Avoid these mistakes in collecting
5 rookie mistakes lessons I learned in collecting jewellery
Updated Feb 16, 2025
Collecting vintage and antique jewellery from the Middle East is such a beautiful activity. The hunt for that one special piece, the jolt of excitement you feel when it finally arrives or when you walk out of that store! But…did you know there are some pitfalls that can impact the importance and even the value of your collection? Here are 5 mistakes I totally made myself – and which proved to be valuable lessons!
1. Neglecting to research regional styles and techniques
That’s a no-brainer… diving into the market without a thorough understanding of the diverse styles and techniques specific to different regions and cultures will get you duped for sure. The Middle East and North Africa are a mosaic of cultures, each with its distinct jewellery traditions. From the intricate filigree work of Yemeni silversmiths to the colorful enamel designs of Amazigh craftsmen, the nuances are vast and varied.
When I purchased my first pieces of jewellery, as a young student, I definitely made mistakes (and I have the Drawer of Shame to prove it!) It took me a while to learn to recognize both regional styles and stylistic developments over time…and that is what it takes to avoid this: time.
My advice would be to invest time in researching the unique characteristics of jewellery from the regions or cultures you’d like to collect, right from the start. Having a handle on these aspects not only enhances your appreciation for the pieces, but also acts as a safeguard against purchasing replicas or misattributed items.
With time, you’ll become a lot less vulnerable against intentional fooling! This post tells you exactly what to look for.
2. Overlooking the importance of provenance and collection management
Provenance, or the documented history of a piece, is really paramount when building a collection of vintage and antique jewellery. Who were the previous owners of a piece? When was it first acquired? Has it been restored or altered? Equally important is keeping track of your collection. They usually go hand in hand.
The thing is I did not realize that this is actually important until much later. When I first started to collect jewellery, I just purchased what I liked and what I could afford, and never wrote anything down.
And people, did I come to regret that…! Things like the local name of a piece, or the name of the shop I found it, or the year I bought it. From the bottom of my heart: Write. It. Down.
Please do it now, while you still remember it – if not for your heirs, then for future collectors so they don’t have to start all over again with researching things you already knew. It’s such a waste of all the energy and time you have spent on finding out more on your pieces if they end up as nameless orphans.
Added bonus: I’ll never forget my surprise when I had purchased a piece of jewellery I was really excited about, only to discover I already owned one….believe me, there will be a point in time that you do not remember exactly what’s in your collection.
When purchasing jewellery with a gallery or online, ask for a comprehensive provenance that outlines its journey through time. You will have absolutely no problem obtaining this from reputable sellers! And, if you’re the first person to buy a piece in the country of origin itself, its provenance journey starts with you: download this free resource to do that in 5 easy, proven steps.
Why should you even care about provenance for jewellery from the Middle East and North Africa? Well, ultimately, a piece with a well-documented provenance ensures a transparent and trustworthy collection.
And while it may not matter to you now, as provenance only continues to increase in importance, it will be very relevant once you’d like to donate or sell your collection in the future. This post provides you with a clear action plan to approach a museum.
Of course, the jewellery itself speaks to its value and importance! But missing provenance may still cause the value of your collection to plummet, while outstanding provenance has proven to actually increase its value.
3. Failing to authenticate materials
Now here’s a field I made errors of judgment in, too. How to recognize real amber and coral from a photograph, for example? The Drawer of Shame contains bloopers here, too.
What is presented as silver may actually be low-grade silver or even base metal, and what about those murky waters of gemstones? Failing to authenticate these elements can lead to costly oversights, as I have learned in the past.
Granted, it’s a mistake you’ll only make once, but still. That feeling of having misjudged is just painful. There’s a reason I call it the Drawer of Shame instead of the Drawer of Valuable Lessons Learned, after all.
Related to that is insight in the use of synthetic materials: they really do not have to be indicators of reproductions. You just need to know which is which…for which I refer back to point number 1 above.
Synthetic materials may be authentic replacements, or even part of its design from the start. Click here to see some surprising examples of pieces that were actually designed with plastic.
I’d say it is crucial to be well-versed in the materials commonly employed in Middle Eastern jewellery, and their uses during different time periods. This, too, takes time and learning.
4. Ignoring preservation and maintenance practices
So, you’ve successfully purchased a piece of jewellery…and then all of a sudden it has turned green from verdigris. Yes, been there, too! And that panic attack is one I will not lightly forget.
Silver jewellery requires attention and care to preserve its beauty. Ignoring proper preservation and maintenance practices can result in irreversible damage, diminishing the value of your collection.
How to avoid your collection ending up damaged? For this, you’ll want to implement careful storage practices: see 4 simple tips on how to store – and how not to store – silver here.
A second advice is to regularly inspect pieces for signs of wear, loose settings, or corroded metal. By adopting a proactive approach to preservation, you safeguard the longevity and quality of your wonderful collection.
Quick tip: since that encounter with the Green Monster, I go over my collection twice a year. Around the end of the year, in the holiday season, and roughly halfway through the year during my Summer break.
5. Underestimating the power of connecting with others
Building a collection of vintage and antique jewellery from the Middle East is an ongoing learning process, and that is also the fun of it. I honestly learn something new every day!
Networking with experts and fellow collectors is fun, stimulating and productive. Underestimating the importance of connecting with individuals who share a passion for the same niche can limit your growth as a collector.
That sounds like a big claim, but think of it as an ever-expanding circle: see more, learn more, lessen your chances of getting duped.
For me, I noticed that I started to make significantly less mistakes when I started learning from others. Having conversations works both ways and develops never-ending, mutual learning.
And most of all: I gained friendships and a community that are just invaluable. Thank you for being here!
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Where can I find more on traditional jewellery from Southwest Asia and North Africa?
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Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery from North Africa and the Middle East!
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The Bedouin Silver Jewellery Blog: Sigrid van Roode
Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.