Patina in Middle Eastern jewellery

by Sigrid van Roode | 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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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

by Sigrid van Roode | Tips for collectors

Practical do’s and don’ts

How to care for coral in ethnic jewellery

Published March 11, 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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What does CITES mean for me?

by Sigrid van Roode | Tips for collectors

collecting jewellery

CITES: what does it mean for me?

Published March 4, 2024

Another blog on conventions and laws that have an effect on collecting jewellery! This time, I’d like to address the CITES regulations and their consequences for owning, buying and selling of traditional jewellery from North Africa and Southwest Asia. 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?

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 and coral in jewellery: pre-convention pieces

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.

But how does old jewellery relate to biodiversity…?

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.

CITES and jewellery from North Africa and the Middle East: what do I need?

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!

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How to photograph ethnic jewellery

by Sigrid van Roode | 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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15 reasons why provenance matters for ethnic jewellery

by Sigrid van Roode | Tips for collectors

Provenance and research

15 reasons why provenance matters for ethnic jewellery

Published Feb 12, 2024

When you have been reading this blog for a while, you know that the topic of provenance for ethnic jewellery pops up every now and then. It gives some people the heebie-jeebies, others are outright annoyed this word keeps crossing their path, and others again never gave it much thought and wonder what the fuss is all about. Here are 15 reasons why paying attention to provenance is a really good idea!

Provenance: what is it again?

Provenance is like the story of a piece of jewellery. It tells us where it comes from, who owned it before, and how it got to where it is now. It’s a way to know the history of the jewellery, like a family tree for things.

This can be important because it helps us understand its value, make sure it’s real, and sometimes, it’s needed for legal or museum reasons. So, when you hear about the provenance of a piece, it’s like hearing its life story and all the places it has been. Or, when you’re more into detective TV-shows: the chain of evidence.

It may take the form of receipts, entries into a diary or purchase ledger, photographs with a jewel in it, your own notes on what a seller shared with you…anything that may serve as proof of the story of your jewellery.

Why does provenance matter for ethnic jewellery?

I mean, let’s be honest for a minute: we all have seen enough heist-movies to understand that provenance is very relevant when it comes to a Rembrandt or Picasso, or the big diamond necklace from some royal or celebrity.

For looted art, we also get it. No peddling stolen cultural heritage. Makes total sense.

But ethnic jewellery..? That was available by the kilo in the 1960s. It would have been melted down if not for collectors, (both foreign and local!), and receipts were not exactly provided.

And what is more: it is still being offered for sale in the countries of origin. Why on earth would anyone care about proper provenance now?

In my view, provenance is not just about legal acquisition (although that definitely plays a role, too). In provenance discussions, the emphasis is often on illegal trade. And that is what annoys people to a point where they’d rather avoid the topic altogether. I totally get that. But there is more to provenance, and so I’d like to step away from the whole legal/illegal vibe and focus on something else entirely.

Or better, make that two things.

First, the world is changing – the 1960s are 80 years away from us. Traditional jewellery is taking on a new role for the cultures that it comes from. It is increasingly valued as heritage, displayed in museums, and part of a country’s identity.

And second: for ethnic jewellery, provenance is far more about safeguarding knowledge about heritage. Provenance is super important for research purposes!

15 reasons why documenting provenance is a really good idea

Here is a list of reasons I could think of, varying from research to appraisal to personal – and yes, I even included a few legal reasons why caring about provenance is a really good idea.

1 – Cultural significance. Provenance is crucial as it provides insight into the cultural context of the vintage ethnic jewellery. Knowing where a piece comes from exactly, ensures that it does not end up orphaned and detached from its cultural context. Take it from me: I just spent years of my life figuring out what Egyptian zar jewellery is, and much of that research was devoted to piecing together the exact provenance of pieces that are now with collectors and museums.

2 – Preservation of heritage Of course, the focus on provenance is also about protecting cultural heritage. It aims to prevent the trafficking and illegal trade of artworks that might have been taken from their places of origin under questionable circumstances. Read more on how that may affect ethnic jewellery in the future here.

3 – Research value Very important: secure provenance of vintage ethnic jewellery is a great help in jewellery research. It provides insights into the evolution of styles, techniques, and materials used, and it also may help to understand its function and use.

Documenting the journey and origin of traditional jewellery, even when purchased in bulk, shines a light on the social, economic, and cultural conditions of the time. Proper provenance can be a make-or-break factor in our knowledge about jewellery, and about the cultures that it comes from.

