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Home , Dhurrie, Oriental rug

MASTER RUG CLEANER RUG ID BOOT CAMP (3 DAYS) Cleaning Co. 3907 Ross Ave. Dallas, Texas 75204 214/821-9135

January 22-24, 2020

SYLLABUS

DAY 1 1. Machine-Made Construction 2. Flatweaves 3. Specialty Rugs 4. Review Oriental Rugs and construction 5. Persian Rugs

DAY 2 1. Persian rugs continued 2. Rugs from other countries

DAY 3 1. Rugs from other countries continued

Instructor: Ellen Amirkhan, ISA-CAPP, CRS

MASTER RUG CLEANER RUG ID BOOT CAMP (3 DAYS) Join us at The Casbah in Dallas, Texas for three days of advanced rug identification. With over 300 rugs for study and hundreds of rugs in the plant for cleaning, this is your opportunity to take your ID skills to the next level.

RUGS TO STUDY

I. Machine-Made Construction A. Axminster: spool and gripper B. Wilton: wire and face-to-face C. Tufted: hand and machine tufted

II. Flatweaves A. 1. flatweave made in 2. warp, (occasionally cotton) face yarns or wefts B. Kelim 1. flatweave made in any country other than India, from the Eastern Europe to Asia. 2. wool or cotton warps, wool face yarns (wefts) 3. slit weave or warp sharing C. 1. India 2. Chinese 3. Caucasian 4. Ardabil soumak

III. Specialty Rugs A. Flokati 1. made in Greece 2. all wool construction

B. Hand Hooked ​(USA Only) 1. jute foundation 2. made by hand with hooking tool C. Tufted Hook and Cut- 1. Country of Origin: India and 2. wool or cotton face yarns 3. cotton foundation; cotton laminated backing 4. hand-tufted with pneumatic tufting gun

D. Karastan Oriental Design ​(USA Only) 1. spool axminster 2. wilton face-to-face E. Edward Fields, V’Soske, Scott Group, etc. 1. custom machine-tufted wool rugs 2. cotton foundation; hems on four sides F. Kashmir Chainstitch 1. wool face yarns 2. cotton foundation; sewn cotton lining G. Portuguese Needlepoint 1. jute foundation

H. Chinese Needlepoint 1. Duo canvas backing, wool face yarns 2. out of square I. Chinese Aubusson

IV. Hand-Knotted Review 1. History of Oriental Rugs 2. 3. What is an Oriental Rug 4. Four Categories of Oriental Rugs/Traditional Persian 5. Where Oriental Rugs Get Their Names 6. Construction 7. Knots and Grading Systems 8. End Finishes 9. Side Finishes 10. Chemical Wash 11. Design Components 12. Dating Rugs 13. Components of Identification/Technical Analysis 14. Ravel scraps

V. Persian Rugs/Rectilinear A. Heriz 1. usually double-wefted 2. symmetrical knot 3. double-corded side 4. mostly geometric design; medallion and corners design 5. cotton foundation 6. consistent color palette: rust or red, navy blue, gold, ivory, brown, medium blue 7. compare pre and post WWII

VI. Persian Rugs/Curvilinear A. Sarouk 1. Ferahan Sarouk (pre-1915) a. thinner with lower clip 2. American Sarouk a. depressed warp b. burgundy field c. floral design; detached floral sprays d. blue wefts e. cotton foundation B. 1. Very heavy handle 2. cotton foundation most often; however, some wool foundation 3. Famous for using Herati design 4. Soumak; brocade; end finish before the fringe

C. 1. Older pieces may have fuchsia colored overcasting 2. Can look very similar to American Sarouk when made between 1920 and 1940. Finer weave than Sarouk. 3. depressed warp 4. asymmetrical knot 5. cotton foundation; may have blue wefts 6. Ends, if original, may have a weft pattern in blue/yellow or red/blue 7. Can have medallion and corners design which is usually not found in Sarouk. 8. 1970s Kashan have purple wefts that often bleed and the color palette is gray, ivory and sea-foam green. D. Kerman 1. depressed warp 2. floral design 3. cotton foundation 4. triple-wefted; 2 fine cable and one sinuous a. Antique Kerman (pre-1915) 1) thin with low clip 2) consistent color palette; wheat, cranberry, navy blue, pink b. Jewel Tone Kirman (1920-1950) 1) thicker than prior production 2) color palette changes to jewel tones; ivory, sapphire blue, ruby red, emerald green c. Pastel Kirman (1950-1980) 1) thicker than antique and jewel tone production 2) wool is drier (local wool), less finely spun than prior production 3) Pastel colors; pink, powder blue, mint, ivory E. Joshaghan 1. “Snowflake” design 2. Usually red or navy-blue field 3. cotton foundation

