The field is composed of five vertical panels in varied tones of taupe and warm brown, each with subtle streaks and irregularities in the surface color. Three narrow ivory bands of a twisted braid-like pattern run vertically between the panels, dividing the field evenly, while a thick natural-toned cord edges the entire perimeter.
An unadorned field is divided into four vertical panels of subtly varying tone, ranging from warm taupe to a paler oatmeal, each strip meeting its neighbor along a visible seam line. There is no border proper, only a plain overcast edge in undyed cream that runs continuously around all four sides. The surface is left otherwise open, with no figurative or geometric motifs, its interest resting entirely in the shifting striations of natural brown and beige.
A pictorial panel depicting a crowded architectural scene of robed figures gathered before a seated ruler beneath a classical arcade, with a carved stone plinth in the foreground bearing an inscribed Latin text beginning "L. SERGIVS PAVLVS." The palette runs through faded rose, ochre, blue-green, and ivory against a warm stone-toned ground, with the figures' drapery rendered in soft pinks and pale blues. A narrow floral and scrolling vine border in dark ground with muted pastel blossoms frames the entire composition on all sides.
An oval format piece with an ivory ground centered on a rose and cream floral bouquet encircled by a garland of smaller blossoms and rosette medallions. Concentric bands of pale blue, coral guilloche, and taupe frame the field, while the outer border carries a scrolling acanthus vine in muted olive, pink, and cream against a soft brown ground.
A pale celadon field is framed by a scrolling tan medallion outline enclosing loose bouquets of pink, yellow, and mauve roses with sage-green foliage, scattered evenly across the interior with a denser floral cluster at the center. The border repeats the same scrolling vine and rose sprays against a matching celadon ground, closing with a plain warm brown outer band.
A plain field divided into four vertical bands, each showing subtle horizontal striations in tones of taupe, oatmeal, and warm gray-brown, with occasional lighter fleecy streaks running across the surface. Faint seam lines mark the divisions between the panels, and the border is a narrow flat band in undyed cream that frames the composition without further ornament. The field is otherwise left open, its interest carried entirely by the shifting texture and tonal variation of the striped ground.
An undecorated field in a heathered off-white ground, flecked with faint tan and gray striations, is divided into four vertical panels by dark zigzag-stitched seams. The same herringbone whip-stitching outlines the entire perimeter, echoing the seam pattern as its only ornament. The composition remains otherwise open, relying on the panel divisions and tonal variation across the ground for visual interest.
A dark brown ground carries six peacocks, alternating in coral-pink and pale blue-green plumage, arranged in pairs facing one another across dense scrolling acanthus leaves in cream and gold. Small rosette medallions in rust, teal and cream punctuate the field between the birds, and the same acanthus scrollwork continues into corner cartouches. Colors are consistent throughout: deep brown ground, ivory foliage, and touches of coral, teal, and rust in the birds and blossoms.
The field is left entirely open in an undyed ivory tone, divided down the center by a vertical seam where two panels meet. A thick, looped border in matching cream frames all four edges and runs along the central seam, its raised ridged texture the only surface interest against the plain ground.
An overall geometric field composed of interlocking hexagonal and star-pointed shapes rendered in alternating dark brown, taupe, and cream, set against an ivory ground. The pieced segments are joined by visible whip-stitched seams that outline each block, giving the surface a patchwork-like structure without a separate border. No border or field/ground distinction beyond the tessellated pattern is present, and the composition runs edge to edge without a central medallion.
