Double-sided
A predominantly ivory ground is broken by a central cluster of small stepped, diamond-like motifs rendered in soft beige, arranged in three loosely aligned columns. Thin dark threads run at intervals across the surface, creating a subtle grid that emphasizes the thick, looped texture of the weave. Both ends finish in long, dark brown fringe, and a detail inset at lower right highlights the coarse, chunky structure of the surface up close.
Double-sided
An undyed ivory ground is left plain at the outer edges and gathered at center into a series of raised vertical ridges, their looped texture standing proud of the flatter weave around them. Dark brown-black threads run through the structure in fine paired lines, surfacing only intermittently to punctuate the pale surface. Long fringes in the same dark tone finish the top and bottom edges, and a detail inset shows the closeness and irregularity of the looped ridges up close.
The field is organized into vertical panels of varying width, each striated with fine horizontal bands that shift subtly in tone from panel to panel. Colors move through a narrow natural range—sand, taupe, warm brown, and pale ivory—giving the surface a striped, almost architectural rhythm. No border frames the composition; the striped panels run edge to edge, and the selvages remain plain and undecorated.
Provenance: from the drawing room in the estate of the late Alfred Esdaile in Connaught Place in London.
The rust-red ground is covered overall in a small-scale floral lattice and is dominated by a large central lozenge medallion in the same palette, flanked above and below by elongated pendant medallions rendered in deep indigo with polychrome floral cores. Ivory, blue, and rust palmette and rosette borders frame the field in successive narrow bands. The medallion outlines are stepped rather than smoothly curved, giving the shapes an angular, jagged silhouette.
Attributed to Linköpings Hemslöjd.
100% wool woven over a linen foundation.
Provenance: The Ronneby Courthouse. South-East Sweden, ca. 1940-'50.
An open field of deep saturated gold carries a central medallion formed by a radiating star of slender ivory sprays enclosed in a circular guilloche band, with a small rosette at its core. Fan-shaped cornerpieces in ivory anchor each corner, and delicate garlands, tassels, and pendant motifs extend along the vertical axis toward the medallion. The border is a continuous ivory guilloche of interlacing scrolls on the same gold ground, framed by narrow plain stripes.
A golden-yellow ground patterned with a fine trellis of small diamonds surrounds a large central medallion in ivory, its scalloped outline enclosing concentric rings of pink acanthus scrolls, rosettes, and tasseled swags around a small oval floral cartouche. Sprays of pink and white roses with green foliage occupy each spandrel, and the border repeats the acanthus-and-ribbon scrollwork against a pale sage band framed by narrow striped guard stripes. The palette throughout stays within ochre, ivory, dusty pink, sage green, and touches of powder blue.
A sage-green field is filled with a dense grid of medallions set within ovals and lozenges, each enclosing floral rosettes rendered in gold, rust, plum, and cream against small dark accents. Between the roundels, cruciform floral sprigs fill the negative space, and the composition is framed by a wide brown border patterned with stylized oak-leaf and acorn motifs, flanked by narrower guard stripes in tan and dusty rose.
