South American

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

Swedish Flat Weave Technique

The field is arranged in a strict grid of squares, each divided into pinwheeling quadrants of fine parallel stripes set at alternating orientations to create an interlocking pattern across the surface. A small crimson square marks the center of every unit, and identical dots line the outer edge as a border of sorts, with the pale ground showing through the grid intersections. The palette is limited to a warm ivory ground, dark brown-black striping, and the repeated red accents.

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

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.