The closely woven, plain-weave fabric support is particularly white and is probably cotton or possibly linen. It is unlined, has wide tacking margins intact, a selvage on the right side, and appears to be on its original six-member mortise-and-tenon stretcher. A white, thinly applied ground has been brushed on freely, leaving scattered, small areas of bare fabric over which paint was thinly applied, except for passages in the face and hands which were built up to form a more opaque covering. The painting's textured, matte appearance was created with paint of a very dry consistency being dragged across the surface. In other areas, the paint was "scrubbed in." A wet-into-wet technique using wavy brushstrokes of varying width was also used. White impasto highlights are found in the flower arrangement, the clock, and the jewels. The blue shadows on the knitting needles are short strokes applied wet-into-wet. A palette knife was probably used to scratch fine lines through the upper paint layer to "lighten" the green shadow in the sitter's left cuff, the stripes in the wallpaper to the left of the sitter's head, and some lines in the shadowed part of the wall. The painting is in good condition with small areas of paint loss, mostly along the edges. The painting does not have a varnish coating.

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