Wool and natural linen.
A geometric composition of pieced squares and rectangles arranged in an off-kilter grid, each segment joined by visible whipstitched seams. Plain fields of solid taupe and ivory alternate with narrower panels of vertical stripes in brown, tan, ivory, and touches of rust. The overall palette stays within warm neutrals, with the striped sections providing the only patterned contrast to the flat, block-like fields.
An undyed field pieced entirely from natural striated tones of beige, taupe, and warm gray, arranged into large triangular and diamond sections whose seams are joined with visible whipstitching in cream thread. The directional striping within each panel runs at contrasting angles, producing an overall zigzag or chevron effect across the surface without any additional border or applied motif.
Composed of two joined panels, the field is organized into broad horizontal bands: wide ivory registers at the top and bottom framing a dense central zone of dark brown striping interlaced with narrower lines of medium brown and taupe. A visible vertical seam runs the full length where the two panels meet, and the edges are finished with a simple overcast stitch in a contrasting tone.
An entirely open, undecorated field in pale ivory, divided down the center by a single vertical seam joining two panels. A narrow herringbone-stitched band runs along that seam, the only textured element on an otherwise plain surface.
The field is left entirely open, a plain expanse of pale ivory with no pattern or ornament. A single vertical seam runs down the center, marked by a narrow band of herringbone-stitched joining, dividing the field into two nearly identical panels. The outer edges are finished with a plain flat selvage, and the overall surface remains uniform in tone throughout.
100% Linen.
The field is divided into an irregular network of angular facets—elongated hexagons, triangles, and diamond shapes—each rendered in a slightly different tone of ivory, sand, and taupe. Within each facet the surface reads with fine striated texture, so the shifting direction of these natural streaks gives the geometric segments a subtle sense of movement against one another. There is no border in the traditional sense; the faceted pattern runs edge to edge, with the outermost shapes trimmed flush at the perimeter.
Assembled from rectangular and square panels of varying sizes, each edged in a contrasting whipstitch, forming a jigsaw-like composition rather than a continuous field or border. Some panels are flat, solid brown-black grounds, while others carry fine vertical or horizontal striations in taupe, oatmeal, and grey, giving the surface a patchwork of texture and tone. The staggered, cross-like arrangement of blocks creates an irregular overall outline rather than a fixed rectangular format.
Two joined flatwoven panels are arranged side by side, each composed of horizontal bands in varying widths of dark brown, medium brown, and taupe, interrupted by a broad ivory stripe across the lower field. The panels are not perfectly aligned, leaving a slight asymmetry where the ivory bands meet at the center seam. Edges are finished with a whipped overcast stitch visible along the top, bottom, and sides.
A brickwork arrangement of rectangular panels in a warm taupe-brown tone, each section joined edge to edge and outlined with cream-colored whipstitching in a running herringbone pattern. The panels vary slightly in size, staggered like a running bond, with no field ornament beyond the visible seams and stitched joins themselves.
Four flat squares of taupe-brown are set at a slight rotation within a plain ivory ground, each square outlined first in a narrow dark brown band and then finished with a hand-stitched whip edge in cream thread. The composition divides the field into equal quadrants, with the ivory ground showing between the tilted squares in a subtle cross pattern. The palette is limited to warm neutrals - taupe, dark brown, and unbleached ivory - with no other motifs or border treatment beyond the pieced geometry itself.
