Undyed Wool
The field is organized into a grid of rectangular compartments outlined in a soft taupe-brown line, each cell filled with a subtly abrasive, cloud-like variation of ivory, straw, and pale lavender tones. No border frames the composition; the grid runs to the edges, giving the surface an open, modular quality. Fringe finishes the top and bottom edges in the same undyed palette as the ground.
Undyed Wool
The field is composed of offset rectangular blocks arranged in a brick-like pattern, running edge to edge without a distinct border. Tones shift gently from pale cream through warm taupe and grey-brown to deep charcoal, giving each block its own hand and sheen. A detail view in the lower corner shows the surface texture, where the abrupt boundaries between blocks create a subtle patchwork of light and shadow.
Undyed Wool
The field is left entirely open, a plain expanse of warm sand and honey tones broken only by subtle striations running the length of the piece. Faint horizontal bands of slightly deeper taupe and gray drift across the surface, giving a soft, textured movement rather than a defined pattern. No border, medallion, or additional ornament interrupts the plain ground, and the detail view shows the same fine linear striping close up.
Undyed Wool
The field is left entirely open, a plain expanse of pale straw and honey tones that shift subtly with the play of light across its surface. No border, medallion, or figural motif interrupts the ground; the only visible detail is the texture itself, a faint striated grain running horizontally, with loose fringe visible along the top and bottom edges.
Undyed Wool
The field is left open, a plain expanse of pale gold and cream that shifts in tone as light moves across the surface, producing a rippling, almost watered effect. A faint diamond lattice is impressed into the surface, visible only as a subtle sheen against the surrounding ground rather than as a drawn pattern. A circular inset at the lower right offers a close view of the surface's irregular, flecked texture.
Undyed Wool
The open field glows a warm camel tone, its surface animated by subtle striations and a loose scatter of small polychrome dots arranged in a soft diamond pattern across the center. A plain sage-grey band frames the field, followed by a wide ivory border speckled with tiny multicolored dots and faint watery striations, all enclosed by a dark umber outer band. The corners meet cleanly with no interruption to the concentric arrangement, and the palette throughout stays within natural, undyed tones of cream, taupe, grey, and brown.
Undyed Wool
The field is left open, its surface animated only by a subtle watery movement of pile direction that catches the light in soft ripples across a muted olive-grey ground. A wide plain border in warmer beige surrounds it, framed by a fine flat band and finished with a narrow ivory selvage at each end. No ornament interrupts either zone, so the entire composition relies on tonal contrast and the shifting texture of the pile itself.
Granite Soumak. Undyed Wool.
The field is left entirely open, composed of fine horizontal striations that shift gradually from warm taupe to charcoal and slate grey, with occasional threads of pale ivory breaking through the darker bands. There is no border to speak of, the surface reading instead as a continuous, unbroken plane of subtly varied tone. Loose fringe is visible along the top and bottom edges, left raw and untrimmed.
Beige with herringbone border. Undyed Wool.
Undyed Wool
A checkerboard field alternates plain squares in cream, taupe, and warm brown against a scatter of squares filled with tight wavy striations, the pattern shifting slightly out of true alignment near the center. Scattered in the corners and along the inner border are small figural motifs - a bird, an animal with an upright tail, and a slender plant form - worked in faint outline against the open ground. Wide plain bands in graduated tones of tan and taupe frame the composition, stepping inward from the outer edge to the checkered field.
