A bold chevron composition built from mitered diagonal stripes that converge toward the center in an X formation, framed by a wide outer border of red, orange, and pink diagonal bands mirroring the same chevron logic. A narrow ivory band separates the outer border from the inner field, where the diagonals shift to a darker palette of charcoal, plum, and warm brown. The lower corners carry woven inscriptions, "10" at left and "KLH" at right, set directly into the ground.

The field is organized into a grid of stepped, key-patterned squares, each nested medallion built up from tan and ivory frames around a solid blue center, all set on a dark charcoal-gray ground. A narrow plain ivory border frames the repeating grid, giving the whole surface a strict checkerboard regularity broken only by slight variations in the blue tones from square to square. A small woven inscription reading "SH" appears in the lower left corner.

Initialed "AB MMF" (AB Märta Måås-Fjetterström)

An open, unadorned field in a uniform olive green fills the square format, framed by a plain ivory band and an outer chain of alternating square medallions in mauve, sage, and powder blue outlined in cream, each set against small diamond links. A dark olive-brown outer border encloses the whole composition, echoing the field tone and giving the piece a quiet, symmetrical structure.

The field is left entirely open to an all-over speckled surface, with no defined border or central motif separating it from the ground. Flecks of ivory, slate blue, rust, teal, and charcoal intermingle throughout in an even, textured scatter, giving a uniform mottled effect from edge to edge. A close-up inset in the lower corner shows the same mixture of colors at a magnified scale, revealing the individual strands that make up the overall pattern.

A broad plain ground in warm taupe surrounds a rectangular inset panel filled with an irregular patchwork of small blocks, bars and stripes in coral, sage green, ochre, cream and brown. Within that panel the geometry shifts freely, some blocks striped horizontally, others left solid, with a cluster of pale flecked texture breaking the grid near the upper portion. The outer field carries only a fine striated texture running horizontally, framed by a narrow banded border at top and bottom in the same muted brown tones.

Flat-weave and Loop Technique

The field is left entirely open, a plain expanse of warm taupe with a faint, irregular striping that runs the length of the piece. Narrow bands in a slightly darker tone frame the top and bottom edges, echoing the field's texture rather than introducing pattern. Loose, undyed fringe spills from both ends, its uneven lengths and slight fraying left exposed.

The field is filled edge to edge with a repeating lattice of interlocking rotated squares, each corner turned into a small hooked bracket, rendered in olive-gold against a soft sage-green ground. At the center of every diamond compartment sits a single pale yellow dot, creating a regular grid of accent points across the surface. There is no distinct border; the pattern runs uninterrupted to the fringed edges on all sides.

Double-sided

One face presents an open, pale grey-green field divided by thin vertical striations, framed by a checkerboard border alternating mustard, slate blue and ivory squares. The reverse reverses the palette, setting the same striped ground in warm ochre against an identical checked border, so the two sides read as inverted companions of one another. Both borders terminate in a narrow ivory band patterned with small stepped motifs before meeting the outer edge.

The field is composed of a grid of flatly rendered rectangular blocks in muted rose, slate blue, ochre, sage green, taupe, and ivory, each panel showing fine horizontal striations that give a subtly woven, patchwork-like texture. A narrow plain brown band frames the entire composition, with no additional border ornament or medallion, leaving the checkerboard arrangement itself as the sole design. No inscriptions or signatures are visible.