The field is composed of horizontal bands alternating between undyed ivory and warm taupe-brown, each stripe irregular in width and slightly wavering rather than perfectly straight. There is no separate border; the striping runs edge to edge, finished along all four sides by a hand-worked overcast edge in dark brown. The overall palette stays within natural, undyed tones, giving the piece a plain, unadorned surface.
Turkish Cotton & Linen panels.
The field is composed of three vertical panels in an undyed, ivory-toned ground, their subtle striations running the length of each section. Three narrow horizontal bands in a whiter, more textured surface interrupt the composition at irregular intervals, breaking the otherwise plain expanse. A continuous overcast stitch traces the outer edge and the seams between the joined panels, visible as a raised, looping line throughout.
Wool and cotton
Salt & pepper panel.
The field is left entirely open, a solid expanse of mottled grey-brown tone that shifts subtly across the surface in faint vertical striations. A narrow, darker border of tight overcast stitching runs along all four edges, framing the panel without additional ornament. No motifs, inscriptions, or color changes interrupt the plain ground.
The field is divided into four vertical panels joined by visible cream-colored whipstitch seams, each panel woven in irregular horizontal striations of brown, taupe, and warm gray that shift in tone from panel to panel, with flecks of ivory and near-black scattered throughout. There is no border in the traditional sense; the outer edge is finished with the same overcast stitch that joins the panels, and the composition reads as an open, undecorated field organized purely by these seams and tonal bands.
The field is divided into four vertical panels of coarse, open weave, each crossed by irregular horizontal bands in dark brown that shift in placement and spacing from one panel to the next, creating an offset, almost banded-grid effect. The ground ranges from pale oatmeal to grayish beige, with visible texture and slubs giving the surface an uneven, hand-hewn character. A plain flat selvage of twisted brown yarn runs along all four edges, with no additional border ornament or field motifs beyond the stripes.
A patchwork field composed of twelve rectangular panels stitched together with visible dark whip-stitched seams, each panel differing subtly in texture and tone from taupe and oatmeal to walnut and chocolate brown. No border frames the composition beyond the same overcast edge finish that outlines the panels, giving the whole surface an irregular grid effect. Variations in the striping and flecking within each block suggest they were joined from separate lengths rather than woven as a single continuous field.
The field is divided into four vertical bands, each further broken into stacked horizontal blocks, forming an irregular grid of natural tones ranging from pale oatmeal to warm walnut and deep umber. Subtle striations and flecks of lighter and darker fiber run through each panel, giving the surface a mottled, banded texture rather than a uniform color. There is no border or figural ornament; the composition relies entirely on the shifting rectangles of undyed-looking earth tones, with a plain overcast edge visible along the perimeter.
An open field divided into four vertical panels, each seamed together and worked in a plain flatwoven texture. The tones shift subtly panel to panel between warm brown, taupe, and oatmeal, with occasional lighter striations breaking the surface horizontally. A whipstitched border in matching undyed tones frames the composition, leaving the overall design without any additional motif beyond its banded structure.
The field is organized into four vertical panels of coarse, open-textured ground, each crossed at irregular intervals by dark brown horizontal bands of varying width, so that the stripes fall out of alignment from one panel to the next. The palette is limited to undyed tones of oatmeal, taupe, and deep umber, with visible variation in the twist and thickness of the strands giving the surface an uneven, hand-worked texture. A whip-stitched edge in dark brown runs continuously around all four sides, framing the piece without a separate border design.
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.
