Support: The painting is executed on a 2 x 2 closed basket weave linen (bleached) canvas with a thread count of 34 linen warp and 30 linen weft, with a vertical warp. The area noted as possible underdrawing compression on the lower left (recto) is quite visible in raking light on the verso. The appearance is similar in depth and design, forming edges that are evident on the verso and correspond to those on the recto. Dimple is visible on the verso in the upper left. Tacked to a commercial stretcher, double bevel, mortise-and-tenon joined, keyed ¾" thick: stamps in red stick "48 ANCO." O'Keeffe wrote an inscription in pencil on the verso of the stretcher with the words "June 48." All 8 keys are Simon Liu custom replacements from 1996 with kraft paper gummed tapes.

Ground or Support Preparation: UV fluorescence shows a gelatin priming fluorescence applied by the artist, with the canvas stretching edges trimmed on the backside of the stretcher. The priming stains on the verso of the stretcher and appearing through the weave of the canvas all fluoresce as partial absorption of lead carbonate in oil.

Design Layers: The graphite underdrawing is visible along strong form edges (V's, curves) in the top two-thirds of the design. There is none visible in the lower third, where the paint is thinner. Generally, there are single-layer, thinly applied paints with a visible canvas/support surface priming. There is a thin to moderate paint application using stiff, paste-like paints in lighter, opaque values with brush texture retained, as well as thin, cream-like consistencies in dark grays and translucent shades of black, where the paint surfaces are smooth and leveled. There is scrubbing and zigzag brushwork in the brighter, stiffer paints and linear brushwork in darker values, with linear brushwork following the contour of the forms and raised ridges of paint along the form margins. There are gradual, stepped transitions in value or hue with localized wet-on-wet blending in darker values, with holidays of primed canvas often visible between forms. Subtle changes in opacity and value give major forms a generalized volumetric appearance.

Surface Coating: In 1997, conservation treatment at the Kimbell Art Museum attempted to remove splattered, drip marks generalized across the entire work. After cleaning, there was a localized alteration of the black paint in the spots formerly covered by drip marks. These were mitigated by coating the central dark, smooth paints with a 7% varnish of mastic resin in turpentine. The remainder of the work is uncoated.

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

Two classes of condition issues predominate the preservation concerns for this work:

• Cracks penetrate through paint and ground layers, resulting in planar deformations with lifting and flaking losses adjacent to the crack lines.

• Oily drips and spills that the works suffered historically have resulted in tiny but generalized, dispersed, diffuse, slightly saturated stains. The stains have been largely diminished to the point that they are not visible in normal exhibition illumination, and those that remained slightly saturated have been toned using gouaches.