The field is organized in horizontal bands of soft coral, salmon, and pale ivory, each register filled with stacked diamonds, triangular medallions, and small stylized figures rendered in muted gold, gray-blue, and touches of dark brown. A central vertical axis of lozenges anchors the composition, with abstract comb-like and stepped forms scattered irregularly across the bands rather than in strict mirrored repetition. Loose warp fringe finishes both ends, and the ground shows soft striations of pink and buff throughout.

From the High Atlas Region of Morocco

A long, plain brown ground is broken into sections by scattered small motifs in pink, cream, and ochre, arranged loosely rather than in a strict grid. Three narrower decorated bands cross the field horizontally, each patterned with a dense small-scale diaper design in rose, cream, and muted orange that contrasts with the surrounding open ground. Both ends finish in loose warp fringe, and the overall composition reads as a repeated sequence of plain field and patterned insert.

An ivory ground is organized in horizontal registers, alternating bands of dark brown containing diamond and cross-form motifs with zigzag chevron rows in muted orange and small stick-figure devices. The two upper corners and lower corners carry small orange squares filled with star-like emblems, while the field between the bands is left largely open in undyed ivory. Fringe remains along both short ends, and the banded rhythm repeats four times down the length of the piece.

A long, narrow runner with an open, undecorated field rendered in fine horizontal striations of ivory and warm taupe that shift subtly across the surface like a shadowed abrasion. Both short ends are finished with a narrow banded border in a small geometric zigzag pattern in brown and cream, followed by loose knotted fringe.

The field is left entirely open, an undyed cream ground broken only by a faint vertical seam running the length of the piece and scattered flecks of darker fiber. There is no border to speak of, the plain surface running edge to edge, and both ends finish in loosely knotted fringes in mixed cream and gray tones.

A field left largely open, worked in a heavy shag pile that shifts subtly between warm brown and soft rose tones with a faint vertical striping. Two outlined lozenge shapes appear at the upper corners, drawn in a fine pale line, while the lower third breaks into a stepped ivory panel with touches of violet, followed by a dense band of multicolored striping in blue, purple, teal, and cream at the foot.

The field is composed of horizontal bands in shifting tones of red, magenta, and mauve-purple, overlaid with a continuous lattice of pale ivory diamonds formed by crossing zigzag lines. Small diamond-shaped accents in cream and touches of blue appear at the lattice intersections, running uniformly from end to end without a distinct border. The composition reads as an all-over striped and diamond pattern rather than a framed field-and-border design.

An ivory ground is overlaid with an irregular grid of stepped brown-black lines interwoven with thinner magenta-pink lines, forming an offset brick-like lattice that runs the full length of the field without a distinct border. Scattered flecks of color break the plain ground between the lines, and both ends finish in loose, undyed fringe with a narrow patterned band just inside the top edge.

An open, borderless field in a pale ivory ground is scattered with an irregular, all-over mosaic of small blocks in rust orange, seafoam green, lavender, and near-black brown. The pattern reads as a loose, unbounded scatter rather than a repeating motif, thinning toward the plain selvages and unfinished warp fringes at top and bottom. No border, medallion, or inscription is present, leaving the field wholly abstract.