EU regulation on cultural goods: what collectors need to know

EU regulation on cultural goods: what collectors need to know

by | Tips for collectors

Collecting jewellery

What do the EU-rules on cultural goods mean for me?

Published June 25, 2025

Rules and conventions that affect how you collect jewellery keep on changing, so here is a new blog on a new set of rules! From June 28, 2025, a new European Union law – Regulation (EU) 2019/880 – is in full effect. And if you’re a collector of Middle Eastern jewellery, or someone who sells it internationally, this regulation actually matters. So I’d thought I’d give you the main breakdown of when and why this matters to you!

The main point: you can’t import ancient beads or jewels into the EU without an import licence and sound provenance. Details, exceptions and what to do as either a buyer or seller are in this blog.

Before we start, again a disclaimer up front: I’m a jewellery historian, not a lawyer. But I would like to give you a heads’ up on this development, so you know this exists.

Let’s see how this works!

What is EU Regulation 2019/880 on the import of cultural goods?

This one is not about modern trade tariffs or commercial sales tax. It’s about something deeper: cultural heritage. This regulation governs the import of cultural goods into the EU and is designed to stop the illegal trade of cultural items – especially those removed from their countries of origin during times of conflict or without permission.

This EU-wide regulation sets rules for how cultural goods can legally be brought into the EU from non-EU countries. Its goal is to:

  • Prevent looted or illegally exported cultural items from entering the EU.
  • Protect cultural heritage, particularly from countries affected by conflict.
  • Create a more uniform and transparent system for imports across EU countries.

This is not a new idea: international conventions have been calling for this kind of protection for years. But this is the first time the EU has set up a unified legal framework to enforce it at the border. And as such, this regulation is a gamechanger for many businesses.

How Regulation 2019/880 affects jewellery collectors

If you collect traditional jewellery from North Africa and the Middle East, Regulation 2019/880 probably will not have that much effect. Because after all, there is not that much traditional jewellery that is older than 250 years and that meets the value threshold of the regulation (which I will go into below).

But there are implications for one particular category, and that is why I chose to devote a blog to it. Many old beads, especially those labelled as archaeological, dug-up, or ancient, fall under this regulation. Those are the kind of beads that you will often find in modern designs, and that are avidly collected by jewellery collectors and designers alike. So, if you are selling trade beads and also include ancient beads in your offerings, or designing new jewellery pieces from ancient components, selling these to customers in the EU requires your attention. Even if they’ve been in circulation for decades.

Which jewellery counts as a ‘cultural good’?

So, what is a cultural good? The regulation follows a specific definition of cultural goods. That is a different definition than UNESCO 1970 or the CITES-definitions: I can’t help that, but here we are.

See more about UNESCO 1970 here

See more about CITES here

The definition of cultural goods includes objects of archaeological interest that are over 250 years old. It doesn’t matter how small or unassuming the item is.

So yes: ancient beads, dug-up items, grave goods, or antique adornments that have archaeological origins fall into this category. Jewellery that has been excavated, or that is believed to come from historical sites, even if it’s only a strand of stone or glass beads, may be covered by the regulation.

Still wondering if that affects you? Have a look at these terms, often found on auction platforms, Ebay or Etsy stores:

Saharan ‘Neolithic’ beads. Mummy beads. Sassanian seals. Roman glass beads. Nila beads. Carved seals and intaglios. Ancient Egyptian faience amulets. Islamic glass beads. Etched carnelian beads. Roman/Islamic glass bangles. Ancient melon beads.

Any of these look familiar, or like something you’d buy or sell? That’s when you need to be aware of this regulation on cultural goods. And just to be clear: obviously, I know that many of these items have been above ground for a very a long time. I am also aware that many of these are actually fake or, at best, misrepresented recent productions. In fact, I even can’t help but wonder if we will be seeing a whole lot less of those presumably ‘archaeological’ items, now that these regulations are in place.

But on the other hand… the Sahara is still being robbed of its beads today, as are grave sites on various locations. The point of the regulation is to prevent the illicit trade in those items – and the legislators have chosen to create a definition that includes everything.

Categories of cultural goods: what collectors should know

There are different categories of cultural goods under this regulation. The most relevant for collectors and traders of older jewellery include:

Category B: Objects older than 250 years (these include archaeological objects from excavations or finds, but also things like statues and icons), regardless of their value.

Category C: Other cultural goods older than 200 years, and with a value of 18,000 euros or more.

This last category is more for high-end galleries; I suppose the goods in Category B are most relevant for most collectors and sellers of beads. Note that Category B includes all archaeological objects, regardless of value: that 10 USD ancient bead you have purchased on Ebay, now needs a whole lot more before it may be imported into the EU.

So where is Category A…? Those are cultural goods that have been obtained illegally, and cannot be imported at all.

Licence and documentation requirements for importing cultural jewellery

Customs authorities in the EU will require documentation for cultural goods entering the EU from outside. Depending on the object’s category, age, and origin, importers will need to provide either:

  1. An Import Licence, or
  2. An Import Statement

Import Licence (for Category B goods) If you’re importing archaeological items, such as beads or artefacts that were excavated or likely dug up, you will need an import licence. To get this, you must prove:

  • The goods were legally exported from the country of origin.
  • Or, if they were exported long ago, that they were legally in the seller’s possession before the regulation came into effect.