That research I mentioned under reason no. 1 allowed me to understand why jewellery became available on the market when it did, and what its changing importance for its wearers was. Without provenance, that jewellery would just be a random pile of things.

Moving on from research to trade: provenance is important for the jewellery market as a whole, too.

4 – Market credibility. Emphasizing provenance contributes to the overall credibility of the market. A transparent and well-documented history of a piece of jewellery adds value and trust to the entire industry, benefiting both buyers and sellers.

5 – Market value. Knowing the provenance of your pieces can contribute to their market value. As the market begins to place more emphasis on transparency and traceability, having a documented history can make your collection more appealing to potential buyers or institutions. This is already a visibly growing practice in the ethnographical world, where tribal art is offered with a clear provenance.

6 – Ethical sourcing. There’s a growing awareness of ethical considerations in the jewellery and ethnography world in general. Provenance helps ensure that jewellery has been sourced and traded ethically, aligning with contemporary values and expectations.

7 – Authenticity assurance. Knowing the provenance helps in ensuring the authenticity of the jewellery. While you may have bought pieces you love, having a well-documented history can assure you and others that what you own is genuine and not a counterfeit. In an era where forgeries are becoming more sophisticated, provenance acts as a safeguard. Mind you, fakes are as old as humanity itself – it’s never a definitive assurance, but it sure helps!

8 – Investment value. For collectors looking at jewellery as an investment, a strong provenance can enhance the security of that investment. It provides a comprehensive history that can be crucial for future sales or transfers. As the art world evolves, a well-documented history becomes increasingly important, ensuring that your pieces retain their value and relevance over time.

9 – Age verification. Provenance serves as a means of verifying the age of vintage jewellery, allowing collectors to accurately assess its historical significance. It is another tool in your toolbox to avoid getting duped.

This is also a really important factor in jewellery research: if I can be certain that a particular style or type existed at a given period, this will help me place those jewels in their cultural context.

But that is me: what about you? What can proper provenance bring you, personally?

10 – Family legacy. Provenance is vital for those who wish to pass down jewellery as a family legacy. It provides a documented history for future generations, and it is these generations that may be needing sound provenance. When combined with your own family history, the provenance of a piece may include photo-albums, diaries, memories…the life of your jewellery becomes entwined with your own. Its history is as much your history, and the most heartbreaking conversations I have are with heirs who had no idea of this part of their parent’s lives – and now can no longer ask.

11 – Insurance coverage. Switching to the cold-hearted reasons: provenance is often required by insurance companies to assess the value of your collection accurately. While you may not be concerned about selling, having proper documentation can ensure that your pieces are adequately insured against loss, damage, or theft. In other words: keep those receipts, even if it’s only for your insurance coverage!

12 – Legal considerations. Provenance documentation is increasingly becoming a legal requirement, especially when dealing with the sale or transfer of valuable items. While it might seem burdensome, having a record of your purchases can protect you from legal issues and ensure compliance with evolving regulations. These are in more detail:

13 – Ownership verification. Provenance serves as a means of verifying ownership, a crucial aspect when transferring jewellery to museums or other institutions. It helps confirm that the seller has legal rights to the item and can transfer ownership without legal complications. This is actually a thing: if you’d like to make a donation, the receiving party will want to ensure you are actually entitled to do so.

14 – Legal transfer to heirs or institutions. If you plan to pass your collection on to heirs or donate it to institutions in the future, having a clear provenance makes the transition smoother. It helps your beneficiaries understand the value and significance of each piece, and it helps prevent disputes or legal challenges among heirs or between the donor and the receiving institution.

15 – Museum acquisition policies. Many museums have strict acquisition policies that mandate a clear provenance for any item they accept. By meeting these standards, your pieces may become more attractive to potential buyers or institutions, expanding the reach and influence of your collection. Here is a roadmap to help you get started with donating your collection.

Why should you care for provenance as a business?

While it might feel like an extra layer of scrutiny, emphasizing provenance is not meant to hurt anyone’s business. It revolves around transparency and accountability. It is, in essence, a collective effort to elevate standards, protect cultural heritage, and safeguard the knowledge still attached to jewellery, before it has completely vanished.

Why should you care for provenance as a collector?

