Wool and Chenille
The field is left entirely open, filled edge to edge with a fine speckled texture of rust, ochre, olive, and brown flecks that blend into an overall heathered tone. There is no border to speak of, only the plain surface running uninterrupted to each edge. Vivid red fringe finishes the top and bottom, providing the single sharp accent against the muted, mottled ground.
A high-pile field composed of sweeping, interlocking arcs in tones of mustard, olive, chartreuse, cream, and taupe, forming a bold curvilinear pattern that reads almost as overlapping circles. The design runs edge to edge with no distinct border, the shapes bleeding off the sides, and the piece finishes top and bottom in loose ivory fringe.
The field is organized into a lattice of diamonds formed by chevron and feather-like striations in charcoal, slate gray, and ivory, each compartment alternately filled with a compass-star medallion or a plain herringbone panel. The star medallions, rendered in ochre, gray, and cream, sit within circular surrounds set against the darker diamond grounds. There is no distinct border; the pattern runs to the edges of the field, with the surface texture left long and uncut throughout.
Initialed "MG" Martha Gahn
'Reliefflossa' (knotted pile in relief)
Signed "A65"
Initialed "HJ" Hilma Jansson
The field is organized as a grid of squares, each containing an angular interlocking key-fret motif rendered in low relief. Colors shift subtly cell by cell between soft yellow, pale green, and muted gray-beige, giving the overall surface a shimmering, checkerboard-like quality. A narrow plain border in matching tan frames the field, with the warp fringe left visible at both ends.
A dark brown, almost black ground scattered with an irregular grid of angular pink and crimson lines that bend and branch like a circuit diagram, punctuated by small crown-like yellow motifs, pale blue-green accents, and scattered white bird and comb-shaped figures. There is no border, allowing the pattern to run to the edges, and a small numeral or set of characters is woven in pale blue-green in the lower right corner.
An open ivory ground is crossed by a diagonal lattice of brown and tan lines that intersect to form a large diamond trellis. Scattered across the surface are irregular bands of speckled texture in rust, brown, and pale gray, drifting horizontally like clusters of dust or spray rather than following the diamond grid. The border is left plain, matching the field's ivory tone, so the pattern reads as though suspended on an unbounded surface.
Design by Eva Brummer
An open ivory field is framed by a golden-ochre band strung with a ring of small diamond medallions in ivory, plum, and gray, echoing outward toward zigzag foliate forms at each corner. At the center sits a small rectangular panel in muted plum filled with a compact geometric motif, flanked by paired arrow-like devices in gray and rose. The outer border repeats a saw-tooth pattern in tan against pale ground, while stylized swastika-form roundels occupy the four corners in oxblood and gray tones.