This licence is issued by the EU country where the goods will enter. Without it, the items can be held or sent back at customs.

Import Statement (for some Category C goods) For other items, such as ethnographic jewellery older than 200 years but not archaeological, you may be able to submit a simpler ‘import statement’ confirming lawful export and supporting documents (like a bill of sale, a certificate of origin, or a collection record). That’s everything from before 1825 at this point.

There are two exceptions:

  • The country where the objects were created can not reliably be determined;
  • The objects legally exported from their country of origin before April 24, 1972.

Both you’ll still need to prove, and it does not end there: in these two cases, you will also need to prove it was lawfully exported from the last country it has been in for a period longer than 5 years.

So that 10 USD ancient bead….let’s assume it is unclear where it was actually made in Antiquity. In that case, the seller will need to prove they obtained the bead themselves legally from the last country it has been in for 5 years. That means keeping close track of your inventory records.

I’m in the EU and want to buy old jewellery: what does the cultural goods-regulation mean?

If you are buying old beads or jewellery from outside the EU, say, from a seller in the Middle East, North Africa, or elsewhere – here are 4 pointers:

  • Ask about the item’s origin and age. Beads described as “ancient,” “excavated,” or “dug-up” may fall into Category B, and you’ll need an import licence.
  • Check documentation. Ask the seller to provide evidence of lawful export, such as a government-issued export permit or a dated invoice showing it was acquired before the regulation takes effect.
  • Expect delays at customs. If the documentation isn’t complete, the item could be held, inspected, or refused entry. Factor this into your timeline and budget.
  • Use reputable couriers and declare goods clearly. Mislabelled or undeclared cultural items can lead to seizures or penalties.

I’m outside the EU and want to sell jewellery: what does the cultural goods-regulation mean?

If you’re a seller based outside the EU and you sell older beads or jewellery to EU buyers, your business got significantly more difficult. Here are 4 pointers that might help:

  • Assess your stock. Beads that were excavated, or come from archaeological or burial sites, are now considered sensitive cultural goods. Selling them into the EU requires supporting documentation.
  • Provide export documentation. If your country issues cultural export permits, include a copy. If the item was acquired long ago, include invoices, collection records, or customs documents from that time.
  • Be clear in your listings. If your item is over 250 years old, say so. If it’s not, and you’re confident it’s modern or a reproduction, state that clearly to avoid confusion or unnecessary red tape.
  • Prepare for extra steps. Your EU buyers may ask you for additional documentation, especially for archaeological items. Having it ready builds trust and smooths the process.

Ethnic jewellery may get tangled up in procedures

A point to be aware of here is that regular ethnic jewellery may get tangled up in customs’ procedures.

Many customs’ officials do not recognise the difference between ethnographic and ancient pieces, because it requires a trained eye. That is not their fault: it’s a specific expertise. I am contacted on a regular basis by customs’ consultants both in my own country and in the U.S. to assist in identifying jewellery, because I am both an archaeologist and a jewellery historian. For transparency’s sake: that’s a ‘blind’ consultancy – I only get shown the objects themselves, but nothing on the seller or buyer.

In the experience I have with these identifications, I have found that most of it is actually ethnographic, not ancient: trade beads, vintage glass bangles, vintage rings…

And so while this technically has no consequence for the import and export of vintage traditional jewellery into the EU (compliance with UNESCO 1970 or CITES is another matter!), it does cause delays. That is just my personal observation, but one I wanted to share with you anyway. As I expect that ‘old-looking’ items may be subject to increased scrutiny, I would advise to be as accurate and complete as possible in the descriptions and documentation with each piece you wish to import into the EU.

The importance of provenance

When you have been following this blog for a while, you probably guessed that this section was coming…provenance! Provenance is now more important than ever. Honestly. There is no way around it anymore.

While not all older beads come with perfect paperwork, I would advise buyers and sellers to do what they can to build a clear record:

  • Note when and where the item was acquired.
  • Keep dated invoices, customs declarations, and permits.
  • Avoid vague terms like “ancient style” if the item is in fact ancient.

It all boils down to keeping accurate track of your collection or inventory. And as time progresses, I suspect that this need for provenance will only continue to increase in the foreseeable future. Because while this particular regulation mainly affects archaeological items and cultural goods older than 250 years, it’s a matter of time before ethnographic jewellery starts to attract similar attention of lawmakers.

This blog on provenance is a good start!

EU-regulation on cultural goods: main takeaway for collectors of ethnic jewellery

Regulation (EU) 2019/880 isn’t about restricting trade for its own sake – although it definitely has serious effects for sellers and buyers alike. It’s about protecting cultural heritage and ensuring that items move across borders legally and ethically.

The main takeaway is that solid provenance is essential – to prove that an item you’re buying or selling has been excavated legally, or to prove it is not archaeological at all, or to prove it is younger than 250 years. The more complete and reliable your documentation is, the less hassle you’ll have at customs.

