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

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

Swedish Flat Weave Technique

An all-over checkerboard grid covers the field edge to edge, alternating small squares of mustard yellow, olive-gold, and pale oatmeal in a shifting, irregular sequence that reads as a shimmer rather than a fixed grid. There is no separate border; the pattern runs directly to the flat selvage, which gives way to a plain warp fringe along the top and bottom edges. A small woven mark sits in the lower right corner, barely distinguishable from the surrounding squares.

Swedish Flat Weave Technique

The field is organized in an offset brick pattern of rectangular blocks in tones of pale gold, ivory, tan, and soft grey, each block subtly variegated as if hand-brushed. There is no separate border; the checkerboard-like arrangement runs edge to edge, framed only by a narrow woven stripe in alternating light and dark blocks at top and bottom, finished with a fringe of undyed warp ends. A small woven mark appears in the lower right corner of the field.

A narrow runner in undyed ivory ground, worked entirely in brown-toned pile without a distinct border, the field organized into horizontal bands of diamond lattices, zigzag lines, chevrons, and small stacked triangles rendered in an irregular, hand-drawn manner. A detail inset shows the shaggy pile texture and the loosely knotted diamond trellis pattern up close. The composition reads as a continuous sequence of tribal-style registers rather than a framed field and border format.

An expanse of undyed ivory ground is organized into horizontal registers of fine brown line-work rather than a bounded field and border. Diamond lattices, elongated diamond chains resembling stylized figures, rows of triangles, and bands of small hatched diamonds run in sequence from top to bottom, with a cluster of geometric medallions and hooked forms gathered near the lower edge. Warp ends are finished in loose knotted fringe at both top and bottom.

An open ivory ground is overlaid with a sparse brown lattice: a band of elongated diamond shapes runs across the upper third, resolving below into a loose grid of vertical and horizontal cell-like divisions that continue irregularly to the bottom edge. The linework is drawn freehand, so the compartments vary in width and the diamonds are not perfectly aligned, giving the field an unstudied, hand-drawn quality. Plain warp fringe finishes both ends, with a narrow striped band separating the field from the fringe at the top.

An open, undecorated field in a pale ivory tone is interrupted only by two thin brown horizontal bands set at roughly the upper and lower thirds of the composition. There is no border to speak of, the plain edges giving way directly to a fringe of twisted ivory-colored cords at top and bottom. The overall effect is one of restraint, with the two dark lines serving as the sole graphic incident against the cream ground.

The field is left almost entirely open in undyed ivory and cream, its surface animated only by subtle abrash and faint horizontal striations that drift toward the lower edge. A pair of thin, jagged zigzag lines in soft brown appear isolated near the upper right, with a small stray mark above them, while a plain taupe border of even width frames the composition on all four sides. Warp fringe is visible at both the top and bottom ends.

An ivory ground is left largely open, crossed by horizontal registers of fine brown line-work rather than a bordered field. Successive bands shift motif from triangular pendants and elongated bracket forms near the top to dense lattices of diamonds and zigzag chevrons below, with a narrow row of small dotted diamonds punctuating the middle section. The composition ends in a plain warp fringe, and the piece carries no enclosing border, the pattern reading as a sequence of stacked friezes.