15 reasons why provenance matters for ethnic jewellery

15 reasons why provenance matters for ethnic jewellery

by | 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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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 spot alterations

How to spot alterations

by | 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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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!

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.

Restringing ethnic jewellery

Restringing ethnic jewellery

by | Tips for collectors

ethnic necklaces

Restringing ethnic jewellery

Published Jan 19, 2024

‘This necklace is on its original stringing’ is something you may read in jewellery descriptions. But what does ‘original stringing’ mean? In this article, I’ll zoom in on stringing and restringing: it’s cultural context and 5 practical points to inspect when checking for restringing.

Ethnic jewellery: the many lives of necklaces

What I love about ethnic jewellery is that these jewellery pieces lived. They were part and parcel of everyday life, they moved along with their wearers, they bumped into other things, they got dented, banged up, damaged.

Take a necklace, for example. It may have been gifted to a bride on her wedding day, or assembled from treasured beads by a girl. It was worn on festive occasions or maybe every day, it was seen, admired and cherished.

And at one point during its long life, it broke. The thread snapped, perhaps after a sharp edge of a bead had chafed at it relentlessly, or simply because years of wear finally made it give way.⁠

It was repaired, and at that point may have been embellished: another silver bead added because finances had been good, maybe another amber bead found its way in the composition as well…

And there you have it: a second incarnation of the same necklace. Rinse and repeat: one necklace may have been repaired or changed countless times.⁠

An antique Kabyle necklace with coral and silver pendants
Close-up of a spectacular Amazigh Berber necklace from the Draa Valley in Morocco, showing its abundance in coral, amber and trade beads

Restringing ethnic jewellery: a part of life

Now this applies to straightforward, single strand necklaces, but also to beaded necklaces with multiple strands, lots of beads, silver amulets strewn in between…pieces like these would eventually break, once or several times, and be repaired.

That is for example visible in the Kabyle necklace in the gallery above. Clicking it will enlarge the image. It is still on an original stringing as the wearer had intended it, but upon closer inspection, the pendants are not all of the same age. Some have lost all their enamel, while others still have it; some have become smoothly worn, while others look more crisp. This necklace has been restrung at least once, in which a different selection of pendants was made.

Necklaces might also intentionally have been taken apart to be restrung with newly acquired beads, or to be divided up into smaller necklaces for children.⁠

The point is that a piece you see *today* is not necessarily the same as when it was first created. Jewels were altered over time, adapted, improved, taken apart, made smaller…altering ethnic jewellery is a regular practice.

A heavy silver Omani somt necklace with Maria Theresia Thalers
A gorgeous heavy silver somt necklace from Oman

Restringing ethnic jewellery: an example from Oman

A great example are these two necklaces from Oman: click the photos above to see both necklaces.

The first necklace is an older one that is still on its last stringing. The thick hemp rope has darkened over time, the knot at the closure is frayed, and the dirt is also visible between and underneath the beads. A trick often used to make a necklace look old, is to darken its stringing. Looking between and underneath the beads may help assert if it actually has been worn, or that it just looks that way.

The second necklace is on a clean rope. You also see how the necklace is closed in a very different way: the two ends have been stitched together. It is much younger: this piece was a gift to a foreign teacher in the 1980s. Her Omani students wanted to present her with a parting gift, and financed this necklace together. The teacher never wore it, but instead treasured it at home.

Both are on original stringing, but one has not been worn as intensively as the other. And what is more: necklaces like these were restrung from time to time, too. [1] When the rope would get too stained or dirty, or new beads or pendants were added, the necklace would be restrung in its entirety.

Old silver jewellery in Marrakech
Glinting Maria Theresia Thalers in a silversmith's workshop, Amman
Old silver jewellery in Cairo's Khan el Khalili

Restringing ethnic jewellery: materials

This continuous stringing and restringing also means that it is perfectly possible for new materials to sit next to older ones. It’s not uncommon to find plastic beads added to coral, or to see newer coin pendants find their way into a necklace of older ones. As the photos above show (click to enlarge them), you will find bits and pieces of older jewellery lying around in just about every workshop from Marrakech to Cairo and beyond.

