Undyed Wool
The field is left entirely open, a plain expanse of pale golden tones animated only by a subtle herringbon zigzag texture running its length. A slightly darker, solid-toned border frames the field on either long side, unbroken by any additional pattern or ornament. The inset detail reveals the same chevron surface at close range, showing flecks of lighter and darker fiber intermingled across the ground.
Undyed Wool
The field is arranged as an offset grid of squares in ivory, warm brown, and taupe-gray, each block showing a subtly different tonal streaking that gives the surface a handwoven, irregular texture. There is no border framing the design; the checkerboard pattern runs edge to edge, with the outermost squares cut off at the margins. The overall palette stays within a narrow range of undyed tones, shifting gently from pale cream to deeper brown across the composition.
100% Turkish Wool, Grey / Black Lines
A near-monochrome field in soft taupe-grey is subtly divided by an irregular grid of thin dark lines, some doubled, that break into offset rectangular compartments rather than a symmetrical lattice. Small cross-shaped accents and clusters of tiny checkered stitches appear at a few intersections, interrupting the otherwise unbroken surface. The overall composition reads as an open, sparsely marked field with the border left undefined from the ground.
Undyed Wool
The open field is left entirely plain, its surface animated only by the natural variegation of the fibers, which drift from pale cream to soft tan and warm taupe in irregular, cloud-like patches. A broad, unornamented border in a deeper olive-grey tone frames the field on all four sides, its width consistent throughout and its edges left crisp and straight. The overall effect relies on subtle tonal shifts rather than any drawn motif or pattern.
Undyed Wool
The field is left entirely open, a plain expanse of natural, undyed tones ranging from pale cream to soft ochre. Subtle waves and striations move across the surface, created by the varying color and texture of the fibers rather than by pattern, giving the ground a quiet, almost sand-like movement. No border, medallion, or other motif interrupts the uniform, unadorned plane.
Undyed Wool
Beige field with warm brown border
Undyed Wool
The field is left open in tones of ivory and pale gold, with a mottled, watery texture that shifts irregularly across the surface, denser in patches toward the upper left and lower edge. There is no border framing the design; instead, the abrasion of color moves freely to the outer edges. A partial circular form, banded in narrow concentric rings, appears in the lower right corner, distinct from the surrounding cloud-like patterning.
Herringbone border
Undyed Wool
An open field in a soft taupe-grey fills the center, left entirely plain and unadorned. A narrow ivory band frames the field before giving way to the wider outer border patterned in a repeating zigzag, rendered in warm beige against a cream ground. A detail inset in the lower right corner reveals the surface texture up close, contrasting the smooth field with the more textured, patterned border.
Undyed Wool
The field is left entirely open, a solid expanse of deep umber-brown broken only by faint horizontal striations where lighter and darker strands cross the surface. No border, medallion, or other motif interrupts the plane; the color shifts subtly from warm chestnut to near-black in a soft, irregular banding. The detail inset shows a close, even surface flecked with occasional pale threads amid the darker ground.
Chequerboard border design
Undyed Wool
The open field is left plain in pale ivory, its surface catching light in soft striations that shift subtly from panel to panel. Framing this expanse, a border built of small squares in ivory, beige, taupe, warm rust, chocolate brown and slate grey marches in an irregular, blocky sequence around all four sides. The corners are turned without a clear guard stripe, allowing the checkered pattern to meet directly at each edge.
