The number one question:  Can you tell me where my grandmother's textile (embroidery, tapestry, kimono, etc.) is from, when it was made, and what it's worth? Can you tell me how to sell it?

It normally is impossible to evaluate an old textile from a description, and nearly as difficult from most JPEG snapshots. Furthermore, I am not a licensed appraiser prepared to assign values to other people's properties. If you must know the market value of very special antique textiles you own, I suggest that you send clear photographs and detailed condition reports to one of the auction houses listed on my website Links page. If the items are of a type appropriate for their sales, most of these specialists will give you complimentary auction estimates. If you need  appraisals for insurance purposes, most will provide those for a standard fee. If they are unwilling to offer free estimates, you can probably assume that the items' value is not substantial. They are unlikely to give serious attention to textiles such as late 19th century mass-produced jacquard tapestries, or to most 20th century ethnic weavings, embroideries and costume items. Some auction houses and museums have periodic free "walk-in" appraisal days, and those provide good opportunities for learning about a mystery piece.  

If you wish to sell a textile collection through one of the auction houses, they will furnish you with information regarding their commissions, sellers' premiums, storage fees, shipping and insurance costs and the  fees assessed if your items do not sell.  Most of the large auction houses are unwilling to accept a single item or two, unless they are of quite high value, thus for a majority of pieces, the on-line e-Bay auction is a reasonable option. 

Whenever you  obtain an appraisal, you must specify whether you need to establish the item's market value (auction or wholesale price) or replacement value (retail price or insurance value), as these vary considerably.  It is unethical for any dealer to appraise an item he would like to purchase, so if a conflict of interest seems likely, you need to find another appraiser. 

I selectively buy antique textiles that are in good condition. If you are interested in selling pieces, I will be glad to review photos--but preferably after you have decided on the approximate prices you wish to ask. Please remember that no dealer can pay a retail price and then expect to resell an item.  If you send photos, please reduce the file sizes, so that they are not rejected by our e-mail program.  Detailed close-up photos can be very helpful.

Finally, one must have reasonable expectations about the sale value of one's properties. After one Antiques Roadshow program on which a rare early Chinese Imperial robe surfaced, I began receiving photos of relatively common embroidered and brocaded dragon robes from people who assumed that their family treasures must be $15,000 pieces!  Most would have difficulty finding retail buyers for one-tenth of that figure.  


I notice that all of your textiles are priced on the website, and you say that your prices are firm.  You can still give ME a discount, can't you?  

Sorry, but "firm" really does mean non-negotiable--no haggling and no discounts. I carefully calculate my investment and expenses, then add a fair profit. My prices are lower than just about anyone else's for comparable quality, because I am a private dealer without the overhead of a storefront. One need only wander through an ACOR or ICOC dealers' fair or large Tribal Arts show to confirm this. I select pieces with excellent craftsmanship, superior aesthetics and good condition, and my prices reflect these factors, as well as age and rarity. I don't offer bazaar-quality tourist merchandise, and I don't inflate prices so that I can then reduce them.

My prices are the same for everyone. That means I don't juggle prices to take advantage of an affluent customer's fat wallet.  Prices are the same for individual collectors, decorators, art consultants, museums and dealers. They are the same whether a person buys one textile or twenty. In fact, a majority of my customers are dealers or designers who purchase multiple items. When my business began 29 years ago, my clientele consisted mainly of interior designers, and I have maintained the same price structure over the years.   

I'm reminded of a merchant friend in North Africa many years ago who gave me reasonable price quotes, along with a warning that if I ever questioned a price, he'd never sell me another weaving. Other suppliers have expressed much the same attitude. When prices are fair, it is insulting to question the seller's integrity, or imply that he should not receive a reasonable return on his investment. After all, any dealer must make a profit to continue in business. So my prices are firm, and out front for everyone to see. Everyone is free to accept or reject them.  Anyone who considers bargaining an essential part of rug or textile shopping needs to play that game elsewhere. 


The hardest thing about buying old textiles from photos is assessing their condition. How concerned should I be about  flaws on the textiles I am considering? 