If you’re unsure about whether a specific item falls under the regulation, contact an import/export advisor or your national customs office. Better to check now than face difficulties later!

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References

See more on EU 2019/880 here:

https://www.europeanheritagehub.eu/document/regulation-eu-2019-880-of-the-european-parliament-and-of-the-council-of-17-april-2019-on-the-introduction-and-the-import-of-cultural-goods/

https://global.lockton.com/eu/en/news-insights/new-eu-regulation-on-cultural-goods-risk-implications-and-guidance

https://www.fieldfisher.com/en/insights/eu-regulation-2019-880-on-the-importation-of-cultural-goods-the-eu-commission-q-a

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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.

Verdigris in Middle Eastern jewellery

Verdigris in Middle Eastern jewellery

by | Tips for collectors

What every collector needs to know

Verdigris in Middle Eastern jewellery

Updated June 6th, 2025

So, this happened… Recently, a Yemeni jewellery set came up for sale at an online auction. A friend sent me the listing, and one phrase in the description stopped me mid-sip:

The piece was labelled:

“A vintage metal ornate dress regalia, with decorative chains and turquoise decoration.”

I nearly choked on my coffee.

‘Turquoise decoration’?! No way. That greenish substance was not turquoise. It was verdigris – a corrosive compound that damages jewellery. Calling it a “decoration” is not just misleading – it’s potentially harmful to collectors and collections. The jewellery set in question is shown below: take a good look at that greenish hue, because that is what we’ll zoom in on here.

I made a 5 second reel out of it on Instagram (which got over 25k views) – but this topic needs a little more explanation than a social media caption. So, here’s a blog on verdigris, the Green Monster!

What is verdigris?

Verdigris is a corrosion product that forms on copper, brass, or bronze when these metals are exposed to moisture and air. The word comes from the French vert-de-gris. It means ‘grey-greenish’, and was used as main component in green pigments. Because it is unstable, and reacts with other materials, it ceased to be used in art as soon as other green pigments became available.

In scientific terms, it’s a mixture of copper salts, formed through the reaction of copper with water, oxygen, and carbon dioxide, often catalysed by organic materials like skin oils, textiles, or leather.

Traditional jewellery from North Africa and Southwest Asia often includes silver-copper alloys or decorative elements containing copper or brass. When these metals are exposed to humidity or stored improperly, verdigris can begin to develop. It looks like green crusts, patches, or powdery growths on the surface. The header above this blog post shows you what that looks like, as does the image of the Yemeni jewellery set.

Why is verdigris a problem for Middle Eastern jewellery?

While it may look picturesque (well, to an untrained eye: me, it makes me scream), it’s far from harmless. Verdigris is corrosive and unstable. If left untreated, it will continue to eat away at the underlying metal, weakening structural components, eroding fine details, and compromising the overall integrity of your jewellery.

If one piece shows signs of verdigris, this may indicate its storage conditions are too humid. If you have more than one piece in the same storage conditions, chances are verdigris may develop on those, too. [1] This makes it not just a problem for one piece, but a risk to an entire collection. It’s a nightmare, honestly.

In museum contexts, verdigris is treated as an active conservation concern. For private collectors, the risk is no different. Ignoring it can lead to permanent loss of historical material, diminished value, and potentially hazardous conditions if the corrosion product interacts with skin or textiles.

How to protect your Middle Eastern jewellery collection from verdigris?

Here are 5 things you can do to protect your collection of traditional jewellery from North Africa and Southwest Asia from verdigris:

Learn to identify verdigris

Verdigris appears as a surface deposit—often flaky, waxy, or powdery. It typically forms in crevices or where metal has been in contact with other materials.

Approach vague or overly positive descriptions with caution

Phrases like “turquoise decoration,” “aged patina,” or “natural wear” can mask underlying issues. If an image shows green deposits on a piece of jewellery that traditionally wouldn’t include turquoise, it’s likely corrosion.

Isolate affected items

If you discover verdigris in your own collection, remove the piece and inspect its storage conditions (see below). Wrap it in clean, acid-free paper or cloth and store it in a well-ventilated, dry area until you can address the issue. This is also why you will want to carry out regular inspections of your jewellery, so you can catch it early.

Store your collection correctly

Avoid high humidity. And if you cleaned an item: make sure it is dry through and through before storing it. Don’t use sealed plastic bags or containers, which trap moisture. Ziploc bags are fine, but don’t seal them shut. Use acid-free tissue and breathable materials. Keep metal components from direct contact with skin oils, leather, or synthetic materials that might accelerate corrosion.

Clean with care

Do not scrape or scrub verdigris off with household tools: this may scratch the metal or force corrosion deeper into the surface. Dry brushing or gently dabbing with a cotton swab under professional guidance may be appropriate, but for valuable pieces, always consult a conservator.

See more about cleaning your jewellery here (….and read this blog post first!).

Caring for Middle Eastern jewellery: know your stuff

And finally, a few thoughts…

The misidentification of verdigris as ‘turquoise decoration’ highlights a broader issue: lack of specialized knowledge in non-dedicated auction settings.

