Rug Valuation from Photos —
Free Expert Assessment in 48 Hours
You do not need to move your rug, visit an auction house or pay an appraiser to find out what it is worth. A set of well-taken photographs provides most of what a specialist needs for an accurate initial valuation. This guide explains exactly what to photograph, why it matters, and what happens when you submit.
Why Photographic Valuation Works — and When It Has Limits
The most important things a rug specialist needs to assess are visible in good photographs: the design and field composition, the colour and dye quality, the knot structure (visible on the reverse), the foundation material, the condition of the pile and structure, and the presence of any signatures, labels or inscriptions. For the vast majority of rugs, these photographs provide everything needed for an accurate initial valuation.
The process has become standard in the specialist trade because it is genuinely effective. Experienced rug specialists read photographs the same way an experienced reader reads a text — quickly, accurately and with a clear sense of what they are seeing. A sharp photograph of the reverse of a rug tells us its knot type, approximate density, foundation material and structural condition more clearly than many in-person examinations in poor lighting.
That said, photographic valuation has real limits. Some details — exact pile height, the integrity of the foundation under areas of wear, the quality and age of old repairs, and the true quality of certain materials — require handling to assess definitively. We are transparent about this. Where a physical inspection is needed to confirm a final figure, we say so and arrange it.
For detailed guidance on how our valuation process works more broadly, see our overview at rug valuation and our specialist blog post on how rug valuations work.
Step-by-Step Photography Guide
Follow these steps in order. Each photograph serves a specific purpose — the guide explains what we look for in each shot and why it matters. A smartphone in good daylight is all you need.
Shot 1: Full front face — overhead, flat, natural light
What to photograph: The complete front of the rug, taken from directly above. Lay the rug flat on a clean floor or table. Stand or hold the camera directly overhead — not at an angle — so the edges of the rug are not distorted. Take this shot in natural daylight if at all possible. If the rug is too large for a single shot, take three or four overlapping images along its length.
What we assess from this: Overall design type and composition; colour palette and dye quality; field and border relationships; approximate age from design vocabulary; the presence of pictorial or inscriptive elements; overall pile condition; visible damage or wear.
Avoid: Flash, which flattens the pile and distorts colour. Diagonal shooting angle, which creates perspective distortion and makes the rug appear to taper. Taking the shot at night under artificial light if natural light is available during the day.
Shot 2: Full reverse — the most important single photograph
What to photograph: Fold the rug back to expose the reverse, then photograph the complete back surface. Take this in the same natural light as the front. If the rug is fixed to a floor or too heavy to lift, photograph as much of the reverse as you can access — even a partial reverse view is significantly better than none.
What we assess from this: Knot type (asymmetric Persian knot or symmetric Turkish knot — visible as ridges running across the width); knot density (how closely the ridges are packed); foundation material (cotton, wool or silk — each has a distinctive texture and colour visible on the back); pile height relative to the foundation knots; the presence and quality of any old repairs; structural integrity of the foundation. This single photograph often tells us more than the front face.
Why this matters so much: Many rugs that appear similar on the front have fundamentally different constructions on the back. A fine hand-knotted Persian rug and a machine-made imitation can look broadly similar from the front; the reverse makes the difference immediately clear.
Shot 3: Fringe — both ends
What to photograph: A close photograph of the fringe at one short end of the rug, showing the fringe itself and how it connects to the rug body. Then the same from the other end. If the fringe is significantly different at each end (which can indicate repairs or alterations), photograph both ends clearly.
What we assess from this: Whether the fringe is original to the rug or later-replaced; the foundation warp material (cotton, wool, silk); signs of end loss or damage; whether the end finish is original or has been re-bound. Original fringes on antique rugs are an important condition indicator — replaced fringes are common and we factor this into our assessment.
Shot 4: Corner detail — showing border, field and selvedge
What to photograph: One corner of the rug, close enough to show the border design clearly and the transition from border to field. Include the edge of the rug (the selvedge or side cord) in the frame.
What we assess from this: The quality of the border drawing and how corners are resolved (a good corner resolution indicates a skilled workshop); the condition of the side cord; signs of side loss or re-binding; the relationship between border and field colours. Corner resolution is often the clearest indicator of the quality of the original design draughtsmanship.
Shot 5: Pile close-up — field area, at an angle
What to photograph: A close-up of the pile surface in the main field area, taken at a slight angle (about 30–45 degrees to the surface) so the pile height and texture are visible. Move the camera until the pile tips catch the light and the depth of the pile is apparent.
