Support: The support is a 2 x 2 plain-weave, processed linen canvas stretched with vertically oriented warp threads over a 2 ¾" thick, miter-cut ended, mortise-and-tenon joined, keyable softwood commercial stretcher bar, pre-cut to the whole inch. The eight wooden keys are extant and secure in the stretcher corners, which are further reinforced with cardboard triangles tacked to the verso of the stretcher.

Ground or Support Preparation: The canvas was primed by the artist and/or her assistant. It appears to have been lightly sized with a dilute protein size and then primed with lean, unsanded coats of lead white and zinc white in linseed oil in alternating coats.

Design Layers: The paints are generally applied as single-layer, thinly applied vehicular liquid consistencies with a canvas support surface texture that is prominently visible. In UV-excited auto-fluorescence, zinc white appears to dominate the lighter shades. The artist has used linear brushwork at the margins of forms, frequently leaving unpainted primed canvas visible between forms and further emphasizing edges with a ridge of slightly raised paint. Graphite or charcoal underdrawing is frequently visible at the unpainted margins between the forms. There is isolated wet-in-wet blending, but generally wet-into-dry paint application predominates with gradual, stepped transitions in value or hue.

Surface Coating: There is a relatively glossy, thick, clear synthetic varnish similar to iso-n-butyl methacrylate copolymer, which may be the same as that applied in 1960.

Framing, Backing and Hanging Hardware: Frame is a 2010 micro-climate reproduction Georgia O'Keeffe/George Of-designed cream-painted, "L" profile metal frame of extruded aluminum, micro-chamber, gasketed, with reinforced secondary frame backing, pre-conditioned silica-gel polypropylene felt RH buffer, and activated charcoal-zeolite corrugated board VOC scavenger. Glazed with non-reflective, conductive Optium acrylic glazing.

Pb soap micro-protrusions are generalized across all colors but are more concentrated in the lighter values, apparently in early phases of development in this work. Stretcher bar cracks are beginning along the left and right inner stretcher edges, but at present can only be seen in strong raking light. Stretcher bar lip cracks are found at the corner folds, some only intermittently. There is one small, pinpoint loss in the lower viewer's left corner. There are numerous brush hairs and paint bit inclusions scattered throughout the paint layer. There were losses from frame abrasions that were likely consolidated and in-painted at the time of the last varnishing. These are visible only in UV auto-fluorescence illumination.

Support: The support is a 2 x 2 heavy-weight, loose-weave cotton canvas with double threads.

Ground: The ground is oil-base (est).

Design Layers: There is a fairly thick application of opaque paint, with a thinner paint application in some areas. The palette is warm with browns, ochres, and oranges predominating. There are numerous brush-hairs and 'pebble-like' inclusions in the paint layer. The paint is primarily thick applications of opaque paint, full and rich in body (the gloss is due to surface coatings). Thinner areas of paint appear as the paint just skimming across the top of the canvas threads.

Surface Coating: Co-polymer iso and n-butyl methacrylate applied in the mid-fifties and again in 1960. In 1996, conservator Barry noted a "yellow" fluorescence (information supplied by C. Barry). The painting still exhibits a strong yellow-green fluorescence, indicating a later application of natural resin varnish.

Framing: The word has an 'L' profile metal frame that was repainted (date unknown).