Wool

A rust-red field carries two columns of three large roundels, each ringed with slate-blue foliate garlands enclosing ivory floral medallions accented in gold, with small diamond-shaped connectors filling the spaces between the circles. The wide border repeats a slate-blue palmette-and-vine pattern against the same ivory ground, flanked by narrower guard stripes of stylized rosettes and trefoils in matching tones. The rust ground shows subtle striations of tone, and the piece ends in plain warp fringe at both ends.

A long narrow runner composed of horizontal bands in varying widths of tan, beige, taupe, and warm gray, alternating with narrower ivory and soft gray stripes. The field is entirely given over to this striped sequence with no central medallion or figural motif, the palette kept to a close range of neutral earth tones. A detail inset shows the close, irregular texture of the surface, where flecks of dark brown and cream yarns interweave within the pale ground.

Initialed "JBS" on reverse

Designed by Marcel Kammerer and woven by 'Backhausen & Sohne'

The rose madder field with a floral wreath with stylised roses.

Vienna Art Noveau period

The field is organized into a grid of eight compartments, each framed in dark blue and containing a pair of stylized mirrored floral or leaf forms rendered in cream, plum, pink, and mustard yellow against a pale ivory ground. A broad outer border repeats an angular, almost figural motif in the same palette of muted pink, blue, brown, and yellow scattered across a warm tan background, separated from the field by narrow striped guard bands. The overall coloration stays soft and earthen, with the ivory field panels contrasting against the busier, denser border pattern.

Wool pile and linen flat weave.

An almost monochrome ground in pale straw and honey tones is divided into an irregular grid of rectangular panels by thin terracotta-colored lines. Within one panel to the left, a cluster of short parallel bars extends inward like tick marks, breaking the otherwise plain surface. The border repeats the same slender rust-colored outline, framing the composition without additional ornament.

A wide sand-colored ground is left largely open, framed by an irregular geometric composition of angular, stepped bands rendered in chocolate brown outline and solid blocks. Interlocking rectilinear panels in muted celadon green and dusty pink shift across the field, their right-angled turns and staggered ledges suggesting an architectural plan rather than a traditional medallion. A small cluster of parallel horizontal bars appears at the right edge, and the composition runs to the outer selvage without a distinct border, allowing the abstract shapes to meet the plain margin directly.

An abstracted composition scatters leaf and frond shapes, diagonal hatchings, and crossed-line motifs across a pale ivory ground, with a small plaid-patterned block set into one corner like a fragment of another pattern. The border is a narrow striped band alternating red, tan, and cream, punctuated at each corner by a small dark checkerboard square. Colors throughout stay muted - ivory, taupe, slate blue, and brick red - giving the whole field a loose, sketch-like irregularity rather than a repeating design.

Signed:  Bleynie

Against a deep black ground, a dense flock of stylized long-necked birds moves through an invented garden of angular palms, sunbursts, and geometric blossoms. The palette is limited to ochre, mustard, dove grey, and cream, with small red-orange accents marking beaks and berries. At upper right a large oval medallion suggests a rising sun, while the woven signature appears in pale script at the lower left corner.

Hand woven on cotton thread

85% Abaca, 15% Cotton Thread

Minimum Width: 2 ft (0.60 m)

Maximum Width: 9 ft (2.74 m)

Maximum Length: 20 ft (6.09 m)