Support: The support is a 1 x 1, commercial, plain-weave, linen canvas stretched over an "American Type", double-bevel-faced, miter-cut ended, mortise-and-tenon joined, keyhole 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 with the warps in the horizontal position and tacked using blued steel tacks spaced evenly apart, 1" to 1.5" with regularity. No keys are used in the stretcher.

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

Design Layers: Graphite line underdrawing is occasionally visible at the margins of adjacent forms, but can be seen intermittently in transmitted light and in IR. The work is executed in single layers, generally wet-into-dry, using vehicular, cream-like paints. Brush texture is generally leveled with the fine texture of the canvas weave, which is generally visible in the darker values. Brighter value background forms are executed in more stiff, paste-like paints, which retain the texture of the brushwork. There are frequent linear raised ridges of paint at the margins of the forms. The artist's subtractive technique is seen in discrete areas where paint has been rubbed thin from the high-relief threads, exposing the primer below and lightening the value of the color.

Surface Coating: The painting does not appear to be varnished overall.

Framing, Backing, and Hanging Hardware: The painting is installed in a reproduction, Georgia O'Keeffe/George Of-designed "clam shell" profile, aluminum/nickel leaf frame with gasketed, Optium non-reflective acrylic glazing and a gasket-sealed, secondary backing strainer which contains both conditioned silica gel felt and zeolite/charcoal embedded boards as a humidity buffer.

All paints and structures are secure and stable. Stretcher bar inside edge creases and raised creases from verso impacts from historic backing hand-holes can generally only be seen in raking and specular light along the viewer's left vertical stretcher. The edges of forms are often defined by raised linear brushwork at the margins of the forms. These sometimes fracture and flake as a result of canvas deflection/excursion in transit. There is an isolated, aggregated area of glossy varnish along the viewer's left vertical finger protrusions. These are of unknown origin. The work is clean and free of dust. All accretions have been previously removed.

Brush-hairs, dried pallet bits, and other studio inclusions are occasionally visible in the design surface but should not be confused with damage or deterioration. The work has developed occasional, generalized distributions of very fine basic lead carbonate (2PbCO3-Pb(OH)2) micro­protrusions that appear under some magnification as small granular surface inclusions in the paints. They are also visible in the primed canvas along the tacking edge where there are no paints.