An open, undyed ground carries an all-over lattice of interlocking stepped diamonds rendered in brown, giving the appearance of a continuous ogival trellis running the full length of the field. Each diamond encloses a smaller stellate medallion in darker brown tones, with fragmentary half-diamonds and hooked motifs along the side edges where the pattern is cut off. A narrow plain dark band frames the composition at top and bottom, with a small triangular motif centered at each end.
An open ivory field surrounded by a border of interlocking blue-green medallions linked by ochre and olive accents, with small cornflower-blue floral clusters at the corners. Framing the field, tall stylized tulip-like forms in slate blue and mustard rise from the outer edges into the plain ground, giving the composition an architectural, almost stained-glass rhythm. The palette stays consistent throughout: pale cream ground, steel blue and sage green motifs, and touches of deep indigo and saffron for contrast.
The field is organized into vertical bands of repeating chevron and zigzag patterning, alternating between ivory ground and taupe-grey ground, with slender columns of small diamond and dot motifs in muted plum and soft orange running between them. There is no separate border; the striped design runs edge to edge, meeting bare warp fringe at both ends. The overall palette stays close in tone, with the orange accents the only touch of warmth against the greys and creams.
A saturated red ground carries a bold, freely drawn design in dark charcoal-blue outline: an oversized peony-like blossom in the lower right, sweeping cloud-band scrolls in the upper left, and a pair of stylized birds in flight rendered in the same loose brushstroke line. Scattered small rosette medallions in a muted rust tone punctuate the open field between the larger forms. A narrow serrated border in the same dark blue frames the composition on all four sides.
The field is arranged as a repeating lattice of soft blue-green rectangles, each overlaid with a stylized peach-toned rose and green leafy stem rising on a slim stalk, creating a subtle basket-weave rhythm across the ground. A wide outer border of pale sage carries a running vine of five-lobed green leaves alternating with small square peach-and-cream blossoms, echoed in a narrower guard stripe of similar blossoms along the inner edge. Colors throughout stay muted - dusty blue, sage green, and faded apricot - with no inscriptions or asymmetries apparent in the composition.
An open ivory field centers on a stepped rectangular medallion in indigo and pale blue, flanked by tan and dark brown cross-shaped devices at either side, with thin angular key-fret lines drawn in muted brown extending from the medallion. Concentric geometric bands in light blue, tan, and deep indigo frame the field, stepping outward in blocky terraces before meeting a broad, solid dark brown border.
Attributed to ANDRE ARBUS
A scalloped, cartouche-shaped medallion in pale ivory dominates the field, its curling green outline unfurling into ribbon-like tendrils at each corner. At the center hangs a slender diamond-form pendant flanked by three small orbs, rendered in the same soft sage green. The surrounding ground is a warm rust brown, left plain and unadorned, framing the pale medallion without any additional border ornament.
The field is covered edge to edge in vertical columns of small triangular and arrow-like motifs, each column alternating in tonal register so that the overall effect reads as a rhythmic zigzag pattern. Colors move through deep blackish-brown, medium brown, tan, and pale cream, with occasional warmer rust-toned triangles breaking the sequence. A narrow plain tan strip frames the composition on all sides, with no other distinct border ornament separating it from the field.
Signed: Ashley
Designed by Ashley Eldred Havinden
An expansive ivory ground is left largely open, interrupted by a vertical stack of banded motifs running down the central axis: rows of tapering fringe-like spikes in rust, slate blue, and ochre alternate with narrow chevron bands and a strip of small linked circles near the base. Two small rectangular panels of the same chevron pattern sit isolated in the upper corners, echoing the central composition but detached from it. The overall palette stays soft and muted—cream, tan, faded blue, and brick—with the motifs reading almost like fragments suspended in the wide, undecorated field.