Because of these elements, the necklace forms a biography of the culture of its wearers. Who were they in contact with, who did they trade with, what materials made an appearance? Nylon fishing line, for example, has been in use since the 1960s to string necklaces with – it’s not necessarily a sign of modern stringing.

And that brings me to another aspect of restringing: the composition of a necklace.

Coral and amber Draa Valley necklace

Restringing ethnic jewellery: composition

There is, generally speaking, a set of standards within a culture as to what a necklace is supposed to look like.  It’s a ‘type’ of necklace that is specific to a particular group, tribe, region etc. The individual components may vary, but the overall lay-out remains the same.

Over time, these compositions change, too: fashion will always play a part in how ethnic necklaces are created. The next generation always wants to do things a little differently, and these changes are visible in small or large details.

Looking at old photographs can be very helpful here (bearing in mind the complications these may bring – read more about that here). Looking at jewellery that has with certainty been collected before a particular date, or that has been in a family for generations, is also very helpful (you did not really think you were getting an article without me pointing out the importance of provenance, did you…?).

Restringing ethnic jewellery: our coloured view

So, the jewellery that we see, is the end result of years of threads breaking, fashions changing, beads bought, silver traded for cash, new elements acquired, dividing up larger necklace among kids…there is a depth of life behind these that is just amazing.

But these last incarnations are the ones that get published in jewellery books, shown in exhibitions and presented online. And that is often when they ‘freeze’: they are taken out of their living context, shown as beautiful objects in their own right, and become the main sources for studying jewellery.

The last composition we see, can’t readily be used to unequivocally establish that this is how a piece of jewellery always is ‘supposed’ to look. ⁠Not on the level of ‘but there are supposed to be three blue beads here’, anyway. But what they are very useful for, is establishing what the predilections of the time were, what the overall design is and which materials were in use.

Restringing ethnic jewellery: how is a piece presented to you?

By now, I suppose it will be clear that restringing is standard practice. But I’m guessing that is not what you want to know…because ‘original stringing’ often is connected to a form of authenticity. ‘This is the real deal’, that sort of thing. A restrung necklace however, can be just as real.

The thing to be aware of is how a necklace is presented to you. I have seen pieces presented as ‘19th century on original stringing’, but including beads that did not exist in the 19th century.

There is a fine line between original restringing, and modern compositions made to look old. What you really want to know, is the difference between the two.

Restringing ethnic jewellery: how to check for restringing

Restringing is the norm, not the exception. But how to see if you’re looking at an actually old piece, or a new one made to look original? Here are five tips:

1 – You will need to be aware of styles and types worn by the particular people the piece is from, and the timeframe it is supposed to be from. There’s no escaping that. Look at the overall composition carefully;

2 – Next, zoom in and see if the individual materials used match with that timeframe. Again, it’s not uncommon, for example, for plastic beads to find their way into an incarnation of a necklace, but when this is presented to you as ’19th century, never altered’ that is cause for concern;

3 – Zoom in a little further and check if the thread has been artificially aged: inspect the space between the beads and in the bead openings. Do note however that when a necklace is densely strung, the thread may remain cleaner than the rest;

4- Inspect the closure. This is often altered over time to allow for easier wearing. Here again, it helps to be aware of how these pieces were fastened. A loop-and-knot/bead/coin closure can be, but is not always the original way of fastening a necklace (and please remember that nothing is easier to pick up a stray coin to use – coins do not automatically date a piece of jewellery). S-hooks almost always indicate restringing.

5- Read the description carefully, if it concerns a necklace on offer. Does it say ‘in the style of’ or ‘based on’ or ‘composed of’? That indicates restringing or even a design creation by the seller.

