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.
The field is composed entirely of horizontal bands running the full width of the piece, alternating between broad stripes of deep brown, camel, and pale ivory with narrower accents of soft blue-green and apricot. Several of the lighter bands carry small scattered motifs - fine arrow-like marks, faint chevrons, and scattered flecks in orange and brown - breaking the otherwise plain striping. No distinct border separates field from edge; the composition ends in loose warp fringe at both ends.
An open, undecorated field in pale ivory is left almost entirely plain, its surface broken only by faint horizontal striations running the width of the piece. Along both selvedges, short bands of small-scale geometric ornament in rust, plum, and dark brown punctuate the otherwise bare ground at regular intervals, like a running tally. The ends finish in loose, hand-knotted fringe.
An ivory field carries an irregular lattice of brown outlined diamonds, the grid loosening toward the lower third into scattered, freestanding lozenges and small figural marks in ochre, rust, and black. A narrow striped guard band in cream and dark brown frames the field, with plain ivory selvages left bare at either side and long warp fringe at both ends.
The field is composed entirely of narrow horizontal bands in varying tones of ivory, oatmeal, and pale taupe, running the full width of the piece with no border or corner devices. The banding shifts in density near the top, where the stripes cluster more tightly before opening into broader, softer rows across the lower two-thirds. Both ends finish in loose, undyed fringe, and the surface is otherwise left open, without figural or geometric motifs.
