on the stretcher and has only planar deformations associated with the artist's original stretching. The matte, opaque zinc oxide white in the upper, viewer's left corner appears to have a modulation of opacity related to the thickness of the paint application and brushwork textures.

The work formerly had a series of generalized small, spatter droplets of accreted white wall paint, as well as finger smudge soiling generalized across the edges. These were removed in the 2017 cleaning. Three prominent, bright white, pinpoint holidays are visible. There is a superficial horizontal abrasion/scuff with dark media in the lower viewer's right corner. There is a horizontal line of thinned paint, below the midpoint and just viewer-right of center, which is associated with four proud threads. This is not an abrasion but apparently part of the artist's technique. The work appears unvarnished, and there is little sign of aluminum stearate blanching in the dark paint layers.