Canvas Furniture

Scott Kerr is a self-taught Contemporary Abstract Artist. As a young boy, he was exposed to the art world by his father through the works of a local Texas artist, David Brownlow. Ama...

This listing is for a Large Modern Expressionist Abstract Painting. Featuring a black wood frame, original expressionist style abstract art with a mixture of bright colors, and a wir...

Wonderful Antique Oil Painting. Color in photos are not accurate. The colors are wonderful

Vincent Manago's painting depicts an orientalist scene rich in detail and colour - typical of the late 19th century. The artist has meticulously captured characteristic elements of t...

Signed oil painting on canvas by Swedish artist Ragnar Hult (1916-1986).

Inscribed WEB / ROPE CHAIR - 23 on the back of one chair and WEB / ROPE CHAIR - 36 on the back of the other Each: 70.5 x 57.5 x 64.5 cm; 27 ¾ x 22 ¾ x 25 ⅜ in.

In good condition From a private collection Free international shipping 18th Century Old Master Oil Painting Vision of the Virgin

Inspired by his voyages as a sailor, the French painter Charles Kuwasseg painted this impressive coastal landscape painting in the 1870’s (the canvas ...

Abstract art offers us its mysteries, a prolific field of nuances and multitudes of interpretations. Through it, our perception is tested - a silent but intensely emotional dialogue occurs. This oil painting by Carlos...

This souvenir model of a late 18 Century Sailing Frigate was crafted in Spain, circa 1950 and sits on an integral wooden base decorated with a small plaque which reads “Fragata Espanola...

A beautiful 18th Century oil on canvas, depicting a garden scene typical of the period, also known as a "Fête Galante". In the style of Jean-Antoine Watteau, the french master of the...

Here the silhouette is strong. It is presented through the outline and shape of the piece. Early version of the famous Lido "sun chair", created by Swiss designers and brothers Batt...

Børge Mogensen three-seat sofa new upholstered with canvas and tan aniline leather Legs of mahogany. Model 2209, made by Fredericia furniture.

A painting of a champion Seidenspitz. Standing on an oriental carpet with bouquet of flowers.

Large Belgian oil painting, still life with flowers: a beautiful cascading bouquet of multicolored flowers on dark ground enhanced by golden drape; sitting on table with small arrang...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Califo...

Beautiful 19th century, French oil on canvas.

On canvas. Signed A. Cucchi 1939 lower right. Framed measures 41" h x 35 1/8" w x 1 1/2" d. Painting measures 38" h x 32 1/8" d. Condition Previous repair.

Large landscape oil painting, circa 1890.

Domenick Capobianco (American, b. 1928), Surrealist Composition, Oil on Canvas, depicting an injured man with hat smoking with sunshine in background, apparently unsigned, "Studio Do...

Terrific oil painting on canvass signed R.Post. Abstract Expressionist color and movement with cubist style shapes created by intersecting straight and curved lines. Ochre, teal, bla...

This painting comes from the Jilamara Design art center and dates back to 2013. It is made with earth ochres bound with acrylic pigment. Cornelia is considered a great artist of the first generation from this region. A certificate of authenticity is included. Cornelia Tipuamantumirri was born in Pirlangimpi (Garden Point), Melville Island, around 1930. Her father's ancestral land is Imalu Point, Melville Island, and her mother's ancestral land is Munupi, Melville Island. Her skin group is Warntarringa (Sun) and her dream is Jarrikalani (Turtle). Tipuamantumirri lives and works in Pirlangimpi, where she is an initiated and respected Tiwi elder. Tipuamantumirri uses the kayimwagakimi, a traditional carved wooden painting comb with a single row of teeth. Using a palette of ochres in pinks, yellows, blacks, and browns, her work depicts significant aspects of Tiwi life and culture with repeated dotted lines referencing yirrinkiripwoja (body painting) and the tidal movements of the surrounding seas. Tipuamantumirri, who began painting in 2010, is also an experienced weaver. Key recent solo and group exhibitions: - Warnarringa - Jarrikalani: Sun - Turtle, Alcaston Gallery, Melbourne (2014) - Cornelia Tipuamantumirri - New Paintings, Alcaston Gallery, Melbourne (2013) - Purunguparri (Stringy Bark Hut), Alcaston Gallery, Melbourne (2011) - Ngawa Munupula/Ngawa Kiripapiranjuwi: New Paintings from Munupi Art on the Tiwi Islands, Outstation Gallery, Darwin (2015) - Cornelia Tipuamantumirri and Delores Tipuamantumirri: New Paintings, Martin Browne Contemporary, Sydney (2015) - We are Tiwi: Munupi Arts from Melville Island, Artitja Fine Art, Fremantle, WA (2014) - The Tiwi: Art from Jilamara & Munupi Art Centres, Kluge-Ruhe Aboriginal Art Collection, Virginia, USA (2014) - Nginingawila Munupi Jilamara: Our Paintings from Munupi, Marshall Arts, Adelaide (2013) - Kirilima + Jarrikalani - Jungle Fowl + Loggerhead Turtle...