And there is nothing wrong with that, by the way! In fact, all of my ethnic Dutch necklaces have been restrung, for example – I don’t want them to break when I wear them. Also the replacement of closures with S-hooks is nothing dramatic, and in fact adapts the necklace to a new stage in its life where it is wearable again.

Just as long as one is transparent about what is simply restringing, and what is altering (or even designing) the composition itself.

Restringing ethnic jewellery: living jewellery

Jewellery is not frozen in time, but grows old with us, and like us, changes appearances along the way. We see its last identity as it were, and it’s up to us to be aware there have been multiple lives before that!⁠ Restringing is normal. In that light I would suggest to replace ‘on original stringing’ with ‘on an original stringing‘ – it does do more justice to the many lives a necklace has had.

This article will continue with an article on how to spot alterations in ethnic jewellery, and an article on what to think of before you start restringing necklaces that are still on an original stringing – stay tuned!

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References

[1] This practice was shared with me by mrs. Alix Normandeau.

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.

Ethnic jewels: silver content

Ethnic jewels: silver content

by | Tips for collectors

silver grades in tribal jewellery

Ethnic jewellery: its silver content

Published Jan 07, 2024

What silver is ethnic jewellery from the Middle East and North Africa typically made of? Apart from hallmarks, you’ll find a variety of labels used in descriptions such as ‘German silver’, ‘nickel silver’, ‘maillechort’ and ‘coin silver’: what are these? Let’s scrutinize some of the common descriptions of the silver content in jewellery. The more you know, right…?

Silver grades in traditional jewellery from the Middle East & North Africa

Silver in traditional Middle Eastern jewellery is not always sterling silver. That has two reasons.

First, the availability of silver was not always guaranteed. Silver often had to be imported, and silver jewellery could also be made from coins (we’ll get into that below).

And second, before hallmarking systems were implemented in the 19th century, the actual amount of silver could vary with the means of the client. Have more to spend? Then you could afford high grade silver. Still want the looks, but strapped for cash? That is where lower grade silver or even silver imitations come in handy.

Is ‘bedouin silver’, ‘tribal silver’ or ‘ethnic silver’ good silver?

This fluctuation in silver content has rubbed off on our understanding of traditional jewellery. Words like ‘tribal silver’ or ‘bedouin silver’ are often used to indicate uncertain silver content, but that does not do these pieces justice.

Traditional silver jewellery is not automatically always inferior to sterling: there is a lot of ethnic jewellery out there in really good silver!

If you’d like to know with certainty whether your traditional Middle Eastern jewellery is made of silver, and if so which grade, you will have to test it, or bring it to a jeweler to test it for you.

The silver content may vary indeed, and if a piece has not been hallmarked, testing is the only way to be sure. This also comes in handy with cleaning: read why this is essential knowledge to avoid damage here.

Silver grades in traditional jewellery: reading descriptions

In some descriptions online that advertise ethnic jewellery you’ll find terms like ‘German silver’, ‘coin silver’ ‘maillechort’ and ‘nickel silver’: how ‘silvery’ are these?

Not silver: German silver, new silver, nickel silver, maillechort, alpaca

What does German silver mean? German silver is a versatile metal alloy that has found its place in many industries and applications. Despite its name, German ‘silver’ does not actually contain any silver. It was developed in the 19th century in Germany (hence the name) as a cost-effective alternative to sterling silver, providing a similar silvery appearance, but without the hefty price tag.

German silver is typically composed of copper, zinc, and nickel. [1] The exact composition can vary, and additional elements such as manganese or iron can be included for specific properties. The inclusion of nickel makes it resistant to corrosion, but also gives it that silver-like color. It looks a lot like sterling silver! You’ll find it used for tableware and related accessories, but also for jewellery.  

German silver, nickel silver, alpaca, new silver and maillechort are basically the same thing. None of these are actual silver.

Actual silver: coin silver

Coin silver, on the other hand, is actual silver. So what is coin silver? This is a historical silver alloy that played a significant role in the production of coins, which is where it gets its name from.