What we assess from this: Pile height and evenness; whether the pile has been cut short (indicating significant wear or artificial shearing); whether any corrosion of the foundation is visible where dark colours sit; the lustre and quality of the wool or silk; and whether any abrash (tonal variation across the field) is apparent — a natural feature of vegetable-dyed hand-knotted rugs.
Shot 6: Any damage, staining or repair areas
What to photograph: Any areas of pile loss, staining, fading, structural damage, holes, or visible repairs. Photograph each separately, close enough that the affected area fills a significant portion of the frame. Include a hand or common object nearby to indicate scale if helpful.
What we assess from this: The extent and severity of each condition issue; whether any repairs are structurally sound or cosmetic; the pattern of damage (which can indicate age and use history); and whether the overall condition affects the rug's usability and marketability. Honest disclosure of damage is in your interest — it avoids surprises later and allows us to price more precisely.
Shot 7: Any label, signature, inscription or cartouche (if present)
What to photograph: If your rug has any woven text, a paper dealer label, an auction sticker, or any visible inscription or cartouche — photograph it from the front at close range. Then photograph the same area from the reverse. Also photograph both sides of any paper labels or tags that accompany the rug but are not attached to it.
What we assess from this: Whether any woven inscription is original to the weave (visible on the reverse) or surface-applied; the content of the inscription — name, date, workshop, dedicatory text; the credibility of any dealer or auction label as provenance documentation. For signed and attributed pieces, these photographs are particularly important. See our guide to selling signed Persian rugs for more detail.
What Can and Cannot Be Assessed Remotely
We believe transparency here builds more trust than optimism. This table shows honestly what photographs allow us to assess reliably, what requires further information or targeted shots, and what needs a physical inspection to resolve definitively.
| Assessment Area | Can be assessed from photos | May need additional photos or information | Requires physical inspection |
|---|---|---|---|
| Rug origin and type | Yes — design vocabulary, knot structure and colour palette together establish origin and type reliably in most cases | Very specific sub-regional attributions (e.g. a specific village within a broader tradition) may need additional reverse detail | Rarely required for origin; only for the most specialised attributions |
| Approximate age | Yes — design evolution, dye palette and foundation materials together give a reliable period estimate | Fine age distinctions within a decade may need better-lit colour shots | Sometimes for borderline antique/semi-antique decisions, or when an exact date matters for a significant piece |
| Knotting quality and density | Yes — a sharp reverse photograph establishes knot type and approximate density reliably | Very precise knot counts may require a targeted close-up of the reverse in raking light | Rarely required |
| Material identification | Mostly — wool, cotton and silk have distinct visual characteristics; synthetic fibres are usually identifiable from pile sheen and uniformity | Fine wool vs fine cotton foundation may be unclear from a photograph; silk vs mercerised cotton can be ambiguous in some shots | For high-value pieces where silk vs cotton or the quality of the wool fibre is material to price, physical handling is preferable |
| Overall condition | Yes — visible pile loss, fading, staining, damage and general wear are assessable from photographs if all areas are covered | Sections not photographed cannot be assessed — full coverage is important | Extent of hidden or localised damage beneath the pile; exact pile height measurement |
| Pile height and wear level | Partially — the angled pile close-up gives a strong indication of pile height and overall wear | Localised pile variations across a large rug may need multiple close-ups | Precise pile height measurement and the relationship between pile height and foundation structure require handling |
| Foundation integrity | Partially — visible foundation damage, exposed warps and structural holes are clear in photographs | — | Brittle or weakened foundation fibres that have not yet caused visible surface damage require physical examination |
| Repair quality and age | Visible repairs are usually identifiable from photographs — especially if both front and reverse of the repaired area are photographed | — | The structural soundness of a repair, and whether it is likely to hold long-term, requires handling |
| Woven signatures and inscriptions | Yes — front and reverse close-ups of an inscription together confirm whether it is woven or surface-applied | — | Physical examination is required to definitively confirm a disputed attribution in high-value cases |
| Market value range | Yes — for the large majority of rugs, photographs provide everything needed for an accurate initial market value assessment and purchase offer | — | Final binding valuations for high-value pieces where the above physical details are material to the price |
A photographic valuation is a professional initial assessment — not a binding commitment. If physical inspection would materially change our assessment, we will say so before making an offer, and we will explain what we need to see and why.
Privacy, Data and Your Submission
We understand that sending photographs of personal or family possessions requires a degree of trust. Here is how we handle your submission.
