Moroccan

The field is filled edge to edge with a repeating lattice of large ivory octagons linked by narrow tan connecting bars, each octagon corner accented with small brown diamond facets that vary in striation from soft taupe to near-black. There is no distinct border; the geometric grid simply runs to the outer edges, giving the surface an all-over honeycomb effect. Tonal shifts within the ivory and brown shapes suggest subtle striping from strand to strand rather than flat, uniform color.

Vertical panels of undyed ivory alternate with narrower bands of striated taupe and grey-brown, each column capped by triangular peaks that shift the geometry into a faceted, folded-paper rhythm across the field. The composition repeats without a distinct border, the pattern running to the edges on all sides, and the striping within each brown panel varies slightly in width and tone, suggesting hand variation rather than a fixed repeat. No inscription or signature is visible.

The field is divided into a grid of twenty rectangular panels, arranged in four columns and five rows, each seamed with a visible cream-and-dark running stitch. Within each panel the striations run in alternating directions—some vertical, some horizontal—creating a subtle basket-weave effect across an overall palette of deep brown and charcoal with faint flecks of taupe. No border frames the composition; the patchwork of panels extends to the outer edges.

The field is organized into eight vertical panels, each composed of narrow horizontal bands that shift in tone as they move down the length of the piece, creating a subtle offset, brick-like rhythm across the surface. Colors run through soft taupe, warm gray, and driftwood brown, with a single panel toward the center interrupted by muted salmon-pink stripes that stand apart from the otherwise neutral palette. There is no distinct border; the striped panels run edge to edge, meeting a plain narrow selvage.

An open, undivided field in pale sand tones is scattered with fan-shaped, shell-like motifs radiating in pleated segments of ivory, taupe, grey and warm brown. The forms drift across the surface without a fixed border or symmetrical arrangement, some clustered near the corners and others floating toward the center, giving the composition an unanchored, wind-blown quality. Faint striations in the ground suggest a subtle directional sheen running beneath the scattered fans.

A grid of sixteen rectangular panels, each stitched to its neighbor with a visible pale seam, forms the whole field. Within each block the striations run in alternating directions, vertical against horizontal, giving the flat brown ground a subtle checkerboard movement despite the near-uniform color. Tones stay within a narrow range of dark chocolate and umber, with lighter tan fibers threading irregularly through several panels.

The field is composed entirely of diamond-shaped patches arranged in a diagonal checkerboard, alternating between taupe-gray and cream tones. There is no separate border; the patchwork pattern runs unbroken to the edges on all sides. Each diamond shows slight variation in tone and texture, giving the grid a handmade irregularity rather than a mechanically uniform repeat.

Inspired by a floor in a room setting by G. Rosso exhibited in Turin, Italy in 1928

An overall lattice of soft beige and taupe panels forms the ground, each segment striated with fine directional lines suggesting movement across the surface. Across this grid burst clusters of fanned, wedge-shaped rays in ivory, warm brown, and charcoal, radiating outward like scattered bursts or feathers of varying sizes. The motifs are placed asymmetrically, denser toward the lower corners and thinning near the center, with no border framing the composition.

The field is organized as a grid of individual squares in varying tones of brown and taupe, each square set slightly askew within its cell against an ivory ground, so the seams read as a loose lattice rather than a straight line. There is no border in the traditional sense; the checkerboard arrangement runs to the edges on all sides. The palette stays within a narrow range of warm neutrals, with only subtle shifts in saturation distinguishing one square from its neighbors.