But unlike sterling silver, which has a minimum silver content of 92.5%, coin silver typically has a lower silver content. Now this is something to be aware of: the silver content of coin silver varies per issuing national mint. This, too, was not standardized until the mid-19th century. So, US coins would typically have around 90% silver, but other coinage contains 75% or even 64% silver.

The exception here is of course the Austrian Maria Theresia Thaler. [2] This was the first coin to have been produced with a guaranteed silver content of 92.5%: these coins were made of sterling silver. They became much sought-after coins, both to string into necklaces or add to dress and veils, but definitely also as material to make silver jewellery from.

Silver content of jewellery from the Middle East & North Africa: 3 points

Returning to the main question: is silver jewellery from North Africa & the Middle East made of good silver…? That varies, as this article has shown, but there is no reason to assume it is always low-grade silver. Here are the three main points to keep in mind:

1. Definitely silver There are two ways of being sure your piece of jewellery is of actual silver: official hallmarks and testing. This will tell you the percentage of silver in the alloy: .600 is 60%, .925 is 92.5% (sterling), and so on.

2. May have a significant silver content When ‘coin silver’ is used in a description, it indicates that the piece does contain silver, but its silver content may vary, especially for older pieces. Testing may provide more detailed insights.

3. Not silver: When you read terms like nickel silver, German silver, new silver, alpaca or maillechort in a description, you can be sure the item is not made of silver.

If you are not sure, ask the seller of the item. I have never met a seller who wasn’t happy to answer to the best of their knowledge! And besides, the cultural and historical value of a piece of traditional jewellery is not just defined by its silver content, but may even be in the absence of precious materials: see my personal outlook on the value of jewellery here.

The main thing is to be aware of the fact that the silver content in traditional jewellery may vary, and to read a description carefully to get the best possible idea of what your next purchase is made of!

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

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References

[1] See more details in the Encyclopedia Brittanica here.

[2] See this article on Maria Theresia Thaler in Aramco World for more background!

 

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.

5 rookie mistakes

5 rookie mistakes

by | Tips for collectors

Avoid these mistakes in collecting

5 rookie mistakes lessons I learned in collecting jewellery

Updated Feb 16, 2025

Collecting vintage and antique jewellery from the Middle East is such a beautiful activity. The hunt for that one special piece, the jolt of excitement you feel when it finally arrives or when you walk out of that store! But…did you know there are some pitfalls that can impact the importance and even the value of your collection? Here are 5 mistakes I totally made myself – and which proved to be valuable lessons!

1. Neglecting to research regional styles and techniques

That’s a no-brainer… diving into the market without a thorough understanding of the diverse styles and techniques specific to different regions and cultures will get you duped for sure. The Middle East and North Africa are a mosaic of cultures, each with its distinct jewellery traditions. From the intricate filigree work of Yemeni silversmiths to the colorful enamel designs of Amazigh craftsmen, the nuances are vast and varied.

When I purchased my first pieces of jewellery, as a young student, I definitely made mistakes (and I have the Drawer of Shame to prove it!) It took me a while to learn to recognize both regional styles and stylistic developments over time…and that is what it takes to avoid this: time.

My advice would be to invest time in researching the unique characteristics of jewellery from the regions or cultures you’d like to collect, right from the start. Having a handle on these aspects not only enhances your appreciation for the pieces, but also acts as a safeguard against purchasing replicas or misattributed items.

With time, you’ll become a lot less vulnerable against intentional fooling! This post tells you exactly what to look for.

2. Overlooking the importance of provenance and collection management

Provenance, or the documented history of a piece, is really paramount when building a collection of vintage and antique jewellery. Who were the previous owners of a piece? When was it first acquired? Has it been restored or altered? Equally important is keeping track of your collection. They usually go hand in hand.

The thing is I did not realize that this is actually important until much later. When I first started to collect jewellery, I just purchased what I liked and what I could afford, and never wrote anything down.

