Soumak

The deep indigo field is covered in an all-over lattice of palmettes, rosettes, and cypress-like sprays rendered in ivory, soft rust, and pale blue, with vertical rows of pointed cartouche forms repeating across the surface. A wide tan border filled with dense floral scrollwork separates two narrower indigo guard stripes patterned with small blossoms. The composition is symmetrical along both axes, with the field pattern running consistently to the outer edges without a directional medallion.

Geometric pattern in gray-blue, purple turquoise, black and gray-brown.

A large lobed medallion built of nested diamond outlines in alternating rust and ivory grounds dominates the field, each layer filled with small-scale herati-type floral lattice in muted rust, slate blue, and cream, with pointed pendant finials extending from the medallion's top and bottom tips. The corner spandrels echo the same dense floral scrolling in rust against ivory, and the surrounding border stack pairs a wide band of rosettes with narrower guard stripes carrying a repeating boteh-like leaf motif in dark brown on tan.

Rya Wall Hanging (Pile and Flat Weave technique)

Signed: Mary Moeschlin

Sold as a pair or as an individual.

#03447 measures 4' 3" x 4' 6"

#22275 measures 4' 9" x 4' 7"

The deep red field is covered in an allover lattice of angular vine work, from which spring ivory palmettes and rosettes arranged in staggered rows, interspersed with small blue and cream botehs and star forms. A slate-blue main border of stylized floral vinery is framed by narrower stripes of cream, red, and a serrated leaf pattern along the outer edge. The overall palette stays close to brick red, indigo, ivory and soft slate blue throughout.

The field is divided into two columns of six rectangular compartments, each holding a stylized crouching lion or feline rendered alternately in orange against a dark brown ground and in dark brown against a lighter camel ground. A diagonal-striped border in slate blue and burnt orange frames the field, with matching striped cornerpieces at each corner. Warp fringe is left plain and undyed at both ends.

An ivory ground is covered edge to edge with tidy rows of small motifs: multi-pointed stars alternating with simple upright tree-like figures, worked in coral red, slate blue, olive green, and brown. A thin blue line frames the field, set within a plain ivory border, and the flat-woven ends finish in short warp fringe.

Initialed: 'B. Grahn' (Brita Grahn)

A brown ground carries three vertical columns of stepped, interlocking rectangular blocks in soft grey, sage green, ivory, and brick red, each column reading as a staggered totem of offset forms. The blocks shift rhythmically up and down the height of the field, with small toothed grey elements breaking the geometry along each column's spine. The composition runs plain to the outer edges, with no separate border framing the design.

A twelve-sided format built entirely from triangular segments radiating from a central pointed star. Bands of taupe-brown triangles alternate with ivory ground to form nested star and diamond patterns, growing larger toward the outer edge where the points meet the faceted border. The geometry is precise and symmetrical, with no additional motifs beyond the interlocking triangles themselves.

A golden field is covered in an allover trellis of vinework in rust red, carrying stylized floral sprays and small vase-like blossoms in dusty blue and coral. Multiple borders frame the composition: a narrow ivory band of small blossoms, a wide indigo stripe with rosettes, and an outer rust guard, all bound by a final deep plum edge. The palette throughout stays within gold, rust, ivory, and slate blue.