17th century Christ in chains Oil on canvas, 95 x 71 cm Frame 110 x 84 cm The figurative tradition representing Christ with chained hands can be traced back to the early Middle Ages, when an iconography of His pains spread widely. The need to translate the Passion into images aimed to raise awareness of the forgiveness that has occurred for all men, consequent to the Crucifixion. This painting depicts the moment before the audience before Pilate. Christ has not yet been cruelly mocked by the soldiers, despite the fact that he is already wearing the crown of thorns and the purple...

The inheritance sectional by Stephen Kenn is as comfortable as it is unique. The design features an exposed construction composed of three elements - a steel frame, plush upholstery, and supportive belts. The deep seating area is perfect for a relaxing lounge experience. This sectional comes with removable cushion covers to allow for easy cleaning should the need arise. Every Stephen Kenn piece is made to order through our Los Angeles studio in partnership with a number of small businesses and fabricators in the LA area. With this highly customizable sectional...

The vintage pull-down wall chart illustrates sheep in the countryside. Colorful print on paper reinforced with canvas. Measurements: Width 97 cm (38.19 inch) Height 73 cm (28.74 inch...

An English late 19th century oil painting of a dog sitting in an armchair with red cushion in giltwood frame. This exquisite animal painting features a short hair caramel colored dog, majestically sitting in a chair, in a manner reminiscent of Velasquez' depiction of Pope Innocent X. A red cushion, whose deep tones contrast beautifully with the dog's coat, assures us that the dog is very comfortable! Dog portraits became popular during the 18th century among the hunting aristocracy, and the establishment of The Kennel Club in 1873, further encouraged their popularity. This portrait is a perfect example of this trend. Set inside a lovely giltwood frame, this vertical format English dog portrait...

This 19th century impressionist painting was crafted in France, circa 1890. Set in a carved giltwood frame, the artwork painted on canvas, illustrates a picturesque, countryside landscape scene with people, chickens, a village and its road in the foreground. The oil on canvas is signed on the back in the lower left corner, Eugene Galien-Laloue (see last picture). There is also a printed version of the artist name in the top left corner, printed Galien-Laloue (see second to last picture). The artwork is in excellent condition with rich, sensational colors; it would make a lovely addition to a library, den, or living room. Canvas relined. We thank Mr. Noé Willer for confirming the authenticity of this work, which appears in his archives of the artist. Eugène Galien-Laloue (1854-1941) was a French artist of French-Italian parents. He was a popularizer of landscape and street scenes, usually those illustrating autumn or winter settings. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris during la Belle Époque. His paintings regularly include horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th century art, but for the actual historical content which they document. His work can be seen at the Musée des Beaux-Arts, Louvier, Musée des Beaux-Arts, La Rochelle, Mulhouse, France. A typical Galien Laloue...

1970s Jaime Parlade Designer Hand Painting "Tiger" Oil on Canvas Frame not included.

19th century Roman painter Still life with cherubs, flower festoons and herma with faun Measures: Oil on canvas, cm H 78 x W 95 without frame Cm H 122.00 x W 106 x D 8 with frame. The work, painted in oil on canvas, octagonal in shape, represents a nature with three putti or cupids playing with flower festoons in a wooded environment in which is placed a herma with faun and, on the left, a large neoclassical marble vase...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Known to many as 'the man who illuminated Finland', the legendary designer and met- alsmith Paavo Tynell is one of the leading lights of 20th-century industrial design . A classic 19...

A large oil-on-canvas painting depicting an exotic bird on a colourful lake, entitled ‘Kingfisher’s Kotillion’ and dated 1980. The painting is sectioned in two: on the left is the lake backdrop, and on the right is where the bird is sitting atop a flowery composition. This painting is the epitome of 1980s American interiors, with its bold pastel shades. A true 1980s Miami Palm Beach artwork...

1970s Jaime Parlade designer hand painting "Tiger" oil on canvas.

Beautiful large mixed media artwork on canvas having an abstract composition with floral feel that incorporates paint, paper and other mixed media.

