A pale straw-yellow ground is overlaid with a grid of thin brown lines, each cell crossed by diagonal lines meeting at a central point to form an X within every square. The border is left plain, with only a narrow flat band framing the field, and the geometry runs uninterrupted to the edges without a distinct corner treatment.
The field is organized into a grid of squares outlined by fine grey lines, each cell filled with a slightly varying tone of cream, straw, and pale gold that gives the surface a subtle checkerboard shimmer. A plain narrow grey band frames the composition on all sides, with no additional border ornament. The overall effect is one of quiet tonal variation rather than pattern, with the grid itself serving as the sole decorative device.
An unbordered field carries an interlocking geometric lattice of narrow rectangles and stepped bars, rendered in soft taupe-brown against an ivory ground. The pattern repeats edge to edge without a framing border, reading as a continuous architectural grid rather than a bounded composition. Subtle irregularities in the drawing of the small rectangular links give the overall symmetry a hand-marked variation.
A taupe field overlaid with a fine diamond lattice supports eighteen concentric-square medallions arranged in a grid of three columns and six rows, each square rendered in muted tones of gold, sage, grey, and ivory with a small notch at its crown. The wide outer border repeats a dense pattern of small squares in cream, gold, and near-black, interrupted by a secondary band of solid gold circles set against the same taupe ground.
Salt & Pepper Color
The field is filled edge to edge with an interlocking geometric lattice of gray triangles and diamonds set against an ivory ground, arranged in repeating rows that form a hexagonal網 grid. Slender vertical bars pierce the points of the triangles at regular intervals, adding a small rhythmic accent within the larger angular pattern. There is no distinct border separating the field from the outer edge, allowing the lattice to run continuously to the perimeter.
Swedish Flat Weave Technique
Celadon Color
Mixed pile & flat weave technique
FJ Hakimian, Inc. will utilize design for inspiration purposes only
The field is organized into a tight grid of squares, each containing an interlocking, key-like or 'H' shaped motif rendered in shades of gold, ivory, and olive-green against a muted taupe ground. The repeated blocks shift tonally across the surface, creating a subtle checkerboard rhythm rather than a fixed color pattern, while a plain narrow band frames the composition on all sides.
The field is filled edge to edge with a small-scale checkerboard pattern, alternating squares of mustard yellow, olive gold, and pale ivory, creating a subtle shimmer across the surface. There is no distinct border to separate the field from the outer edge, and the pattern runs uninterrupted to the fringed selvages at top and bottom. A small woven inscription in yellow thread appears in the lower right corner of the field.
The field is organized into a strict grid of rectangular compartments, each enclosing a stepped, key-like fretwork motif rendered in taupe-grey against an ivory ground. The repeating panels alternate in tonal weight, some outlined heavily in grey, others left paler, giving a subtle checkerboard rhythm across the surface. There is no separate border; the compartmented field runs edge to edge, with the geometric lattice interrupted only by the outer selvage line.
The field is organized into a grid of rectangular compartments, each rendered in a distinct texture and directional pile stroke, ranging from tight nubby stipples to fine horizontal and vertical striations. A narrow ivory ground with thin banded stripes frames the composition, and the whole surface is held within a monochromatic range of golden yellows, ochres, and olive tones. Fringed ends left plain complete the piece, with no border medallion or figural motif interrupting the checkerboard arrangement.
