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.
Undyed Wool
The field is arranged as a grid of small rectangular compartments set against a heathered grey ground, each cell filled with a different pattern of solid color, checkerboard grids, or small floral motifs in ivory, rust, teal, mustard, and deep brown. A plain sandy-toned border with faint striations frames the composition, contrasting with the more densely patterned central grid. The overall effect is quiet and modular, with each compartment reading as its own miniature design.
Undyed Wool
The field is left entirely open, a plain expanse of warm tan ground with subtle horizontal striations of lighter and darker fibers running its length. A narrow ivory band frames the field before giving way to a wider outer border filled with a continuous chevron, or zigzag, pattern rendered in soft tan against the ivory ground. The corners of the chevron border meet cleanly, maintaining an unbroken rhythm around all four sides.
An open field in a warm terracotta tone is overlaid with a plaid-like grid of intersecting lines in ivory, dark brown, and muted olive-green, drawn slightly irregularly by hand rather than mechanically ruled. The composition has no separate border, allowing the grid to run to the edges of the field, with each line varying subtly in thickness and spacing as it crosses the surface.
The field is organized as a grid of squares in varying tones of tan, camel, and beige, some panels darker or lighter than their neighbors, creating a loose checkerboard rhythm across the surface. Thin lines in cream and dark brown run horizontally and vertically to define each cell, with the cream bands slightly wider and more irregular in their handling. There is no border framing the composition; the grid extends edge to edge, leaving the field open and continuous.
The field is organized in wide, undyed brown bands interrupted by narrower decorative stripes of ivory, rust, and ochre worked with zigzag lines, small triangles, and dense diamond lattices. Scattered small emblematic figures, faint arrow-like or bird-like marks, appear isolated within some of the plain brown fields. The ends finish in loose warp fringe, and a detail inset highlights the fine geometric patterning of one of the banded stripes.
A long narrow field of deep charcoal-brown ground is animated by two staggered columns of short horizontal bars in dusky red, each bar patterned with a fine diamond lattice. Near the top a single band on each side appears in a paler ivory-gold tone, breaking the otherwise uniform rhythm of red marks descending the length. The ends finish in loose, undyed fringe, and the composition reads as an open, minimally decorated ground punctuated by these floating dashes.