And people, did I come to regret that…! Things like the local name of a piece, or the name of the shop I found it, or the year I bought it. From the bottom of my heart: Write. It. Down.

Please do it now, while you still remember it – if not for your heirs, then for future collectors so they don’t have to start all over again with researching things you already knew. It’s such a waste of all the energy and time you have spent on finding out more on your pieces if they end up as nameless orphans.

Added bonus: I’ll never forget my surprise when I had purchased a piece of jewellery I was really excited about, only to discover I already owned one….believe me, there will be a point in time that you do not remember exactly what’s in your collection.

When purchasing jewellery with a gallery or online, ask for a comprehensive provenance that outlines its journey through time. You will have absolutely no problem obtaining this from reputable sellers! And, if you’re the first person to buy a piece in the country of origin itself, its provenance journey starts with you: download this free resource to do that in 5 easy, proven steps.

Why should you even care about provenance for jewellery from the Middle East and North Africa? Well, ultimately, a piece with a well-documented provenance ensures a transparent and trustworthy collection.

And while it may not matter to you now, as provenance only continues to increase in importance, it will be very relevant once you’d like to donate or sell your collection in the future. This post provides you with a clear action plan to approach a museum.

Of course, the jewellery itself speaks to its value and importance! But missing provenance may still cause the value of your collection to plummet, while outstanding provenance has proven to actually increase its value.

Want to start documenting your collection, but have no idea where to start? This course shows you step by step, including templates, checklists and how-to’s!

3. Failing to authenticate materials

Now here’s a field I made errors of judgment in, too. How to recognize real amber and coral from a photograph, for example? The Drawer of Shame contains bloopers here, too.

What is presented as silver may actually be low-grade silver or even base metal, and what about those murky waters of gemstones? Failing to authenticate these elements can lead to costly oversights, as I have learned in the past.

Granted, it’s a mistake you’ll only make once, but still. That feeling of having misjudged is just painful. There’s a reason I call it the Drawer of Shame instead of the Drawer of Valuable Lessons Learned, after all.

Related to that is insight in the use of synthetic materials: they really do not have to be indicators of reproductions. You just need to know which is which…for which I refer back to point number 1 above.

Synthetic materials may be authentic replacements, or even part of its design from the start. Click here to see some surprising examples of pieces that were actually designed with plastic.

I’d say it is crucial to be well-versed in the materials commonly employed in Middle Eastern jewellery, and their uses during different time periods. This, too, takes time and learning.

4. Ignoring preservation and maintenance practices

So, you’ve successfully purchased a piece of jewellery…and then all of a sudden it has turned green from verdigris. Yes, been there, too! And that panic attack is one I will not lightly forget.

Silver jewellery requires attention and care to preserve its beauty. Ignoring proper preservation and maintenance practices can result in irreversible damage, diminishing the value of your collection.

How to avoid your collection ending up damaged? For this, you’ll want to implement careful storage practices: see 4 simple tips on how to store – and how not to store – silver here.

A second advice is to regularly inspect pieces for signs of wear, loose settings, or corroded metal. By adopting a proactive approach to preservation, you safeguard the longevity and quality of your wonderful collection.

Quick tip: since that encounter with the Green Monster, I go over my collection twice a year. Around the end of the year, in the holiday season, and roughly halfway through the year during my Summer break.

5. Underestimating the power of connecting with others

Building a collection of vintage and antique jewellery from the Middle East is an ongoing learning process, and that is also the fun of it. I honestly learn something new every day!

Networking with experts and fellow collectors is fun, stimulating and productive. Underestimating the importance of connecting with individuals who share a passion for the same niche can limit your growth as a collector.

That sounds like a big claim, but think of it as an ever-expanding circle: see more, learn more, lessen your chances of getting duped.

For me, I noticed that I started to make significantly less mistakes when I started learning from others. Having conversations works both ways and develops never-ending, mutual learning.

And most of all: I gained friendships and a community that are just invaluable. Thank you for being here!

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Where can I find more on traditional jewellery from Southwest Asia and North Africa?