Because sellers, especially those listing pieces at generalist or online platforms, do not always have the training to accurately assess traditional jewellery from North Africa and Southwest Asia. Mislabelling corrosion as decorative inlay is so stupendously ignorant that it left me baffled, but you might also see signs of wear and damage described as part of the ‘design’. Now, don’t get me wrong, this is not necessarily out of bad intent! In most cases, it’s simply not-so-blissful ignorance.

But the thing is: the consequences are real.

For collectors, this basically means one thing: buyer beware. It’s essential to develop the skills to recognize materials, assess condition, and interpret seller descriptions critically. Accurately interpreting what you’re seeing (…and what you’re being told!) requires more than just an eye for beauty. It requires contextual knowledge: of materials, techniques, and signs of deterioration.

This is why learning matters. Because every piece tells a story – and it deserves to be heard, not eaten away.

So, thank you for being here and following my jewellery blog: together, we learn and preserve this heritage jewellery for the future!

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References

[1] An earlier version of this blog mentioned that verdigris spreads. A knowledgeable reader of this blog pointed out to me that this is not the case, saying ‘keeping jewellery perfectly dry will prevent verdigris from occurring and prevent existing verdigris from affecting other areas’. Thank you!

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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.

Patina in Middle Eastern jewellery

Patina in Middle Eastern jewellery

by | Tips for collectors

what is patina?

Patina in Middle Eastern jewellery

Published March 18, 2024

Patina is a word you’ll see used often when talking about ethnic jewellery. It may be described as ‘having great patina’, and collectors may be afraid that cleaning ‘removes the patina’. But what is patina? You may be surprised to learn that it is used for two very different things!

Patina in ethnic jewellery: what it technically is

Corrosion. Patina refers to the thin layer that develops on the surface of metals due to natural oxidation and environmental exposure over time. You could think of the greenish hue that bronze statues or architectural elements may have, for example.

But it encompasses a broad spectrum of colours and textures, ranging from earthy browns to deep blues and reds. Patina is a result of the metal’s reaction with elements like oxygen, moisture, and sulphur. As such, it is technically the same as tarnish.

In some types of jewellery, patina is actually prized: it indicates that the jewel is indeed old. But, beware: there are tons of ways to create a fake patina on jewellery!

Patina, rust, tarnish: what is the difference?

Technically, none. They are all words for the oxidation in metals. But patina is often used for the colour effects in particular, while tarnish is more often used for the oxidation itself.

What is more, patina carries a positive connotation, as something beautiful. Tarnish, on the other hand, is used in a negative sense, as something damaging and ugly.

You will also find patina used for bronze, rust for iron, and tarnish for silver: all three denote oxidation processes and their visual results.

There are many different interpretations of the word patina going around, and to add to the confusion, collectors may mean something completely different!

Patina in ethnic jewellery: what collectors also mean by it

Usewear. Very often, the word ‘patina’ is used for something else entirely in the world of ethnography and collectors.

You will find it applied to a particular type of wear: ‘usewear’ refers to the physical evidence of wear and tear that occurs over time as a result of the item being worn or used in its intended manner.

Patina, in this context, usually means the soft wear on a surface as a result of years of rubbing or handling it. Other types of usewear, such as dents and scratches in a piece of jewellery are not called patina.

Although patina is technically the result of oxidation in metal, you will also see the word used with regard to wooden objects in the world of ethnography.

Here, too, it means ‘usewear’: a wooden handle that has been grasped countless times, will have a beautiful, deep colour and a silky, smooth surface. The same goes for antique furniture where doorknobs, edges and surfaces may show discoloration and a softness after decades of use.

Old silver jewellery in Cairo's Khan el Khalili

Patina in ethnic jewellery: what it definitely is NOT

Dirt. Honestly. Dirt is not patina. Dirt is an external substance that accumulates on the surface of jewellery. Dirt is easily removable with gentle cleaning methods. It does not alter the metal itself, like oxidation does, but can obscure the intended aesthetic of the piece.

Cleaning (see 3 methods how to approach that) can effectively remove dirt without impacting the authentic patina that may have developed over the years. The jewellery you see in the gallery above is just dusty and dirty: this is not what patina looks like!

Patina in ethnic jewellery: how to check for authentic patina

So, as we have seen, there are two types of ‘patina’ you can inspect your jewellery for.

Oxidation – Many ethnic jewellery pieces are made from materials like silver, bronze, or copper, which can develop a natural patina or oxidized layer over time due to exposure to air and moisture. This patina is often uneven and may be more pronounced in areas that have been frequently touched or worn.

Polishing and wear patterns – Certain parts of the jewellery, such as clasps, hinges, or chains, may show signs of polishing or smoothing from repeated use. Additionally, wear patterns may emerge on surfaces that come into contact with the skin, clothing, or other jewellery pieces, indicating areas of frequent movement and friction.