F. Mahal 1. second grade of Sarouk; no town named Mahal; much lower knot count 2. cotton foundation; blue wefts G. Nain 1. curvilinear 2. cotton foundation 3. silk highlighting 4. color palette (ivory, navy blue, medium blue, some red) 5. Most encountered are made after WWII 6. knot count affects value and number of plies in the warp yarns (“shish la”) six threads th​ 7. coarse pieces that look Indo imported in the late 20​ to the present

​H. Serab 1. wool foundation older pieces 2. colored field 3. many times in runner format with multi-medallion design 4. double-corded side I. 1. floral/geometric designs 2. symmetrical knot a. Antique Tabriz (pre-1915) 1) thin with low clip 2) double-corded weft wrapped sides 3) consistent color palette; rust, putty, ivory, navy b. Taba Tabriz (1970s and early 1980s) 1) wool and handle like an Indo 2) no kelim on fringe ends 3) consistent color palette: ivory, rust, light green, dark brown c. Modern Tabriz 1) cotton/silk foundation 2) wool/silk face yarns 3) usually no kelim on fringe ends 4) 3 designs (mahi {herati, nagsheh, and Heriz) 5) very fine weave J. Meshed 1. curvilinear 2. cotton foundation 3. asymmetrical (jufti knot common) 4. 2-3 rows of multi-colored knots on each end/ “rainbow” 5. floating warps (cause--sinuous/second wefts are inserted every 2nd th ​ knot row or every 4-5​ ​ knot row causing the warp to “float” up as the pile wears. Jufti knotting makes this worse; creates distinctive look on the back) 6. magenta red field, orange, kelly green, hot pink 7. medallion/corners 8. can have a heavy, stiff handle 9. single-cord overcast many times in color other than color of guard border

VII. Six Single-Wefted Persian Rugs A. 1. symmetrical knot 2. single cord side 3. mostly geometric design 4. cotton foundation B. Malayer 1. symmetrical knot 2. single cord side 3. usually geometric design 4. cotton foundation C. Senneh 1. symmetrical knot 2. single cord side 3. cotton foundation 4. the back has a “grainy” look 5. more finely woven than other single-wefted rugs 6. older pieces may have fuchsia colored silk overcasting D. Bakhtiari 1. Origin: 2. symmetrical knot 2. garden panel design or curvilinear medallion and corners 3. thick single-corded side wrapped in brown or black 4. newer production cotton foundation 5. may be single or double-wefted E. Karaja 1. symmetrical knot 2. geometric, multiple medallion design 3. double-corded side 4. bottom fringe is twisted/looped 5. cotton foundation F. Lillihan 1. asymmetrical knot 2. village close to Sarouk 3. looks similar in color and design to American Sarouk, 1920-1940 4. cotton foundation; occasionally blue weft 5. can be all sizes, “squarish” (5x6) and room size VIII. Tribal Rugs A. Baluch 1. Origin: Iran or 2. asymmetrical knot 3. wool foundation 4. double-corded side wrapped in hair 5. kelim ends 6. small format 7. consistent color palette: dark brown, mahogany, navy blue, ivory, aubergine (eggplant), camel 8. brown corrosion B. Turkoman 1. Origin: 2. smaller format, usually no larger than approx. 6x9 3. wool foundation 4. consistent color palette: red, dark brown, ivory, navy blue, camel. aubergine, pink (newer pieces) 5. many pieces with repeating 6. Tribal sub-groups C. Bakhtiari (see VI. Single-Wefted Rugs) 1. Double-wefted Bakhtiari D. Afshar 1. symmetrical; Persian villagers use asymmetrical knot 2. warp (wool or cotton); weft (wool or cotton--red, orange or pink) 3. smaller sizes, can be “squarish” 4. single cord overcast (barber pole, single or multiple colors) E. Shiraz 1. Asymmetrical or symmetrical 2. wool warp (dark brown) and weft (dark brown or red) 3. single-cord overcast in dark brown wool or single-cord barber pole 4. geometric; three medallions

