South American

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.

A pale ivory field is overlaid with slender, dark curling branches that fan out from four crossing points, arranged in mirrored symmetry along both the vertical and horizontal axes. Scattered small pale dots, resembling blossoms, punctuate the spaces between the branching lines. A plain, narrow brown border frames the composition without additional 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.

The field is filled with a repeating pattern of large stylized sunflower-like blooms and curling leaf forms, arranged in four rows of paired motifs across a plain, unadorned brown border. The palette moves through tones of cream, tan, taupe and deep chocolate brown, with small checkerboard accents set within the flower heads. A woven monogram appears in the lower right corner of the border, otherwise left plain.

A tonal field in warm ivory carries an allover scrolling arabesque worked in low relief, the vinework curling into palmettes and rosettes that culminate in a small central medallion barely distinguished from the ground. A matching scroll-and-palmette border frames the field on all sides, rendered in the same soft contrast so that pattern reads through texture and sheen rather than color change.

Mixed Swedish Flat Weave and Pile Technique
FJ Hakimian, Inc. will utilize design for inspiration purposes only