The pale grey-blue field is scattered with a regular grid of small rose sprigs in coral pink and soft yellow, each accented with green leaves. A wide border of larger rose bouquets, arranged in loose diagonal clusters, runs along all four sides, framed by a slender twisted rope-like guard stripe in cream and tan.
The field is divided by ivory grid lines into fifteen dark navy compartments, each set with a floral bouquet or a single small blossom in alternating arrangement, the flowers rendered in pink, lavender, yellow, cream and white with green stems. A pale beige border encloses the field, patterned with a checked ground and a repeating sequence of small rosettes in matching pink, lavender, yellow and rust tones, framed by a slender dark outer line.
The field is organized into a grid of twenty-five octagonal medallions on a deep navy ground, each enclosing a distinct floral bouquet or, in four corners of the grid, a small perched bird among foliage. Ochre-gold lattice work separates the octagons, with small quatrefoil devices filling the interstices, while a wide border of dense, overlapping garden flowers - roses, tulips, daisies, and morning glories in pink, yellow, blue, and cream - frames the entire composition. No two central medallions repeat the same flower grouping, giving the overall grid a sampler-like variety.
An ivory ground is covered in an all-over lattice of rose sprays, each cluster of coral and pink blossoms rendered with sage-green leaves and small sprigs of lavender and violet blossoms scattered between. A narrow rose-and-vine border, echoing the field's floral bouquets, frames the composition on all sides in the same soft rose, olive, and cream palette, with a slender striped guard line separating field from border.
The field is organized into a repeating grid of medallions, each a pale blue lozenge containing a bouquet of pink and rose-red roses with olive-green foliage, set within cream-colored acanthus scrollwork on a dark green-black ground. Small quatrefoil accents appear at the intersections of the scrolled lattice, and the pattern continues edge to edge without a distinct border, suggesting a continuous all-over tile design.
An open ivory field is left largely bare, animated only by a central floral bouquet and four matching sprays set in each corner, each rendered in soft pink, coral, blue, lavender and green with sprigs of foliage tied at the base. A narrow guard stripe in dusty blue with a meander pattern runs along the outer edge, framed by a thin red line closest to the field.
An ivory ground is scattered with small gold rosette sprigs and dominated by a single large central medallion of radiating acanthus-like leaves in coral pink, mustard yellow, pale blue and green, gathered around a compact dark green and orange rosette at the center. A slim rust line and a wider pale blue band frame the field as the outer border.
The field is divided into four equal rectangular compartments, each on a soft blue-grey ground bordered in peach and navy, holding four small rosette clusters in olive green and rust arranged at the corners. The wide outer border on a tan ground carries scrolling vine tendrils with olive leaves punctuated by pairs of stylized birds and paisley-like sprays in dusty rose and pale blue, framed by a narrow band of alternating navy and cream lozenges. Corner and mid-border medallions in small floral rosettes echo the palette of olive, rust, peach, and navy used throughout.
An American Floral Needlepoint worked by Sarabel Florsheim, signed with initials.
