Support: The support is a 1 x 1 twill-weave, processed, linen canvas stretched 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 20" and 24" sized lengths. The canvas is tacked using blued steel tacks spaced evenly apart. Eight thin wood keys are extant.

Ground or Support Preparation: The commercial proprietary priming appears to have been mechanically applied over a protein (gelatin) sized canvas and is a white ground of lead carbonate in oil, possibly with zinc or calcium carbonate amendments. The priming appears generally secure and stable across the tacking edges.

Design Layers: The paints have been applied over charcoal/graphite line under-drawing in single and double layers, such that the texture of the primed canvas is visible through the paint, and the canvas or primer functions as a reflective surface. The artist has prepared her higher value whites and lighter colors so that they have a somewhat stiff, cream-like consistency, which is slightly thicker than background paints and holds brush texture as a compositional and textural effect. Darker values, by contrast, were prepared with more fluid, cream consistencies and allowed to flow and level into the texture of the canvas with very isolated wet-into-wet blending. 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.

Surface Coating: There is a thin, clear, clean synthetic resin varnish, brush-applied, overall.

Framing, Backing, and Hanging Hardware: The work is framed in a contemporary, micro-environmentally buffered, and gasketed metal-leaf "clam shell" profile frame, a reproduction of O'Keeffe's original design, created by framer/artist George Of. 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 Security mirror-hanger and T-bolt hardware as well as D-rings.

The work is planar with the exception of stretcher bar creases on the inside of the stretcher bar at the top, left, and right. The structure and media are secure and stable, and there are no readily apparent cracks, abrasions, or losses in the design surface. The dense areas of dark red-umber paint application exhibit spots of generalized opaque varnish separation at complex brush texture areas. There are frequent "holidays" in the artist's paint application, particularly at the margins and intersections of forms, resulting in spots and streaks of unpainted, primed canvas. These should not be confused with losses in the design layers. Under magnification, it is also possible to observe, in raking light, prominent micro-protrusions generalized across the work in the paint under the varnish. These are the result of soap development in the paint film from the primer and may result in periodic pinpoint losses.