An ivory ground opens onto a fractured, fan-shaped composition of tapering wedge forms that radiate outward like bursts of frost or coral, each segment pieced in a distinct striped pattern of taupe, beige, and warm brown tones. Thin incised lines run through the ground like a cracked-glass network, echoing the angular edges of the fans and giving the surface a mosaic-like structure without a defined border.
An allover lattice of interlocking diamonds fills the field edge to edge, without a distinct border framing the design. Bands of ivory and warm tan cross to form the trellis, each intersection punctuated by a small charcoal-grey lozenge. The palette stays narrow throughout, relying on subtle striations within the tan and ivory bands to give the geometric pattern its texture.
An allover geometric field built from interlocking angular star and pinwheel shapes rendered in alternating ivory and slate-gray, each stepped diagonal edge meeting small key-shaped tabs that lock the repeat together. The design has no separate border, the pattern running unframed to the edges of the field, and the flat surface shows subtle striations within each color block suggesting slight variation in the yarn.
The field is built as a patchwork grid of small squares, each panel varying subtly in tone and texture, arranged in an offset checkerboard rhythm across the surface. Colors move through cream, ivory, tan, and taupe, punctuated by darker charcoal-brown squares scattered irregularly rather than in a repeating pattern. There is no distinct border framing the composition; the patchwork runs to the edges, giving the whole an open, modular quality.
The field is divided into five vertical panels, each pieced from its own sequence of horizontal color bands, giving the overall composition an irregular, patchwork rhythm rather than a matched, symmetrical design. Tones move through warm browns, taupe, and camel, punctuated by darker charcoal-brown blocks and pale ivory bands placed at differing heights across the panels. There is no border framing the piece; the panel seams themselves, marked by a fine overcast edge, function as the only structural division within the surface.
An allover honeycomb lattice fills the field with staggered rows of dark brown hexagons set against a pale sandy ground, each cell showing subtle striations of tone that give the impression of graining. There is no separate border, allowing the hexagonal pattern to run flush to all four edges. The palette stays within a narrow range of umber and taupe throughout.
Inspired by a floor in a room setting by G. Rosso exhibited in Turin, Italy in 1928
A repeating honeycomb lattice of hexagons fills the entire field edge to edge, with no distinct border framing the composition. Each cell is outlined in a pale ivory line and filled with a dark charcoal-brown ground, the individual hexagons shifting subtly in tone from near-black to warmer taupe-brown, giving the surface a mottled, hand-worked variation despite the strict geometric grid. The pattern runs uninterrupted to all four edges, suggesting the design continues beyond the visible field.
An ivory ground is divided into a regular grid of small squares, each panel filled alternately with plain ground, fine striped bands in tan and brown, or a solid charcoal square set slightly off-center. The pattern repeats edge to edge with no distinct border, the composition reading as an all-over checker of stripe and solid block. Tonal contrast stays limited to cream, tan, brown and dark charcoal throughout.
The field is filled edge to edge with a honeycomb of hexagons, each cell rendered in a slightly different tone of ivory, oatmeal, tan, and taupe, so the pattern reads as a mosaic of individually shaded panels rather than a printed repeat. Scattered among the pale hexagons are a handful of darker gray-brown cells placed irregularly near the corners and center, breaking the otherwise uniform honeycomb rhythm. There is no distinct border; the hexagon grid runs to the outer edge on all sides.