IX. Afghanistan A. Repeating Gul design 1. wool foundation/many times dark gray; cotton foundation/ linen warp 2. multiple corded side, usually brown 3. common design—red field with guls 4. darker, more somber colors B. Afghan Kazak 1. dark gray wool warp 2. multiple-corded sides many times in checker board design 3. Caucasian/geometric design hence the term “Kazak”

X. China A. Peking Chinese (Pre-1920) 1. Very thin with low clip 2. Limited color palette: ivory, navy blue, medium blue, tan 3. Single cord, cotton supplementary weft wrap B. Art Deco Period 1. cotton foundation 2. single cord, cotton weft wrap or wool wrap 3. Less pattern, more open field 4. designs in diagonal corners 5. white knots! C. Modern Chinese Production (post 1980) 1. cotton foundation 2. wool face yarns 3. Look at photograph on page 186 for close-up of Chinese knotted fringe. ​Note the look of each individual knot. This is only done in China and is a dead give-away the rug is from China. a. Chinese design b. Silk/Rayon rugs made in China c. Sino-Persian

XI. India (post World War II) A. Indo-Aubusson, Indo-Chinese, Indo-Persian, Indo-Peshawar, Indo-Oushak 1. cotton foundation 2. wool face yarns 3. “Big, thick and funky” i.e. coarse, dry wool, thick pile and side cord. B. Indo-Tibetan 1. Tibetan weave 2. can be difficult to tell the difference between Indo and Tibetan. C. “Hand-Loomed” (new production)

XII. Moroccan A. Piled rugs 1. Use many different knotting techniques: Most modern production is symmetrical. 2. Braids on one end or two 3. Traditional domestic market pile rugs are rarely wider than 7’-8’ and are typically 1.5 - 2 x longer than they are wide. Export production rugs are in ‘normal’ Euro/US sizes (6x9,8x10,9x12) 4. Ivory and brown diamond pattern or more colorful palettes 5. Thick and shaggy (more modern can be sheared much lower) 6. Imitations made in India and B. Berber Flatweaves 1. use several different techniques in one rug 2. Many times purchased by tourists/inexpensive 2. Not colorfast

XIII. A. Pakistan Bokhara 1. cotton foundation 2. repeating gul design 3. Mori weave B. Pakistan-Persian 1. cotton foundation C. Pakistan Peshawar/Chobi/Ziegler (UK) 1. earth-tone colors 2. fine clip 3. double (most often) or single corded side 4. short fringe/ no kelim 5. sprouts

XIV. Romania (post 1980-no longer made) 1. cotton foundation; blue wefts 2. 2 color weft pattern 3. Persian designs

XV. Tibetan (made in Nepal by Tibetan refugees) 1. knotting technique creates unique look on the front and back of rug. See page 214. 2. wool face yarns or wool and silk face yarns. 3. contemporary designs and colors 4. bottom fringe may be twisted and looped. Many do not have fringe.

XVI. Turkey A. Turkish Village/Modern production: Dosemealti, Yagibedir, Yahyali, Tashpinar, 1. wool foundation 2. many have braided ends 3. colors are bright and synthetic 4. symmetrical knot 5. double-corded side B. Turkish City 1. Esparta a. Turkish Sarouk (1920-1940) b. cotton foundation c. symmetrical knot d. single or double-corded side 2. a. wool, silk or rayon face yarns b. cotton or silk foundation c. symmetrical knot d. thinner pile e. bottom fringe twisted and looped f. double cord weft wrap: cotton or silk 3. Hereke a. wool or silk face yarns b. cotton or silk foundation c. symmetrical knot d. double-corded side e. Thicker pile f. “Hereke” many times woven on the end

XVII. Caucasian (3 ply warps) A. Kazak 1. primary colors, 2. geometric or rectilinear designs 3. wool face yarn 4. symmetrical knot 5. wool weft: 2-5 wefts, grey, brown, red, occasionally blue 6. closed warp loops at bottom, top end kelim often hemmed under B. 1. primary colors/some are stripped to blue and gold only 2. geometric or rectilinear designs 3. wool face yarns 4. symmetrical knot 5. white cotton wefts; two wefts 6. warp fringe often knotted, brown wool plied with cotton 7. single cord selvage, white cotton C. Kuba 1. primary colors 2. geometric or rectilinear designs 3. wool face yarns 4. symmetrical knot 5. wool weft: mostly grey or brown 6. warp fringe often knotted; ends with dark blue sumac finish 7. multi cord selvage: mostly dark blue wool 8. multiple rows of offset knot on the ends