The field is divided into three vertical panels, each crossed by irregularly spaced horizontal bands in a dark umber tone against a natural undyed ground. The stripes fall at staggered, unaligned intervals from panel to panel, giving the surface a deliberately asymmetrical, almost architectural rhythm. There is no border to speak of, the striping running to the plain selvedge on all sides.
The field is left largely open in undyed ivory, divided by two vertical bands of horizontal striping in varied widths of tan, camel, and taupe, with occasional gray-brown accents breaking the rhythm. The two banded columns are not identical, each showing its own irregular sequence of stripe widths and tonal shifts, while the wide plain margins on either side and the center remain unadorned.
The field is organized into four vertical panels, each further divided into stacked horizontal bands of variegated striation, so that the overall composition reads as a loose grid of subtly shifting rectangles. Colors move through tones of oatmeal, sand, taupe, and pale grey-brown, with occasional bands of soft blue-grey and rust breaking the neutral palette. There is no border in the traditional sense; the panel divisions themselves act as the only framing device, and the surface is left otherwise plain, without figural or floral motifs.
A narrow runner in a deep charcoal-brown ground, left borderless, its surface built from horizontal striations of varying width and tone. A cluster of pale taupe and cream bands runs diagonally across the upper right quadrant, interrupting the otherwise muted, uneven striping that continues faintly along the full length of the field.
The field is organized into four vertical panels, each subdivided by horizontal banding of varying width, creating a grid-like arrangement of stripes across the surface. The palette moves through a narrow range of undyed tones - taupe, oatmeal, pale ivory, and warm camel - with each panel shifting slightly in value so the divisions read clearly against one another. A plain narrow selvage frames the composition, with no additional border ornament or field motifs beyond the banded structure itself.
A plain-field piece with no border, its surface built entirely from fine horizontal striations running the width of the piece in alternating tones of tan, camel and cream. The detail inset shows the texture close up, revealing flecks of rust and ivory twisted through the banded rows. The overall effect is a quiet, evenly repeating stripe with no other motifs or inscriptions visible.
Double-sided
The field is covered by an all-over lattice of blue ogival medallions enclosing small diamond forms in ochre and green, set against a rose-red ground with tiny green diamond accents filling the interstices. A narrow ivory guard stripe separates the field from the wide plain brown border, which is itself framed by a slim dark outer band. The pattern repeats with great regularity, giving the surface a dense, textile-like uniformity from edge to edge.
An open, unadorned field in pale chartreuse-yellow is animated by a repeating pattern of horizontal, wave-like undulating lines running the full width, rendered in a slightly deeper tone that catches the light against the ground. There is no border to speak of, the design simply running to the edges, which finish in a plain fringe of matching pale threads at both ends.
Double-sided
Initialed "AB MMF" (AB Märta Måås-Fjetterström)