"Condition" is always a concern when dealing with old textiles, and should always be reflected in the pricing.  Rarely are the genuine ethnographic pieces that interest collectors in perfect condition, as they were of course used.  During their lifetimes  they have frequently undergone alteration or mending.  Thus it's a matter of personal judgment just how much or how little "wear" to pieces is acceptable, how much restoration or how many repairs are OK.  (For a discussion of this issue as it applies to old kilims and bags, see In the Restoration Studio.)  I usually am more fussy than most dealers, and I reject piles of textiles because they are dirty, stained, too worn, or badly repaired, and instead I pay a premium for unusual pieces in excellent condition.  Or I buy pieces that with excellent repair work can be put into superb condition.  (Then I am flabbergasted when someone is suspicious because they think a piece looks "too new"!)  But sometimes we have no choice: with rare old  pieces we may have to be a bit forgiving if we want such items. Sometimes we have access only to fragments and indeed can be thrilled to have those. When textiles are framed, some condition problems are minimized, as the works then take on a more "precious" aura. In general, I can say that I want the overall appearance of each piece to be attractive.  I don't like to offer textiles for sale that are dingy, stained, badly faded or ragged.  Recently, however, I have  started separate website Sale and  Unrestored Collectibles sections in which I am offering a few Middle Eastern tribal bags and kilims that have NOT had their flaws repaired. Those pieces are offered "as is," primarily for people who have some skills in handling restoration problems.  Their condition is reflected in the pricing.

Occasionally someone tells me that they want an "old faded piece." They fail to understand that with antique kilims, for example, old vegetable dyes are clear and strong in the best collectors' pieces. It's more recent, synthetic-dyed examples that have faded, because those dyes were often used improperly. Frequently, in today's  marketplace we find recent pieces that were too gaudy for the market and that have been artificially bleached or "sun faded." These items inevitably have an insipid, washed-out, granular surface.

The matter of small flaws comes up in an odd way with Japanese kimonos, in which gorgeous pieces that were terribly expensive originally may be available to us only because they have a tiny spot or two.  A yuzen-dyed piece that may have sold for  $4000 to $8000 originally, when it was made, we might now be able to sell for $400-$800!  Without that small area of discoloration, we might not have the piece.  Heavily embroidered wedding kimonos that cost $25,000 to $40,000 originally, and routinely RENT for $1500 a day for weddings in Japan, we can sometimes sell for $1500 to $2500... usually because of an insignificant spot on a sleeve, lapel or hem that is actually hidden when the piece is displayed.  

In my website write-ups I try to describe any notable condition problems that aren't obvious in the photos. Routine tribal repairs and excellent quality restoration,  however, are not always spelled out.  If you require mint condition, it is probably wise to inquire.    


Why are some textiles marked HOLD on your website?  How do I know what's currently available?

A HOLD designation usually indicates that a purchase transaction is underway-- that I am waiting for a check or have sent the piece out on approval to someone. I don't normally remove a textile from the site until I know that the person receiving it is pleased. Thus pieces on HOLD are normally sold, but there's always a chance that they might become available.  Just let me know if you are interested in such a piece. Unfortunately, when things are hectic here I sometimes forget to mark pieces, and so it is always best to check with me on the availability of items you're considering.  Please don't ask me to hold pieces while you make up your mind about them. Because of the numerous inquiries about website items that we receive daily, that has become very difficult.  It is always wise for designers or art consultants who wish to present pieces to their clients to check with me first about the availability of the textiles. 

I update the website nearly every day, either adding or removing textiles. It is possible though for you to be looking at old, outdated web pages. Search engine caches sometimes store old pages for long periods of time; also, your computer may be set to retain web pages in its memory, so that you see last week's or last month's pages instead of the most recent versions. To see current material on any of  the pages,  click your Refresh button while holding down your Shift key.


Would you please notify me when you have acquired textiles that you think I might like, or have added new things to the website? 

