Support: The support is a 2 x 2, bleached linen, closed, basket-weave with vertical warp thread orientation. The canvas was stretched over a 2 ½" wide, mortise-and-tenon, miter-corner, hardwood stretcher with large cardboard triangles nailed to each of the four corners to keep the stretcher taut and square. There are no stretcher crossbars.

Ground or Support Preparation: The processed linen canvas has an artist-applied white primer appearing similar to that of roughly equal parts 2PbCO3•Pb(OH)2 and ZnO in oil. The primer was applied over a sizing of rabbit-skin glue, which appears thickly applied in isolated areas. Thin, graphite underdrawing is frequently visible at the unpainted margins between the forms.

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 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 to have a slightly stiff consistency, which retains 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 also used subtractive techniques to thin paint and allow the white-primed canvas below to take on a more prominent visual character.

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

XRF: Primer stretched and primed by Georgia O'Keeffe.

Right edge: lead carbonate, zinc oxide, tiny bit of calcium, tiny bit of titanium.

Lower right corner, intense green: viridian green, barium, cadmium yellow, lead carbonate, zinc oxide.

Middle left side, violet/purple: Cobalt, zinc, arsenic (Cobalt arsenate).

Lower left side, pink: Cobalt, zinc.

Bottom edge, center, blue: Cobalt, no iron, no silica, viridian green, tiny bit of cadmium (yellow).

Center, dark green: cadmium (yellow), lead, sulfur, barium white, iron Prussian blue, zinc white, no chrome, no cobalt.

Right side, between 2 pink vertical lines: zinc, synthetic alizarin.

Soaps: Very few, very small, most numerous in viridian green.

Framing, Backing, and Hanging Hardware: The work is framed in a contemporary reproduction of an original Georgia O'Keeffe/George Of-designed Metalleaf, "clam shell" profile frame. The frame interior is fitted with Artsorb felt and Microchamber boards that buffer the interior conditions around a 45% RH setpoint and absorb acidic and oxidative VOCs generated by the original materials. The verso and recto are individually gasketed to form sealed air volumes on both sides, damping vibration and canvas displacement from transport and handling. 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.

All paints appear secure and stable. There are frame abrasions along all four edges of the painting face where the work historically rested against the rabbet of Georgia O'Keeffe's original frame, and these are also normally expected in O'Keeffe's works from this period. The paints in these edges are also stable and secure. The work is planar and taut, but there is a very slight stretcher bar crease on the inside edge of the top stretcher bar, to the viewer's right of center. There are isolated insect accretions on the surface, but these appear to be easily removed. There are many holidays at the margins between forms where paints do not overlap and the primed canvas is visible; these should not be mistaken for losses or deterioration. There are isolated, pinpoint losses at the interstices of the weave, and these may be the result of transit vibrations. They are characterized by their sharp, fractured edges at the margins of the loss. One portion of the artist's typical linear, raised ridges of paint at the edges of forms has cleaved and is lost near the upper viewer's left corner. These ridges should be examined across the entire work after each transit to determine if there are other losses as a result of kinetic energy inputs.