Soumak

An all-over geometric field built from a repeating grid of triangles and squares, arranged so that flat ivory squares alternate with diagonally divided panels in shades of brown and tan. The diagonal bands display a range of tonal striations, from pale beige to deep chocolate, giving each triangle its own subtle gradient, while a narrow flat-woven border in matching ivory closes the composition on all sides. No inscriptions or motifs beyond the interlocking geometric pattern are visible.

The field is composed entirely of small rectangular and square blocks pieced together in a basketweave pattern, each panel showing a subtly different tonal striation within a narrow range of cream, straw, and pale tan. Fine pale stitching lines trace the seams between blocks, giving the surface a quilted, patchwork rhythm rather than a continuous woven design. There is no border, no central medallion, and no figurative or floral motif; the composition relies entirely on the shifting grain and color of the individual panels for its visual interest.

5 persian panels stitched together with un-dyed linen regular stitch and finished with 2 colors wool cathedral binding at the edge.

The field is organized into five vertical panels of varying width, each with its own irregular horizontal striping in tones of taupe, oatmeal, and warm brown. Thin bands of darker brown, some nearly black, punctuate the panels at uneven intervals, breaking the otherwise soft, mottled ground. There is no border to speak of; the composition reads as a stitched sequence of striped fields set edge to edge.

An all-over honeycomb lattice covers the field, with an unbroken repeat of hexagonal cells rendered in soft ivory. The connecting lines forming the hexagons appear in a slightly deeper grey-beige tone, giving the surface a subtle tonal contrast against the pale ground. There is no distinct border, the pattern running edge to edge with no central medallion or corner treatment to interrupt it.

An overall honeycomb lattice of interlocking hexagons fills the field edge to edge, with no distinct border containing it. The hexagon cells alternate between pale ivory and warm taupe tones, while the connecting lattice lines shift between deeper brown and softer gray, giving the surface a subtly shifting, tonal geometry. The repeat is uninterrupted and directional, running diagonally across the visible field.

Turkish wool, hemp, linen & cotton panels with bronze wire stitching.

3 Persian panels stitched together with brown linen and orange wool twisted together, binding at the edge made with brown wool only.

The field is composed of an all-over grid of offset squares in ivory and pale grey, interspersed with narrower striped blocks of gold, ochre, and grey vertical lines. There is no distinct border; the checkerboard-like arrangement runs edge to edge, giving the surface a modular, patchwork appearance. The palette stays muted throughout, with the striped accents providing the only textured contrast against the flat, solid-colored squares.

Hezar Jerib panels