The field is organized as a checkerboard of eight rectangular panels, alternating between flat oatmeal-beige bands and deeper walnut-brown blocks, each with subtle vertical striations from the banded structure. No border frames the composition; instead the panels run edge to edge, finished with a plain overcast edge in matching tan tones. The palette stays within a narrow earth-toned range, with only faint ivory flecks breaking the brown and beige surfaces.
The field is left plain, divided into four vertical panels by narrow ivory seams stitched in a visible zigzag join, each panel showing subtle horizontal striations of taupe, walnut, and warm grey tones flecked with darker brown. There is no border proper, only a slim undyed selvage framing the composition, and no figural or repeating motif interrupts the banded, striped ground. The overall palette stays within a narrow range of browns and creams, with the seams providing the only linear structure across the surface.
The field is divided into four vertical panels, each further broken by horizontal bands, forming a loose grid across the surface. Tones move through undyed shades of taupe, oatmeal, and deep umber, with fine ivory striations running through several panels. A flatly worked border of twisted warp ends frames the composition, left plain without further ornament.
The field is left entirely open, divided into five vertical panels of undyed brown tones ranging from deep chocolate to warm taupe, with irregular horizontal bands of lighter color drifting across each strip. Three of the seam lines between panels are joined with a herringbone-stitched cream cord, while the outer edges are finished in a continuous cream whip-stitched border.
The field is divided into four vertical panels of plain flat-woven ground, each seamed together and edged with a thick overcast stitch in undyed cream. Tonal variation runs horizontally within each strip, shifting from warm tan to deeper umber in irregular bands, giving the surface a striated, sun-faded quality. No pattern or border interrupts the composition; the panel seams themselves serve as the only structuring lines.
The field is divided into four flatwoven panels of uniform brown, each seam joined by a visible whip-stitched line in undyed cream. Fine white and pale flecks are scattered irregularly across the surface, and the plain edges are finished with a twisted cream selvage.
The field is left largely undecorated, divided into four vertical panels by faint seam lines, each filled with irregular horizontal striations in shifting tones of taupe, walnut and oatmeal. There is no distinct border beyond a narrow flatwoven selvage finished in cream overcasting along all four edges. The overall effect is a quiet, banded surface without figurative motifs, the variation coming entirely from the natural gradation of the striped ground.
The field is left plain, divided into four vertical panels joined by visible seams stitched in a pale zigzag thread. Each panel shifts slightly in tone, moving through bands of taupe, walnut brown, and warm oatmeal, with a subtle horizontal striation running throughout. A narrow ivory selvage frames the piece, uninterrupted by any border pattern or corner device.
An open field of tan ground is broken by three darker brown rectangular panels set at alternating corners, top left, mid right, and bottom left, each outlined in a fine blanket stitch that also traces the outer edge. The composition is asymmetrical, with the plain tan sections left uninterrupted apart from subtle striations in the surface. No border, inscription, or additional ornament appears beyond this quiet geometric arrangement.
An undyed, flatwoven field in mottled taupe and warm brown is divided into five vertical panels by narrow ivory seams worked in a chevron stitch. The panels vary subtly in tone, suggesting the joining of separate loom widths, and a slightly paler horizontal band crosses the lower third of the composition. All four edges are finished with a thick overcast wrap in deeper brown wool.