You can inspect an item for traces of usewear by employing various methods:

1 Use your eyes: Start by taking a good look at the jewellery. Carefully inspect the surface of the jewellery under good lighting conditions. Identify areas that are likely to show signs of wear and tear, such as the back of a pendant or the inside of a bracelet, and observe these closely. Look for scratches, patina, polishing marks, and any other indications of use. Note: the jewellery needs to be free of dirt to do this – dirt may actually obscure exactly these details.

2 Magnification: Whip out the magnifier! Check for subtle details such as fine scratches or tool marks. Patina, both in the sense of oxidation and usewear, may have been artificially applied.

3 Feel: If you’re looking to see if a piece has indeed been worn for a prolonged period of time, stop looking and close your eyes. Feel the jewellery: does it feel worn and soft, or do you still feel sharp edges? Open your eyes again and check these places on the jewel.

Patina, whether oxidation or usewear, is often used as a factor in authenticating a piece. But there is more to that than patina: this article gives 5 tips on how to establish whether your jewellery is authentic!

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Would you like to quote this article? Please do! Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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. 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.

How to care for coral in ethnic jewellery

How to care for coral in ethnic jewellery

by | Tips for collectors

Practical do’s and don’ts

How to care for coral in ethnic jewellery

Updated December 20th, 2024

Coral has a rich history in Middle Eastern and North African ethnic jewellery. You’ll find it alongside beads and other elements, set in silver, worked into cabochons… But how to properly care for coral? It’s a tricky substance and regular cleaning may damage it quickly. So, in this guide, I’ll go over the various forms of coral used in necklaces and provide practical tips for cleaning, storing, and caring for jewellery with coral.

Coral in ethnic jewellery: what you need to know

The main thing to keep in mind is that coral is not a mineral, like other beads you may encounter on a necklace, but rather a marine organism. You’re actually looking at a skeleton of sorts: coral is the skeletal remains of colonies of tiny polyps. The coral used in Middle Eastern and North African jewellery often comes from the Mediterranean Sea.

Because of its marine origins, coral is super sensitive and porous. Neglecting it or worse, using the wrong methods to care for it, may result in the coral losing its colour, breaking or damaging.

Coral in ethnic jewellery: what NOT to do

So, how to avoid disaster? Here are three things to never, ever do:

1 – Soaking it in water

I realize this may sound a bit counterintuitive for a material that actually develops in the sea! But coral is porous, and giving it a long bath can ruin its structure. Avoid submerging coral jewellery in water or exposing it to prolonged periods of high humidity. Moisture can lead to the breakdown of the coral’s calcium carbonate structure and may cause it to become discoloured, or lose its lustre.

2 – Using an ultrasonic cleaner

Superhandy for your glasses, but please do not put jewellery with coral components in your ultrasonic cleaner. That is not only because it would require the coral to be submerged (which it does not like). The intense vibrations generated by ultrasonic cleaners can be too abrasive for the delicate surface of coral, leading to scratches, chips, or other forms of damage.

3 – Using chemical cleaning agents

Coral is a diva! It is sensitive to harsh chemicals, including strong cleaning agents, solvents, and abrasive substances. Avoid using these when cleaning coral jewellery, as they can lead to discoloration, deterioration, or irreversible damage to the coral’s surface.

Coral in ethnic jewellery: how to clean it

1 – Observe the construction. How is coral worked into your jewellery? Is it strung on cord, or added as cabochons to the surface of a pendant or brooch? How is it attached: secured with resin, glue, held in place by prongs? What is sitting next to it? All these factors should be considered when attempting to clean coral in ethnic jewellery. If in any doubt, consult an expert in jewellery restauration!

2 – Easy does it. Begin by gently brushing off any surface dirt with a very soft, dry brush or a soft cloth. If necessary, dampen the cloth with lukewarm water, ensuring it is not too wet. Avoid using hot water or steam, as this can lead to discoloration or degradation of the coral.

Coral in ethnic jewellery: how to store it

Proper storage is crucial to maintaining the integrity of old coral jewellery. Because of its porosity, coral can be affected by changes in temperature and humidity. To prevent deterioration, store your jewellery in a cool, dry place away from direct sunlight. You may want to consider using a soft pouch or a lined jewellery box to protect the pieces from dust and scratches.

When storing multiple pieces, wrap each item individually in a soft cloth to prevent them from coming into contact with each other. It’s advisable to avoid storing coral jewellery alongside other jewels that could potentially scratch or damage the surface.

And of course, as with any jewellery storage: periodically check your stored jewellery to ensure it remains in good condition and address any issues promptly.

Coral in ethnic jewellery: how to revive its lustre

A method you’ll often find to restore lustre to coral, is by rubbing it with oil. Rubbing coral with oil can give it a glossy finish. This is particularly beneficial for vintage or old coral jewellery that may have dulled over time.

But… here is a caveat, too. It is crucial to approach this method with caution.

It’s really important to bear in mind that not all coral responds well to oil, and the effectiveness of this method can vary depending on the specific type of coral used in your jewellery. If in doubt, and especially when dealing with valuable or antique pieces, it’s advisable to consult with professionals who specialize in coral and jewellery conservation for personalized guidance.

