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.
Undyed Wool
The field is a soft, uneven expanse of taupe and grey-brown tones, its surface shifting subtly in tone like weathered stone. A quiet grid of pale, undyed lines runs irregularly across the ground, forming broken rectangles and open segments rather than a continuous border. The composition remains largely unadorned, with the linear motifs offset asymmetrically toward the corners and center, leaving much of the field open and untouched.
Undyed Wool
The field is left entirely open, without medallion or border, given over to horizontal bands of striated color that shift gradually from pale sand to deep charcoal-brown. These bands are irregular in width, some crisp and others softly blurred where tones bleed into one another, evoking the natural graining of wood or stone. A circular inset shows the surface at close range, revealing the herringbone twist of the strands that make up these subtle tonal variations.
Undyed Wool
The field is left entirely open, its plain surface animated only by soft horizontal striations that ripple across the ground like grain in wood. Tones shift gently from pale flaxen to deeper taupe as the light catches the pile at different angles, with no border or applied ornament to interrupt the expanse. The detail view reveals a fine, even texture of closely aligned fibers running in parallel bands.