Documenting provenance may seem like a lot of effort, especially for collectors who just want to enjoy the pieces they’ve acquired over the years without the hassle of documentation. However, as I have outlined above, there are several important reasons why provenance is gaining attention, even for items purchased decades ago without receipts.

Provenance: anything I can do…?

After working your way through this list, you may be thinking: I don’t really see how this affects me. The thing is, it may not be relevant now, but it certainly will be in the near future. Whether we like it or not, the emphasis on provenance is growing stronger.

And I would not be devoting this much blog space to it if I felt it was a minor matter. I believe establishing and documenting provenance is incredibly important, not because of the legal/illegal angle, but because of everything we stand to lose. There is a wealth of heritage, culture and history in your jewellery that deserves to be preserved, and provenance is one of the factors that helps do just that.

So even if there is just one among the 15 reasons above that speaks to you, now is the perfect time to get organized!

I created a guide for you with clear, actionable steps that you can start with today. Find it here: every little note you make today, helps preventing this beautiful aspect of a culture from getting extinct. Thank you!

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Sigrid van Roode

How to spot alterations

by Sigrid van Roode | Tips for collectors

5 practical tips

How to spot alterations of ethnic jewellery

Published Feb 2, 2024

Jewellery has multiple lives. That is what I find so fascinating: it shows traces of earlier lives, other wearers, the choices they made, the changing fashions they appreciated. And during its long existence, it may have been altered. But when is that regular use, and when is it turning into deception…?

Alterations to ethnic jewellery: cultural context

As I have written before, altering jewellery is standard practice – up to a certain point. That is because it served many purposes, including that of financial asset. The financial value of jewellery means it was treated differently than we would do today, and in order to read the traces of these alterations, we need to be aware of their cultural context.

I’ll go over several types of alterations next, and discuss whether these are to be expected, or that they have been willfully applied to entice a buyer.

Alterations to ethnic jewellery: repairs

Repairs are part of the normal life cycle of jewellery. Imagine wearing a bracelet or necklace every single day: chances are you’ll bump into something, a thread may snap, a stone may fall out.

This is then repaired, and sometimes, those repairs are visible. The Yemeni bracelet in the gallery above has a repair, and the copper pin is a replacement. The repair itself has worn smooth: it is an old repair and the bracelet has been worn for a long time afterwards. The Nubian bracelet in the centre has a tear, that has been fixed.

Pins in closures or hinges of a bracelet are replaced often: if a closing pin is not attached to the bracelet itself by means of a security chain, odds are that at some point it will fall out or go missing otherwise.

Stones may also disappear from their settings and get replaced: the detail of a Kabyle necklace in the gallery above, on the right, shows a replacement coral in a setting that was created for a much larger cabochon. Click to enlarge the photo and look at the coral in the star-shaped pendant: see how there is space between the prongs of the setting and the coral itself?

Alterations to ethnic jewellery: traces of economy

Jewellery represented financial value in its amount of precious metal. When you would be needing cash, pieces of jewellery could be sold. And that could also be, quite literally, a piece of an existing jewellery item.

An example are the pendants you see above. These were worn in Siwa Oasis, but also in Libya and Tunisia. The upper right one (click the image to enlarge it) has one of its tips broken off. Nowadays, you will be told that this was to celebrate the birth of a son. Nothing could be further from the truth: these tips were likely broken off when the wearer needed money. [1]

Another example are the bracelets from Nubia. The single bracelet shows clear signs it has been removed: likely, this has been done when part of a bracelet, such as shown next to it, was exchanged for money.

These alterations are also part of the regular life cycle of jewellery.

Altering ethnic jewellery: repurposing

It gets interesting when pieces of jewellery are being repurposed, because their original use is starting to fade. Hair ornaments, for example, were turned into necklaces when the elaborate hairstyling of a culture disappeared. An example of this practice are the hair ornaments from Oman, which have been repurposed into necklaces as I describe here.

The same goes for temporal pendants, like the pair shown above, and large earrings: these are now often sold as bracelets.

And a particular example is the pair of zar ornaments from Egypt, shown above. When you click to enlarge them, you will see that their engraving has literally been cut in half. These were zar pendants, used in the zar ritual, until they became obsolete. They were then turned into earrings, aimed for sale at tourists.

And that is where the regular life cycle of jewellery in its original culture starts to morph into alterations aimed at selling pieces at cultural outsiders.

From the point of view of its original culture, adapting jewellery in order to sell it to a new market still falls under its financial purpose. What use is perfectly good silver lying about when you’re in need of money? Selling it is the logical thing to do, and if altering it aids in reaching that goal, altered it will be! I would do the same.