Here are some considerations when caring for coral by rubbing it with oil:

1 – Observe the coral

Have a close look at your coral. How porous is it? Does it show clear pits and grooves? Porous coral varieties may absorb oil differently, and some corals may not benefit from oil treatment at all. When in doubt, consult an expert!

2 – Use suitable oils

Like I said, coral is a diva! Do not use harsh or scented oils: they may contain chemicals that can harm the coral. Stick to simple, pure oils without additives. Mineral oil or baby oil are often used, as these are mild and less likely to cause adverse reactions.

3 – Test it first

As with your own skin, test a small surface before rubbing your entire coral necklace with the wrong oils. Use a cotton swap and apply a tiny amount.

4 – Be gentle

When you have observed that the oil does not lead to an adverse reaction, apply the oil very sparingly with a soft cloth or a cotton swap. Here, too, it is paramount to avoid excessive saturation. Wipe any excess oil with a clean, dry cloth.

Caring for coral: not that difficult

I’d hope to have given you a few pointers on how to enjoy your coral jewellery. It’s really not that hard to properly care for it, as long as you check every now and then how your coral ornaments are doing!

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The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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.

CITES: what does it mean for collectors and museums?

CITES: what does it mean for collectors and museums?

by | Tips for collectors

collecting jewellery

CITES: what does it mean for collectors and museums?

Updated September 10, 2025

Another blog on conventions and laws that have an effect on collecting jewellery!

CITES – the Convention on International Trade in Endangered Species – regulates how materials like coral, ivory, and tortoiseshell can be imported or traded. These rules affect not only new production but also antique and traditional jewellery. Collectors, museum staff, and researchers often encounter CITES regulations when dealing with older pieces that contain natural materials once widely used in adornment. Understanding how CITES applies to jewellery helps avoid legal pitfalls and ensures that the objects we value are handled responsibly.

In this article, I’ll walk you through the main aspects.

Disclaimer up front again: as I am a jewellery historian, this is not to be taken as legal advice. What I aim to do here, is give you a starting point to make your own informed choices. Just to be clear about that!

Also, this article may look like I’m rising new problems, while all you want to do is enjoy your collection. However, as long as we as humans keep overfishing, overmining, poaching, trafficking and generally depleting our planet, I personally believe it’s a good thing CITES regulations exist. And with a little awareness, it does not even have to be a giant issue for collectors – so let’s see how this works!

What is CITES? Understanding the convention on endangered species

CITES is short for the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). This convention, established in 1973, is an international agreement aimed at regulating the trade of wild animals and plants to ensure their survival in their natural habitats.

So, CITES is on plants and animals, not artifacts (like UNESCO 1970 is). How is CITES relevant for collectors of ethnic jewellery? Basically, that is because there is quite a lot of plants and animals present in jewellery.

Traditional Middle Eastern jewellery pieces may include elements like ivory, horns, and certain types of corals, which are subject to CITES regulations due to the risk to these wildlife populations. So, CITES does have significant implications for collectors of ethnic jewellery, particularly pieces that incorporate materials sourced from endangered or protected species.

The best way to stay informed is to check the CITES website here. (pro-tip: start with the Frequently Asked Questions)

But how does it work? I think the best way to show how, is through the example of coral. Coral is used a lot in jewellery from North Africa and the Middle East. Just think about necklaces from Yemen, Morocco, Algeria or Tunisia. And many of these jewellery items are old. How does old material relate to CITES?

CITES and coral in jewellery: antiques

According to CITES regulations, there is a difference between an antique, and a pre-convention piece. Heads up: that is yet another definition of antique – and not necessarily the one as used under UNESCO 1970.

An antique under CITES is a natural material that was removed before March 3, 1947, from its natural habitat. The material needs to have been altered significantly (for 90%, in fact), and it needs to have been used for jewellery, art, musical instruments, utensils and decorative objects.

So far, so good. Coral does not grow in beads, and needs to be worked to be used into jewellery.

CITES pre-convention pieces: when coral needs a licence

A pre-convention piece is natural material that was removed after March 3, 1947 from its natural habitat, but before the Convention kicked in. More specifically: before the material it is made of, was added to the CITES list. That is what makes it complicated: the list is continuously expanded, because more and more species become endangered. You could say that the complications with CITES-lists are a direct consequence of the way we treat our planet.

But, in any case: you’ll have to search for a specific material.

The Species+ – website is designed specifically to search for materials and their current status.

For both antique and pre-convention jewellery pieces, you may need a license to export them from, or import them into the EU.

Within the EU, antiques may be traded without EU-certificate. But: it needs to have entered the EU legally, and you’ll need proof that this is, in fact, antique. Pre-convention objects can only be traded with an EU-certificate. Here again, you’ll need proof of its age.

Are you outside the EU and importing jewellery into your own country? If it meets the CITES requirements, the sender will need a EU-certificate.

Why antique jewellery still matters for biodiversity under CITES

How does old jewellery relate to bioviversity…? After all, it has been taken from the sea over 50 years ago, so how is that relevant for today’s biodiversity? (you know I can hear you thinking, right…?) Surely, I can export or import that old coral necklace…? This is where repairs kick in. Because some of these coral species (mind you, not all!) are now endangered.