Your photographs are not shared
The photographs you submit are used only by our team for the purpose of assessing your rug. We do not share, publish, or distribute your images to third parties. We do not use your photographs in marketing materials without your explicit permission.
No obligation at any stage
Submitting photographs does not commit you to selling. Receiving an offer does not commit you to accepting it. You can decline at any point without explanation and without any charge. There is no time limit on accepting an offer.
Personal review, not automation
Every submission is reviewed personally by a member of our specialist team. We do not use automated valuation algorithms. The response you receive reflects a genuine specialist assessment of your specific photographs and the details you provide.
What we ask you to provide
Photographs as described in this guide; accurate dimensions (length and width, in centimetres or feet and inches); any known information about origin, age or provenance; an honest description of condition. The more detail you provide, the more precise our assessment can be.
What Happens After You Submit
Many sellers are uncertain about what the process looks like after they send their photographs. Here is the complete sequence, from submission to completion.
Submission received and acknowledged
You will receive an automatic acknowledgement confirming we have received your submission. This does not mean the assessment is complete — it means your photographs are in our queue for personal review.
Specialist review within 48 business hours
A member of our team reviews your photographs and details. We assess origin, period, quality, condition and current market demand. If we have questions — for example, if a particular photograph would help clarify a specific point — we will contact you to ask before concluding the assessment.
Assessment response
You receive a written response with our assessment of the rug. This will include our view on origin and likely period, the main quality and condition factors we identified, and — if we wish to purchase — a specific offer. If we do not wish to purchase, we will explain why and suggest alternatives where we can. If physical inspection is needed before we can confirm a figure, we will say so at this stage.
Your decision — no pressure
If we make an offer, you can accept, decline, or ask questions. There is no time limit on your response and no pressure to decide immediately. If you want to get a second opinion elsewhere first, that is entirely your right and we will not take it personally.
If you accept — collection and payment
If you accept our offer, we arrange collection at a time convenient to you. We handle all logistics and there are no additional charges. Payment is made promptly on collection or confirmation, as agreed. See our full selling guide for details on the collection and payment process.
Quick Pre-Submission Checklist
Before you submit, use this checklist to make sure you have everything that gives us the best chance of an accurate first-pass assessment.
Photographs (all taken in natural daylight, rug laid flat)
- Full front face — overhead, complete, no cropped edges
- Full reverse — or as much as you can access
- Fringe at one or both ends
- Corner detail showing border, field and selvedge edge
- Angled pile close-up in the main field area
- Any damage, staining, repair or pile loss areas (each separately)
- Any label, signature, inscription or cartouche — front and reverse
Information to include in your submission
- Dimensions: length and width (in cm or feet and inches)
- Any known origin, age or type information
- Honest description of condition — noting known repairs, damage, pile loss
- Provenance information, if any: old receipts, labels, family history, auction records
- Your location (for collection logistics, if required)
Common Photography Questions
My rug is very large — how do I photograph it?
Take multiple overlapping photographs along the length of the rug, and one of a corner showing the full border. A shot from a staircase or landing works well for very large carpets. Accuracy of coverage matters more than fitting the rug into a single frame. Note the dimensions in your submission so we can understand the scale.
My rug is on the floor and I can't easily move it
A front photograph taken from directly overhead (standing above the rug) is still possible if you cannot move it. For the reverse, try folding back a corner to reveal the knot structure — even a partial reverse view is very helpful. Note in your submission that you cannot access the full reverse and we will ask for targeted close-ups if needed.
My rug is rolled or stored — should I unroll it first?
Yes, if possible. Photographs of a rolled rug do not allow the full design, condition or size to be assessed. Lay it flat outdoors or in the largest space available, even temporarily. A well-lit outdoor photograph on a clean patio or path is often the most practical option for large rugs.
The colours in my photographs look different from the rug itself
Natural daylight gives the most accurate colour rendering. Avoid artificial light (which adds yellow or orange cast) and flash (which bleaches colours). If indoor photographs look significantly different from the rug's actual colours, note this in your submission — for example "the photographs show the ground as orange but it is in fact a warm red." We take account of common colour distortions.
Rug Valuation from Photos — Frequently Asked Questions
Related Services and Guides
Rug Valuation
Overview of how we value rugs — online, in-person, and what the process involves.
Sell My Rug
Full guide to the selling process — from initial valuation through to collection and payment.
How to Photograph a Rug
Detailed photography tips — lighting, angles and what each shot needs to show.