But for the buyer on the receiving end, here is where it becomes important to be aware that this jewellery has been changed to suit your needs – it would not have been worn as such in its original culture.

Alterations to ethnic jewellery: composite pieces

This is where we move into alterations that have been carried out specifically to make a piece presentable again. Dangles are added, or new compositions are created out of old elements.

An example is the Kabyle brooch shown above. Click to enlarge it, and have a good look at the dangles. They are different in their colour scheme from the main the body of the brooch: the turquoise colour and the orange-yellow are only present in the dangles. The brooch itself has imitation coral, but the central dangle has real coral. They do not match.

These dangles likely come from a post-1962 necklace (see more about those here) and have been added to complete a brooch that has lost its own.

This is a straightforward addition to complete an incomplete piece, but there are far wilder composite pieces out there. Flexible bracelets joined together to form a necklace, caps embellished with just about anything lying around in a workshop presented as ‘headdress’, beaded necklaces with random pieces from another culture strung in….a truly composite is known as a chimera, after the mythical beast, or a pastiche.

A stunning silver and coral necklace from Yemen.

5 tips how to spot alterations to ethnic jewellery

So, how to spot alterations and interpret them in their correct cultural context? Here are some tips.

1 – Examine individual components.

Analyze each component of the jewellery individually. Components such as dangles, pendants, finial beads, and temporal pendants should match in terms of size, design, and style. Notice any differences in these components? That may indicate alterations or modifications, as the original silversmith would have taken great pride in the design.

An example is the Yemeni necklace above. Click to enlarge it, and inspect the finials and central pendant. Their design does not match: the finials are from a different necklace. The closure is an alteration, too.

2 – Check for consistency.

Assess the overall consistency of the jewellery. Original pieces are designed to be cohesive, with elements complementing each other seamlessly. Inconsistencies in design, colour, or materials may suggest alterations.

3 – Evaluate wear and tear.

Examine the wear and tear patterns on the jewellery. Original components that have been worn together for an extended period should exhibit similar signs of use. See for an example of two pieces that moved in sync for a lifetime this article. Altered or replaced components may show variations in wear compared to the original parts. An example of such variations can be seen in this article on restrung necklaces.

4 – Consider provenance and documentation.

Yesss, there we are again! Examine any available documentation or provenance associated with the jewellery. Historical records, photographs, or detailed descriptions can offer clues about the original state of the jewellery. That is also why ‘before and after’ photos of any restorations are so incredibly important: they keep track of changes.

5 – Use scientific techniques.

Ok, this is not a possibility for everyone: I’ll be honest, this is something more suited for museums. If feasible, consider scientific techniques such as X-ray analysis or material testing such as XRF. These methods can reveal hidden layers, alterations, or substitutions that may not be visible through visual inspection alone.

What do I need to spot alterations?

…no, you don’t need to set up a lab in your living room! But, fair warning, what you will be needing is something much more superhuman.

First of all, you need to be aware of general designs, shapes, decorations etc. to spot alterations. It always boils down to knowing what you’re looking at. It also never hurts to ask experts for advice, or to look up a book or two. That’s not the difficult part, though. The difficult part comes next.

Far more important is time. Do not be in a hurry or feel pressured to buy. This is the superhuman part: take your time to observe a piece in detail and look really, really well. Patience is a virtue, also when it comes to buying jewellery. We all know that rush of excitement and the desire to purchase, but it is during the ‘buying fever’ that you will overlook the smaller details. (if it’s any consolation, it still happens to me, too!)

On a side note, this is also why those layers of dirt on jewellery are anything but authentic and original: they obscure the details you’ll want to be looking for.

Alterations of ethnic jewellery: a bad thing?

I’d say it very much depends on which stage in their life the alterations were made. In general, they’re part of life. Repairs and repurposing are part of an object’s life and make sense in its cultural context. They also allow us to reconstruct that life, and as such these alterations can be a powerful historic source.

It’s when the alterations start to take place outside of this cultural context, and moreover, when they are being presented to you as authentic, that it matters a great deal.

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More posts on the pitfalls and fun parts of collecting jewellery? Browse them all here!

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References

[1] M.M. Vale 2011. Sand and Silver discusses this. She knows. She talked with actual Siwan women about this and I am in awe of her myth-busting skills!

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