The 39-year-old gentleman had himself portrayed as an aristocrat in an idyllic landscape. At the time, parks and forests were associated with the nobility's lands and pastimes. The s...

1970s Jaime Parlade designer hand painting "Tiger" oil on canvas.

The Inheritance Two Seat Sofa by Stephen Kenn is as comfortable as it is unique. The design features an exposed construction composed of three elements - a steel frame, plush upholst...

Jens Uffe Rasmussen, Danish artist. Oil on canvas. Modernist landscape. Coloristic palette. Floating frame in oak. Signed JUR and dated 98 (1998). Dimensions: W 60,0 cm. x H 48,0 cm....

Lively scene in a tavern, oil on canvas, protective cardboard on the back. Signature lower right

This beautiful painting is a fantastic example of Art Nouveau style in the Impressionism era of Edgar Degas and Pierre-Auguste Renoir. It comes with an original gold gilded Art Nouve...

Crimean War Soldiers Oil Painting on Canvas 19th Century Dimensions: 41 x 33cm, Good condition overall, with professional restorations to back of canvas From a private collection. ...

A great impressive cottagecore map illustrating Scandinavia (Norway, Sweden, Finland, Denmark and bordering Baltic Sea countries). Colorful print on paper reinforced with canvas. Mea...

Very nice painting with a folk art feel by the artist, Horace M. Stone, Jr. (1919-1978). The piece was executed in 1956. Stone has depicted the brick facade of the main offices of th...

A six panelled screen of the late Baroque period Oil on canvas, depicting a panoramic view of a Capriccio north European landscape, perhaps Schlesweig-Holstein, with distant views of the sea, the ruined castles, peasants, and a lady of quality mounted, within a running arched canopy...

A stunning beach scene by renowned Dutch-listed artist Niek Van der Plas (b. 1954), known for his impressionistic coastal landscapes. This vibrant painting captures the essence of se...

A fantastic Jung Koch Quentell close up depicting a carp in the water and different details of its body. Used as teaching material in German schools. Colorful print on paper reinforc...

"The Shepherd" is a 19th-century English painting that showcases a pastoral scene enveloped within a lavish gilt frame. The artwork presents a picturesque depiction of rural life, ca...

The Inheritance Armchair by Stephen Kenn is as comfortable as it is unique. The design features an exposed construction composed of three elements - a steel frame, plush upholstery, and supportive belts. The deep seating area is perfect for a relaxing lounge experience. This armchair comes with a removable cushion cover to allow for easy cleaning should the need arise.  Stephen Kenn furniture is typically is made to order through our Los Angeles studio in partnership with a number of small businesses and fabricators in the LA area. This particular version is currently in-stock with two chairs available, so there is no need to wait for our standard production lead time. This version of our Inheritance Armchair is upholstered in rich, soft brown boucle...

Jordi Mollá signed and dated painting, carried out over classical oil on canvas with frame representing 19th century cavalry soldiers.  

Dutch School, 19th Century An Autumn Landscape oil on panel signed lower left: Thos. Fenton unframed: 21 x 25 cm.; 8 x 9.5 in. framed: 31 x 25 cm.; 12 x 14 in.  

Follower of Jacopo Da Ponte, called Jacopo Bassano (Bassano del Grappa, circa 1510 - Bassano del Grappa, 13 February 1592), 17th century Allegory of the Spring Measures: With frame: ...

Scandinavian Swedish 1960s Wall Hanging Crewel Tapestry Picture Wall Art A very well executed hand produced Swedish crewel needlework, wood and silk th...

Vintage (20th Century) oil painting of fishermen ashore with their boats, looking out over an ocean horizon enlivened by sailboats, on rectangular, unfra...

This is a rich-looking 19th-century hand-painted floor screen with a portrait gallery. The materials make it 19th-century, but the subjects are dr...

Antique Oil on Canvas Landscape Painting of a Mountain Lake Seated in Giltwood Frame, C1890 Measures- 24.25''H x 31.5''W x 3''D; 24'' x 17.5'' sight

"Aveiro Moliceiros boats", Portugal, 2002, Oil Painting on Canvas, (60 x 80 cm, not framed), by Patrice Guiraud For sale not framed. Patrice is a painter and sculptor who explores ma...

Abstract Painting by Miguel Alvarez Acosta cultural ambassador of Mexico and former director of the INBA National Museum of Art in Mexico. Midcentury Modern Mexican Art...

1970s, Norwegian design. Lounge chair with footstool. Original very good condition: no smells, no stains, stable construction. Brown leather, canvas, be...