The field is organized into irregular rectangular blocks of rust, sage green, and pale gold, each striated with fine horizontal color variation and scattered with small angular fret-like motifs in cream and brown. A cluster of stepped, geometric shapes in gray, gold, and rust gathers in the lower left corner, breaking the otherwise orderly grid, while the border is reduced to slender bands of blue-gray and terracotta along the outer edges.
The field is dominated by a stacked column of interlocking teal chevrons that zigzag downward through horizontal bands of pink, brown, and cream striping. Flanking side borders in coral and salmon carry angular geometric glyphs resembling stylized letters, while the top and bottom guard bands display a stepped meander in brown and tan. Cartouches in each corner bear woven inscriptions, with "1932" and "1933" appearing at the lower and upper edges alongside the letters "V" and "Λ."
Initialed "AB MMF" (AB Märta Måås-Fjetterström)
The field is composed of an irregular patchwork of rectangular color blocks in mustard yellow, seafoam green, taupe, and dark brown, over which a network of pale ivory branching lines spreads like cracked lightning or root systems across the entire surface. A plain ivory border frames the composition, edged with a slim dark brown line. The branch motif runs continuously over the block divisions, unifying the fractured ground into a single overlaid pattern.
The field alternates horizontal bands of taupe-grey and ivory, each row set with rosette medallions in brick red with slate-blue centers, interspersed with small blue and red crosses and stitch-like linear motifs. A narrow border of alternating red and blue squares on an ivory ground frames the composition, with flat-woven fringe left visible at both ends and small woven initials in the lower left corner.
The field is composed entirely of offset, chevron-like bands rising in a herringbone arrangement from top to bottom, each strip built of small parallelogram segments in rust, olive, slate blue, camel, and cream. A narrow, plain dark border frames the composition, containing the zigzag pattern without any secondary motifs. The overall effect is graphic and directional, the color sequence repeating with slight irregularities in width and hue from row to row.
The open field is composed of fine horizontal bands in varied tones of indigo, slate blue, and deep brown, giving a subtly striated, almost tweed-like effect across the surface. Narrow patterned borders at each end, in muted rust, cream, and green, contain a small repeating floral or star motif, framed just inside the flat woven fringe. The overall palette stays dark and close in value, with only the end borders introducing a lighter, more decorative passage.
The field is divided into three vertical panels against a mottled charcoal-brown ground: the outer two panels carry rows of stacked yellow triangles pointing inward, while the wider central panel repeats mirrored grey triangular forms meeting point to point, each register separated by thin black and pale grey bands. Woven initials appear in the upper corners, "ELF" at left and a monogram at right, set into the dark ground. The composition reads as a continuous vertical sequence rather than a bordered field, with no distinct outer border framing the design.
A flat field in warm greige is filled edge to edge with a diagonal lattice of small diamonds in dusty rose, ochre, sage green, ivory, and dark brown, the pattern narrowing slightly toward the corners where the ground shows through more openly. Narrow plain bands frame the field top and bottom, followed by borders of larger diamonds in the same palette running along both short ends. Loose warp fringe is visible at both edges.
An open ivory ground runs the full length of the piece, crossed by narrow horizontal banding drawn in golden-brown line work. Scattered across the field are small scattered motifs—diamonds, crosses, zigzag chains, and slender tree-like or star forms—arranged in loose vertical registers rather than a strict repeat. Plain warp fringe finishes both short ends, and the sparse, irregular placement of the symbols gives the composition an improvisational, hand-drawn quality.
