Spanish

Plains

Cut Pile and Loop Technique

The field is left entirely open, its surface built from fine horizontal striations that catch the light in soft variations of taupe and ivory. A narrow, unadorned border in a slightly deeper tone frames the composition, running evenly along all four edges. The overall effect is one of subtle tonal movement rather than pattern, with the ridged texture itself serving as the sole decorative interest.

Chequerboard

An unbordered field in a saturated yellow-gold ground is overlaid with a subtle checkerboard of small squares in muted grey-green, arranged in irregular bands that shift in density across the surface. The pattern reads almost like a faded overlay rather than a bold motif, with no distinct border framing the composition, and plain warp fringe visible at both ends. A small circular woven mark appears in the upper right corner.

Infinity

Mixed Pile and Flat Weave Technique

An open tan ground carries a continuous chain of interlocking loops, each ring rendered as a thick cabled band that overlaps and underlaps its neighbor in a strand-like plait. The looping motif runs the full length of the field without a distinct border, its coils rendered in soft rose, blush pink, and pale ivory tones against the warm beige surface. At the center the strands cross to form a taut, symmetrical knot where two bands twist directly over one another before continuing outward.

Marion II

Pile Technique

The field is a soft neutral grey-beige, its surface worked with a continuous meander of stepped, key-fret forms rendered in subtle tonal contrast so that the pattern only emerges under raking light. These interlocking rectilinear lines run in horizontal bands across the entire ground, evenly spaced and repeated without a distinct central medallion or corner motifs. Top and bottom, a narrow border of thin dark and light pinstripes frames the composition, the only sharply defined lines against the otherwise muted, textured expanse.

Boggeri

Pile Technique, two levels

The field is left entirely open, an unadorned expanse of pale sandy beige that shifts subtly in tone as light catches the surface. Faint diagonal creases and soft striations run across the ground, and a barely visible geometric line, almost a shadow, traces a diamond shape near the upper portion. There is no border, no medallion, and no color contrast beyond the tonal variation inherent in the surface itself.

Frederic

An open, unbordered ground in deep brown carries a loose, asymmetrical arrangement of sprigged foliage rendered in ivory and pale gold. Slender fern-like fronds and a single flowering stem sweep diagonally across the surface, accompanied by scattered small blossoms and thin curling tendrils traced in dark outline. The composition favors negative space, with the plant forms concentrated toward the lower right and thinning toward an largely bare upper field.

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