The relevance of CITES to old coral in jewellery is less about its impact on current biodiversity, and more about the broader principles of conservation and responsible trade. It also addresses the importance of preventing the continued exploitation of these species.

Coral is a particularly sensitive material, due to concerns about overharvesting, habitat destruction, and the impact on coral reef ecosystems.

And that exploitation can take serious black market forms, as this article illustrates. A recommended read: I found it quite shocking to learn how coral is poached and sold.

So, if your jewel itself is old, but has been repaired recently, using newly made beads of coral, it may be subject to CITES regulations.

What jewellery collectors must know: CITES requirements for importing jewellery

The key is to determine whether the specific species of coral (or other natural material) used in a piece of jewellery is protected under CITES, and whether the acquisition and trade of that coral adhere to the regulations in place at the time.

And, of course: you’ll need sound provenance.

I wish I could make this easier, but I can’t make anything else of it. Proper documentation showing the legal acquisition and provenance history of antique and old jewellery is essential to demonstrate compliance with CITES and other applicable laws.

And this, too, is a development that will only increase in importance in the future. Fighting illegal trade in both antiquities and endangered species is not only super important, but does have effect on jewellery collecting.

So, if you were thinking of starting with documenting your collection, it may be a good idea to keep an eye out for natural materials that may be protected under CITES: ivory, certain species of coral, rhino horn and tortoise shell being some of the materials that spring to mind.

Consult an expert where needed, but bear in mind that for CITES purposes, this person needs to have seen your object themselves. An online determination will not do, sadly.

You can also gather old photos, shipping and/or purchase slips, catalogues with information that feature your piece, anything that proves your piece is older than March 3, 1947, what is is made of and if it has been repaired in after 1947.

There is a lot you can do yourself, and with the help of an expert, the CITES regulations will be an extra step to take, but not a problem!

Frequently Asked Questions about CITES and jewellery

Q. What does CITES mean for jewellery collectors?
CITES (the Convention on International Trade in Endangered Species) regulates trade in materials that come from endangered plants and animals, such as ivory, coral, tortoiseshell, and certain types of shell. For collectors, this means you may need permits to legally buy, sell, or transport jewellery containing these materials.

Q. Which jewellery materials are restricted under CITES?
The most common CITES-restricted materials in jewellery are ivory, coral, tortoiseshell, and some species of shell. These restrictions vary depending on the species and the country. Always check the current CITES Appendices and your national legislation before purchasing or moving items.

Q. Do I need a CITES permit for antique jewellery?
Yes, in many cases even antique or vintage pieces require permits. Some exemptions exist, such as for worked specimens that meet strict age criteria (often 50 or 100 years old), but these must be properly documented.

Q. How do museums and private collectors comply with CITES?
Both museums and private collectors need to provide clear provenance and legal paperwork when acquiring, exhibiting, or transporting objects made from restricted materials. Without documentation, objects risk being confiscated or barred from trade and exhibition.

Q. How can I find out if my jewellery contains CITES-listed materials?
If you’re unsure whether your jewellery contains materials such as ivory, coral, or tortoiseshell, consult a qualified appraiser or specialist. Museums, conservation organisations, and certified labs may also provide material identification services.

CITES, jewellery, and the balance between nature and culture

For anyone interested in traditional adornment, or other historic pieces containing coral, ivory or shell, CITES is more than abstract legislation. It directly shapes how we buy, sell, and move jewellery across borders. Knowing the difference between antique exemptions, pre-convention pieces, and items that need a CITES licence can save collectors time and protect against costly mistakes.

Beyond compliance, these rules remind us that jewellery is not only cultural heritage but also part of the natural world. Paying attention to biodiversity and conservation ensures that the jewellery we cherish today can be appreciated responsibly by generations to come.

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The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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.

How to photograph ethnic jewellery

How to photograph ethnic jewellery

by | Tips for collectors

Tips and suggestions

How to photograph ethnic jewellery

Published Feb 23, 2024

I got asked by a reader of this blog if I could share tips and ideas for photographing ethnic jewellery: thank you so much for asking! I have been photographing jewellery and small archaeological finds for quite some time now, and although I would not call myself a professional photographer, I did learn a thing or two. So here is what I learned when it comes to photographing ethnic jewellery!

Photographing jewellery: the basics

First of all, there are a few basics to observe. Make sure your object is well-lit, and placed against a neutral background. I covered 5 tips for creating quick, decent photographs of jewellery with your smartphone here: those basics apply to taking more professional photos as well.

If you’re planning to take more professional photographs, here are a few additional things to bear in mind.

1 – Clean hands. Not to whisk you back to pandemic times, but washing your hands or wearing gloves is a good idea. If you want to show your jewellery at its finest, the last thing you want to emerge from your photo is a greasy fingerprint on your silver.

2 – Check if your background surface is clean. That neutral background surface should ideally be free from dust, stray hair (speaking for myself here!) or other irregularities. Those little fluffs may not seem to matter much, but they can really mess up a photo!