Just about everyone who has ever bought a textile from us asks that I do this, and it has become a huge problem that I did not anticipate.  Since I am adding pieces to some part of the website nearly every day--and doing all of that work myself-- notifying individuals has become nearly impossible.  I don't want to promise what I probably can't deliver, so please check out your favorite sections periodically. Long-time customers and friends want and indeed expect first shot at newly acquired items.  I don't know how to handle this except to say that I'd like everyone to have the same chance at new textile additions. In some website sections a surprising number of pieces have been selling within a day or two of being posted.  

Some of the most wonderful pieces don't show up the best in photos, and may stay on the site for quite a while.  Then inevitably three people want them at once! Unfortunately, I don't have time to also produce non-digital photos for mailing.  


How accurate are your website textile photos?  Do they really look like the textiles? 
Presenting accurate JPEG photos of textiles on the web is a major challenge!  I don't want anyone to be surprised or disappointed when opening packages with pieces they have ordered. Fortunately, most people tell me that the textiles are more beautiful than they anticipated.  Delicate embroidered details often do not show up well in photos. Likewise, the luster of silks or the gleam of metallic yarns may not be apparent on a monitor. Rich textile textures can rarely be shown adequately.  The scale of large pieces is difficult to convey in small photos, thus powerful large kilims can easily loose their impact on the screen. These pieces may be more bold in your room than you expect.

We must keep in mind that colors change when we view a textile in different kinds of light. I photograph pieces with my studio lighting and camera equipment balanced for daylight conditions, and you should keep in mind that a textile may look a little "warmer" under your indoor tungsten lights--the reds a little brighter, for example.

I spend time carefully editing photos so that they represent the textiles as closely as possible. I acquired new camera equipment a short while back, and I am now re-working older website photos so they are accurate on any professionally calibrated LCD monitor.  Unfortunately un-calibrated monitors can vary significantly.  On some new flat screens colors are overly bright and saturated, while they are dull on older monitors. Photos on any screen can look dull and washed out if there is lots of light in your room.  They can look different at night than during the day.  Thus oftentimes folks adjust their Brightness and Contrast monitor settings so that they do not see the images webmasters intended.  I'm aware that people differ in their textile color preferences--how strong or how "mellow" they would like them. Thus it is wise to discuss specific pieces with me if you have questions about colors in the textiles you are considering. 


Could you please tell me the safest way to hang a cherished rug (or tapestry, or embroidery or other textile)?  How can I go about cleaning my textile and repairing damage that it has sustained?

My website page on Mounting and Hanging Textiles explains the simplest and most satisfactory ways of hanging most items. People often ask how to hang pieces without any sewing, assuming that stitching through them must damage them. Usually, however, the safest methods do involve stitching--to distribute the weight evenly.

We are often asked for advice on textile restoration, cleaning and conservation. It is impossible to give competent advice without seeing your textile at first hand, however, so please consult with conservators in your area.  Your local museum may be able to refer you to qualified persons. 


How can I get help in identifying an old Oriental rug, kilim or bag I've just acquired? (A lucky flea-market find, perhaps, or an inherited piece...)

You can elicit a variety of opinions by posting photos of your rug on one of the web's rug discussion boards. The currently active boards are Rug-Fanatics, JBOC's Oriental Rug Questions, and TurkoTek (on the Show and Tell Forum). You need to provide as much information as possible about the rug's structure (kind of knot, warp and weft material, etc.). A close-up of the rug's back is useful, as well as a corner that shows a part of one selvage and end. If you would like to include a knot count, I suggest you read the knotted-pile section on my Basic Tribal Weaves page.  Antique geometric village or tribal rugs are the main interest of collectors who are TurkoTek participants, while floral city workshop carpets and 20th century rugs currently receive more attention on Rug Fanatics. All types are handled on Barry O'Connell's Oriental Rug Questions. TurkoTek's strict non-commercial ground rules prohibit a discussion of market values. 


Can you suggest where to start a rug study?  Can you recommend a good book or two?  A good kilim book?  How about information on other textiles?

The TurkoTek board conducted a two-week-long discussion of rug books a while back that you might find interesting. Look under that site's "Salon Archives" for Salon Discussion Number 19. For my recommendations on kilim books, check out the Flatweaves Bibliography on this website. I've included candid commentaries. I've also suggested three good books for serious beginning pile-rug collectors. On the website I am gradually providing bibliographic listings for other kinds of textiles; posted so far are resources for researching Japanese kimono, Chinese costumes, Chinese Minority textiles, African textiles, Laces, and Southeast Asian textiles. Specialist textile and rug book dealers are listed on my Links page.  I recommend that you check out their offerings, because the best publications are not usually available in your local bookstore. 


