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.
The field is left largely open in undyed ivory, divided into horizontal registers that shift in pattern from top to bottom: a fine grid of thin brown lines gives way to bands of dotted and zigzag motifs, then elongated diamond and lattice forms, before the composition descends into an irregular brick-like arrangement of brown blocks that darkens toward the lower edge. There is no distinct framing border; the transitions between registers act as the only structural divisions, and the palette stays within ivory, taupe, and warm brown throughout.
An open, unadorned field in undyed ivory pile is scattered with small, irregular brown flecks and short horizontal dashes, arranged loosely across the surface rather than in a fixed grid. There is no border to speak of, the plain ground running to the edges before meeting narrow flat-woven selvages and long fringe at both ends. The overall effect is quiet and sparse, with variation in the density and tone of the ivory pile visible under raking light.
The field is left entirely open, a plain expanse of undyed ivory pile with soft variations of tone drifting toward pale tan across the surface. A faint horizontal striation crosses roughly a third of the way down, and there is no border or corner ornament, only the natural highs and lows of the pile catching light. Fringes of the same undyed tone finish the top and bottom edges.
A long runner with an open, undyed ivory ground crossed by a continuous diamond lattice drawn in thin brown lines. The design runs the full length without a separate border, the diamonds slightly irregular in size and alignment, and the ends finish in loosely knotted fringe.
An entirely open field left plain in a soft ivory tone, its surface animated only by subtle striations of warm beige and light taupe running horizontally across the pile. No border, medallion, or ornament interrupts the expanse, and the piece finishes on all sides in loose, undyed fringe.
An open field of banded brown tones, ranging from deep chocolate to lighter taupe, is crossed by a lattice of irregular diagonal lines in undyed ivory that intersect to form elongated diamonds. Along the lower edge the ground shifts abruptly to plain cream, where the same diagonal lines continue in brown, thinning as they approach the fringe. The composition reads as a deliberate contrast between the dense patterned upper field and the near-empty lower register.
An open, undyed field in warm ivory and sand tones, streaked with subtle striations, carries only a scattering of sparse brown motifs rather than an overall pattern. A stepped diamond-and-triangle band sits left of center, echoed by a small pendant diamond below and a slender totemic figure of stacked shapes to the right, while short isolated dashes and diagonal lines drift across the otherwise bare ground. Plain selvages and flatwoven fringe finish the top and bottom edges.