I’ve worked as a photographer on an excavation in the Egyptian desert: sand, dust and inquisitive flies galore, and making sure these did not end up in the photo really took up most of the time. That, and finding clever ways to keep objects in place – so that’s my next point.

3 – Stabilize your jewellery. If the jewellery has a tendency to roll or shift on the surface or stand, you can use small pieces of museum putty or adhesive to hold it in place temporarily. Museum putty is a reusable, non-damaging adhesive that provides grip without leaving residue on the jewellery. Apply a small amount of putty to the underside or less visible parts of the jewellery to secure it to the surface or stand.

4 – Positioning techniques and lens angles. Experiment with different positioning techniques to showcase the jewellery effectively. The same goes for choosing an angle to photograph: do you prefer a straight angle (from above, for example), or does a side angle work better?

This very much depends on what it is you want to show, so let’s go into that next!

Photographing jewellery: purposes and types of photos

What is the purpose of your photo? A photo for your documentation files may look different from an atmospheric picture. Here are a few possibilities:

Product or research shots. These show the jewellery in its entirety, with sufficient depth of field to see the jewel clearly. Usually, these are taken at a straight angle. Their aim is to record the object as it is, with the use of a scale and/or colour chart. These are used in museum registrations, object files, and sales posts.

Close-ups. Close-up shots are perfect for emphasizing the intricate details of the jewellery, such as gemstones, engravings, or textures. Use a macro lens or zoom in closely to capture the fine features, but also damages or repairs. You’ll see a few examples above: click on the images to enlarge them.

This type of photo helps potential buyers or registrars get a closer look at the craftsmanship and quality of the piece. It is also very suitable for photographing distinctive elements that can be of help in identifying your jewellery for insurance purposes, for example in case of theft.

Using a macro lens is also very useful for photographing smaller jewels against a blurry background: the depth of focus here works to your advantage.

Ancient glass amulets beads in evening light.

Atmospheric photos. These are not aimed at bringing detailed information across, but to present the jewellery as attractively as possible. Here, you can play with depth of field, lighting, positioning and angle to create a gorgeous photo.

And, if you are selling to an audience that will be wearing the jewellery, it helps to include photos of the jewellery worn. That way, potential buyers can form an idea of how the jewellery will look.

Depending on the purpose of your photo, you may find yourself taking just one or all three of these types. For my research, I only take photos of type 1 and 2: my goal is to document the piece and record details so I can work on those later. For my social media channels and also for this blog, I add in type 3: here, my goal is to show you the beauty of the jewellery. The difference is clear from the photos shown above: my research shots of Egyptian zar jewellery look entirely different from the images I create for social media.

Photographing jewellery for social media: 2 formats that work

As you may know, I love sharing jewellery and its stories on social media! In fact, that may even be where you found me in the first place. But as social media are notoriously fast-paced, it takes more than a regular snap to Stop The Scroll. So here are the two types of photos that I found performed the best!

Jewellery photo format 1: the styled flat lay

People love patterns. We’re hardwired to look for patterns, so when we see one, we appreciate it. Photos with a flat lay of jewellery items usually perform attract a lot of attention and appreciation.

They also take considerable time to create: it looks perfectly easy, but aligning all the pieces and ensuring the overall composition is aesthetically pleasing does require focus and an eye for detail. It takes me many, many photos, rearranging this and that for just the tiniest bit before I finally think it’s well enough to show you!

Photocollage showing antique photo of a Tunisian woman and scented herbs, woods and flowers
A Fayum portrait from Egypt, combined with a Roman gold necklace.

Jewellery photo format 2: the storytelling collage

This is also a fun type of image to create! I love overlaying old photos with actual pieces of jewellery. It places jewellery in its cultural context and helps create a narrative. I found that on social media, these photos are also highly appreciated.

These take time to create, too: in particular, searching for an image that may be used for these purposes and crediting it properly is time-consuming. You can’t just simply take an image and start sharing that, even though you see everyone around on social media doing pretty much exactly that. Copyright is real, so I would advise to ensure you actually have permission to share, reuse or adapt a photo. (in case you were wondering, the terms for image usage on this very website are here)

Photographing ethnic jewellery: the one thing you need

So, how to go about photographing ethnic jewellery? First, decide what the purpose of your image will be. Next, choose a photo style that fits with that purpose: it never has to be just the one, you can combine multiple styles to get your message across!

Taking a great photo is not so much a matter of expensive equipment: it’s the photographer that makes a photo stand out. Experiment with angles, light, depth of focus, your compositions….play around and find what works for you. I also recommend going over this book on photographing jewellery: many great examples!

The only thing you really, really need? That is patience.

Patience in waiting for that perfect light when you’re photographing outdoors.

Patience in arranging your objects and clearing away that dust particle for the gazillionth time.

Patience in going over your photos and tweaking your setup until it is just right.

But I can assure you: once you get the hang of it, photographing jewellery is a fun and addictive way of spending your time!

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More posts on jewellery and amulets? Browse them all here!

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Would you like to quote this article? Please do! Here’s how:

S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

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. 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.