I'm going on vacation soon to Morocco (or Turkey, Uzbekistan or elsewhere in North Africa or Asia) and would like to buy a rug or two. Can you tell me what to look for, how to judge quality, and how to get a good "deal"?
                
These are very common questions that are impossible to answer briefly. If you have not already spent time (months or years, not days or weeks) learning about hand-woven rugs, you will find the subject quite complex. You are sure to be a "sitting duck"--the uneducated tourist that bazaar merchants love. You may do just as well at your neighborhood rug store at home. Prices may be no higher, and it is a great advantage to try out pieces in your own rooms where you can consider them leisurely. Dealers buy from wholesale sources overseas, and with their experience normally get better quality than do tourists. New reproductions have become commonplace and can fool even knowledgeable collectors. Antique rug supplies in some countries of origin have been nearly exhausted, and some Middle Eastern dealers search Europe and the US for old examples. When on vacation, it is reasonable to buy souvenirs. Just don't invest major money unless you are a knowledgeable collector.  If you wish, you are welcome to write for a complimentary copy of my booklet, Middle-Eastern Tribal Textiles: Some Notes on Collecting. It's an introduction to the rug world.


Would you please look at rugs I bought recently in Kazakhstan (or Azerbaijan, India or elsewhere overseas) and tell me their value?

Wait a minute...If you just bought them, you already know that! Merely transporting rugs to a different location does not alter their values substantially. In the current world-wide rug market, retail values do not vary greatly from place to place. Merchants in countries that seem exotic and remote to Americans know how to price their goods properly, and are likely to have Sotheby's auction catalogs and HALI magazines on their shelves, so the chances of finding an antique "sleeper" are rare. If you add shipping costs, insurance, and possible customs charges and brokers' fees to what you paid, that total is likely to be close to current North American or European values. Of course prices fluctuate along with collecting fads and fashions, and vary depending upon the kinds of retail outlets involved. Over the years, several individuals have come to my gallery with car-loads of rugs that they have bought in the bazaars and souks while vacationing overseas in hopes of reselling in the US. They are invariably surprised to find American retail prices close to the amount they invested, and the quality of their purchases lower.  


I’m considering the purchase of a rug (or textile) in a local shop. Would you please look at a pic, tell me what you think of the piece, and tell me if the dealer’s price is fair?

Pleeeeze!  I simply cannot evaluate other merchants’ items!  That’s a great way to lose friends, and negative comments inevitably sound self-serving.  It’s hard enough to manage my own business.  I do my best to offer good pieces at fair prices—prices often lower than elsewhere because I don’t have shop overhead.  I am willing to give advice when someone is considering my textiles, and I am willing to compare their relative merits.  I can help distinguish between those textiles or rugs considered “collectors'” pieces and those that are more purely “decorative.” This can be an important distinction for novice collectors, but also for interior designers or art consultants who might like a little assistance in choosing pieces for specific clients.  Although I have an interest in pile carpets from an academic/research perspective, my passion is for true ethnographic textiles—and among Oriental rugs that normally means the flat weaves.  I’m quite happy to share that passion and the experience accumulated over the last 40 (gulp!) years.   


I need a room-sized rug...Do you have kilims that are at least 9 feet by 12 feet?

Sorry, but I handle only old ethnographic kilims.  Tribal and village weavings were made to suit their makers' needs, either in tents or small village houses, and thus we rarely find old kilims wider than about 6 feet; most are narrower still.  Wider looms are very difficult to manage, and thus have been used almost solely in commercial workshops, where larger products have been made specifically for export. These are rarely the kinds of weavings that interest collectors.

