Soumak

The field is left entirely open, composed of narrow vertical panels joined edge to edge, each showing subtle variation in tone from pale ivory to warm sand. There is no discernible border or framing device, and no motifs interrupt the plain surface; the only pattern is the faint striping created by the seams between the panels and the natural variegation of the strands within each strip. A slight color shift toward gray-beige appears in the panel just left of center, breaking the otherwise even palette.

An ivory ground carries a diagonal grid of small squares, each filled with tight vertical striations rendered in tones of brown, taupe, and soft gray. The pattern repeats with slight irregularities in spacing and color from square to square, giving the overall surface a hand-drawn, uneven quality rather than a strict mechanical repeat. No distinct border separates field from edge; the motifs run to the outer selvages on all sides.

The field is composed entirely of an irregular patchwork of squares and rectangles in ivory, tan, taupe, and dark chocolate brown, each block woven in a slightly different tonal value so the surface reads as a checkerboard of shifting light and dark. There is no distinct border; the blocks run flush to the outer edges, giving an open, unframed format. No inscriptions or emblems appear, only the repeated geometric grid.

The field is composed entirely of a checkerboard grid of squares, alternating between solid ivory, solid taupe-grey, and squares filled with narrow vertical stripes in dark brown and cream. There is no distinct border; the patterned blocks run to the edges, creating a uniform all-over grid without a clear central focus. The palette stays within ivory, grey, and near-black tones throughout.

The field is composed entirely of diamond-shaped blocks set on the diagonal, alternating between deep brown, warm tan, and pale cream, with a few narrow striped panels of gold and grey breaking the checkerboard rhythm. There is no distinct border; the pattern runs to the edges on all sides, giving the surface an unbroken patchwork effect. Each block carries a subtle directional striation, as though the diamonds were assembled from strips of varying tone.

An ivory ground is overlaid with a diagonal grid of brown squares set on point, each block striped in narrow bands of dark brown and muted gold. The repeat is even and unbordered, with the pattern running edge to edge and no distinct framing band separating field from selvage.

The field is left entirely open, a single expanse of pale ivory divided into seven vertical panels by narrow seams of fine running stitches in a subtly darker tone. No border, medallion, or other ornament interrupts the plain surface; the visual interest lies solely in the rhythm of these stitched divisions and the faint variation of tone between adjoining panels.

The field is built from a patchwork grid of squares in three alternating types: plain ivory blocks, solid taupe-brown squares, and panels of narrow vertical stripes in brown and cream. No border frames the composition; the modular squares run to the edges, giving the whole surface an even, checkerboard-like rhythm without a central medallion or corner motifs.

Composed of alternating rectangular panels arranged in a diagonal checkerboard rhythm, half plain in undyed ivory and half filled with narrow horizontal stripes in shades of brown, tan, and cream. There is no distinct border, the pieced panels running to the outer edges, and slight variation in stripe width and color intensity from panel to panel gives the surface an irregular, patchwork quality.

A patchwork ground composed of sixteen rectangular panels stitched together in a four-by-four grid, each seam finished with a visible whip-stitched border in cream thread. The panels vary subtly in tone across a range of deep browns and charcoal, with two panels breaking the palette—one striated in ochre and tan, another crossed by a single thin mustard-yellow line running horizontally through an otherwise dark field.