FAQs

Vacuum without a beater bar and avoid the fringe; blot spills with cool water and mild detergent. Deep washes belong with a professional rug cleaner.

Wool naturally repels spills better than synthetics and cleans up well when blotted quickly. Enzyme cleaners should be tested for colorfastness first.

Wool’s resilience and spring make them excellent for halls and living rooms. A quality pad further reduces wear.

Absolutely—many Afghan/Pakistani weavers produce new Kazak- or Shirvan-inspired pieces. Prices are far lower than top antiques.

Age, condition, rarity, dyes, and drawing quality. Nineteenth-century examples can range from a few thousand dollars to high five figures.

Flip it—hand-knotted backs mirror the front pattern with slight irregularities, and the fringe is the warp, not sewn on. Machine-made backs look uniform and the fringe is added.

Natural, often horizontal color striation from hand-dye lots or aging. It’s normal—and often desirable—as a hallmark of handmade work.

Natural dyes dominate before the 1860s; early synthetics appear afterward and became common by \~1900. Harsh, fugitive reds or purples can hint at early anilines.

Lesghi stars, ram’s horns, latchhooks, and cloudbands appear frequently. Expect strong contrast in red, indigo, ivory, and green.

A Caucasian flatweave made with a wrapping (brocaded) weft, not pile knots. You’ll see long floats on the back.

Wool pile on wool foundations is typical, with some cotton wefts/warps in certain districts. Pile pieces generally use the symmetrical (Turkish/Ghiordes) knot.

Yes—scatter sizes and runners dominate, like \~3’×5′ to 4’×7′ and 3–4’×9–12′ runners. Room-size pieces exist but are less common.