Wool

'Röda Trolleriet' (Red Magic)

Initaled "AB MMF, MH" (AB Märta Måås-Fjetterström, Marin Hemmingsson)

Provenance: Hotel Anglais

A pictorial field dominated by a large howling wolf-like creature rendered in patchworked tones of ochre, tan, and black, its body composed of dense angular striations and small emblematic marks. The surrounding ground is divided into irregular passages of slate blue, cream, and deep red, populated with smaller stylized bird and animal forms, star-patterned shapes, and scattered abstract signs.

The field is organized into six vertical bands, each subdivided into stacked rectangular blocks of varying heights, creating a patchwork grid across the surface. Fine horizontal striations run through every block, shifting in tone from warm cinnamon and taupe to pale cream and cool gray-brown, so the color reads as a continuous gradient interrupted by the block seams. No border framework separates the field from the edges, leaving the striped patchwork to run to the selvages.

A honeycomb lattice of hexagons covers the entire field in tones of warm tan and soft brown, each cell outlined by a slightly lighter banded line that gives the interlocking shapes a subtle raised effect. The hexagon interiors alternate faintly in shade, creating a quiet play of light and shadow across the surface, with no distinct border framing the design.

The field is organized into vertical bands, each filled with narrow horizontal stripes in alternating ivory and tan; the stripes shift slightly out of register from column to column, producing a brick-like, offset checkerboard rhythm across the surface. There is no distinct border, the striped pattern running to the edges on all sides, and no visible medallion, inscription, or other motif interrupts the uniform geometry.

The field is divided into three vertical panels of banded stripes in varied widths, each panel reading as a distinct passage of striation in shades of brown, tan, and cream. The right-hand panel breaks the earthen palette with a few accent bands of pale pink, ivory, and a cool blue near the top, giving that section a lighter, more varied cast. No border is present; the composition runs edge to edge with the stripes acting as the sole decorative device.

An all-over lattice of interlocking arched and diamond shapes covers the field, each panel rendered in a distinct tonal variation from pale sand to deep umber, giving the surface a shaded, dimensional quality. The repeat is arranged in staggered horizontal bands, with the arch tips alternating direction row by row. No separate border frames the composition; the pattern runs edge to edge, and the palette stays within a narrow range of browns and beiges throughout.

An all-over honeycomb lattice of interlocking hexagons covers the field edge to edge, with no distinct border to separate it from the ground. The hexagon outlines shift between pale ivory and deeper tan tones, creating a subtle sheen as the lines catch the light differently across the surface. The palette stays within a narrow range of biscuit, sand, and cream, with the geometry providing the only visual movement.

The field is organized into five vertical bands, each subdivided into stacked rectangular panels of finely striped patterning in shades of brown, ivory, and charcoal, interrupted here and there by solid blocks of cream, taupe, or grey. A single thin line of red appears near the top of the second band, the only accent color breaking the otherwise earthen palette. There is no border; the composition reads as an assembly of striped and solid segments joined edge to edge across the surface.

Light Beige Linear Field (Persian Panels) with Fans in Brown Shades (Turkish Panels)