Thus if you wish to use antique ethnographic kilims in your home, you need to be flexible and imaginative in the way you arrange your furnishings.  Bold kilim patterns are not displayed to best advantage with furniture placed on them; it's usually more effective to place a kilim in front of a sofa or seating group, rather than under it.  This kind of textile folk art needs space around it, as do paintings.  Often room arrangements do well with a couple of smaller kilims, rather than one large piece.  I have found that people who are unfamiliar with tapestry-woven or brocaded kilims typically begin by looking for pieces larger than they can use effectively.  

If you are hunting for a dining room rug, you probably need to consider something other than a old kilim, as these are rarely wide enough to place under a table with chairs on both sides.  One good solution:  use a plain floor covering, since it's mostly covered anyway, and hang dramatic textile art on the walls in that room.  


Would you please send me information for a textile term paper?

I cannot do homework for students;  that is rarely what teachers have in mind when suggesting "internet research." Nor do I have time to compile bibliographies for specialized research. That's what library research facilities are for, and most now provide on-line catalogues. Unfortunately, there is currently very little in-depth information on historic or ethnographic textiles on the web. On my Links page I have listed some of the more interesting internet resources I have found. But in most cases, students need to begin with library research, and take advantage of interlibrary loan services if local collections are inadequate. 


Could you please send me information on how to do ikat weaving…how to set up my garage sale loom...how to start learning to weave...how to do specialized embroidery stitches…how to learn to spin, etc.?

I’m sorry, but the website business keeps me so constantly busy that I cannot offer lessons in textile processes, or hunt written materials for you.  A visit to your local library should produce books that lay out practical guidance. Weavers’ guilds exist in many areas where both beginners and advanced craftsmen can get support and guidance; often these organizations have specialized libraries for their members’ use.  The on-line DMOZ Open Directory Project has an extensive listing of Guilds; see links to other textile resources on this site’s Links page.  A search on Google.com will lead you to several web discussion groups devoted to these and other textile subjects. If you would just like to experiment with some simple weave techniques, take a look at my web page on Building a Frame Loom.


Do I need a rug pad under my kilim?  If so, what kind?

The answer is yes. First, a pad will cushion the rug a bit and prolong its life.  Second, a pad will keep you from slipping and breaking your neck!  Under kilims, I like a thin rubber pad that grips the floor and also clings to the kilim. One good product is Rubber Anchor, marketed by Jade Industries. I much prefer solid rubber pads, although they are a bit more expensive than open mesh types. You simply trim the pad to the shape of the kilim, cutting it about an inch smaller on all sides. The rubber cuts easily with scissors. This material must usually be pieced for larger rugs, as it is only made in narrow widths. Most rug stores now stock suitable products. One downside: rubber pads last only a few years. They eventually dry out, stiffen, and lose their clinging power. 


You've mentioned spraying kilims with Vectra to protect them. Where can I get it?

In my opinion, Vectra is wonderful!  It's a petroleum product that can be sprayed on kilims and works much like Scotchguard to prevent soiling. I first discovered this product when it seemed impractical to use Moroccan flatwoven hambels on the floor because they included some white cotton. A light misting with Vectra, however, works wonders. Vectra is also useful for pieces in heavy traffic areas or in areas where there is a possibility of food spills. The first Vectra representative I encountered sold me on the product: He pulled out a Kleenex that looked as though it was straight from the box--a tissue that he claimed had been sprayed with Vectra. He poured Coca Cola on it. Well, that Coke rolled around and rolled off!  One light spraying of a kilim supposedly lasts through two or three washings or cleanings. It does not affect the feel or appearance of the fabric. Museum folks are reluctant to add any chemical to a textile, but with a piece that we expect to give hard use, I think it is worth considering. Where can you get Vectra?  If it is not available in your local rug or fabric shop, you can order a small can with a spray pump directly from www.vectraspray.com.


Finally, why is my e-mail ignored if I send an anonymous inquiry? 

Through the web, I've made many delightful contacts. Anonymous e-mails, however, are a pet peeve!  Why should anyone expect another person to spend time providing information when he is unwilling to even give his name?  That seems hardly civil, and I, for one, have stopped responding to such inquiries. 

Enjoy the website, thanks for visiting, and happy rug or textile hunting! It's a fascinating subject!

                                                                                              Marla Mallett