Support: The support is a 1 x 1 twill-weave, processed linen canvas stretched over an "American Type" double-bevel-faced, miter-cut, mortise-and-tenon-joined, keyable softwood commercial stretcher bar, pre-cut to the whole inch, 1 ¾" wide x ¾" thick, in 7" and 16" lengths. The canvas is stretched with the warps in a vertical position and tacked using blue steel tacks spaced evenly apart, 2" to 3" apart with regularity. The canvas has 44 warp threads per inch and 50 weft (twill weave) threads per inch. Five original wood keys are extant and secured to the stretcher with tape. One custom basswood key has been used to replace the missing key and is secured in place.

Ground or Support Preparation: The processed linen canvas has a commercially applied primer consisting of roughly equal parts 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 from the verso.

Design Layers: The paints have been applied over charcoal/graphite line underdrawing in single 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 slightly stiff, paste-like consistency, which 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. 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. The artist has used subtractive techniques to reduce paints across the sky passages of the composition.

Surface Coating: The painting has a thin, slightly yellowed and soiled, synthetic acrylic varnish, apparently an iso-butyl methacrylate.

Framing, Backing, and Hanging Hardware: The painting is installed in a reproduction, Georgia O'Keeffe/George Of-designed micro-environmentally controlled frame.

All paints appear secure and stable. There are burnished abrasions along the two vertical margins of the painting face where the work historically rested against the rabbet of O’Keeffe’s original frame. The paints in these edges are also stable and secure. The work is now moderately taut, and the five extant original keys have been taped in place to prevent them from falling and becoming wedged against the canvas verso. There is an original stretching cusp in the upper viewer's left corner and a diagonal raised canvas line where the miter is offset below in the viewer's upper right corner.

As is typical for this commercially primed, twill-weave canvas, 2PbCO3•Pb(OH)2 carboxylate soap micro-protrusions are visible across the primer where there are no paints on the tacking edge, as well as in the recto paint layers. The protrusions are present at all levels of development, ranging from tiny bumps to collapsed, soft, donut-shaped structures.