The painting support is plain-weave fabric, with double threads in the horizontal direction, that is unlined and mounted to its original four-member, mortise-and-tenon stretcher. An off-white ground was evenly applied to a medium thickness with out masking the fabric weave. The brushwork is straight-forward and mechanical, with subsequent layers applied over paint which first was allowed to dry completely. This slow, methodical handling is evident throughout the painting, a single exception being the right shoulder, where the artist broadened the jacket silhouette. A final, carefully applied white line of paint defines the perimeter of the painting. In 1952 the painting underwent varnish removal and was restored. The painting is in very good condition, and the varnish has not discolored.
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