More tips for collectors? Browse them all here!

Never miss a thing on jewellery news? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery from North Africa and the Middle East!

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The Bedouin Silver 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.

UNESCO 1970

UNESCO 1970

by | Tips for collectors

collecting jewellery

UNESCO 1970: what does it mean for me?

Updated Jan 4, 2024

You may have heard of it: ‘UNESCO 1970’. But what is that exactly, and what does it mean 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: 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 not be what you’d like to hear: there are collectors who find all these laws and rules annoying. But here’s the thing: we may not like them, but they exist anyhow, and more importantly: they may affect the future of your collection. So let’s dive into this convention!

What is UNESCO 1970?

First some details. ‘UNESCO 1970’s full name is the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. [1] It was adopted in 1970 by the members of the United Nations. Its aim is, as the title suggests, to prevent the illegal trade in cultural heritage.

After the Second World War, it became increasingly clear that cultural heritage was looted and sold for profit on a massive scale, as a result of which many cultural treasures left their countries of origin.

And that is not just statues and sculptures and paintings and frescoes: jewellery is a favourite, too. It’s portable, valuable and almost guaranteed to have a buyer.

‘Okay,’ I hear you thinking, ‘but that is about ancient jewellery. Mine is max a hundred years old, give or take, and it is still being sold today!’ You’d be right, and I’ll get to that in a bit – where it concerns antiques, not antiquities, is where it gets interesting.

Is UNESCO 1970 law or legally binding for collectors of jewellery?

No, it is not: it is a convention. Up until now, a little over 100 member states of the United Nations have ratified the convention, meaning they explicitly undersign its goal.

That still does not make it law: every country has different ways of embedding the goals of the convention into their own national legislation on heritage and its import and export.

And these laws are binding for collectors and dealers of traditional Middle Eastern jewellery.

Here lies an important criterion in general, so pay attention to the next few lines: this is where miscommunication occurs every so often.

You will sometimes find advice stating that anything exported before 1970 (the date of the convention) is presumed legal. That is too simple.

It ignores the existing laws of the countries of both export and import. Let that sink in for a moment: there may be laws in the country your jewellery comes from, that predate UNESCO 1970.

Egypt is a perfect example of what I mean. Egypt already legally prohibited the export of antiquities without written approval in 1912, and revised that law in 1951.

Proving an antiquity left Egypt legally therefore requires establishing a chain of provenance dating all the way back to 1912. Looking at you, ‘mummy beads’ and ancient amulets – luckily, the majority of these is fake.

So, always check both your local legislation and the laws of the country you are exporting something from. For vintage jewellery these laws may not matter much yet, but please note that they do for antiquities – I strongly advise against buying antiquities without solid proof of legal provenance.

What does UNESCO 1970 mean for collectors of traditional jewellery?

Under most legislation [2], exporting and importing jewellery of 50 – 100 years old is completely legal. [3] It has not been looted or stolen: jewellery like this has been sold in large numbers from the 1960s onwards, and in some cases even earlier. It was readily available, and continues to be sold internationally today.

It also does not qualify as an antiquity or as an antique – yet. Items that are 100 years or older however, may fall under legislation for antiques.

I want to buy traditional jewellery: what do I need to check in advance?

I would advise to start by informing yourself about legislation in the country you are importing jewellery into.

This includes the definition of an antique (this varies from 100 to 250 years depending on where you are – most traditional jewellery is younger, but remember a piece from the 1920s is now over 100 years old).

Other factors to inform yourself about are

  • the threshold value above which import taxes apply;
  • If an export license from the country of origin is required;
  • Verification that the seller is compliant with export laws of the country it is coming from.

Obviously, this also requires a sound and truthful description of the item you’re interested in: reputable sellers will be able to provide you with parallels and references for an item on which its age is determined.

I know it sounds lovely when a piece of jewellery is from the 19th century, but check if it really is, and if so, if you can actually import it – it may be an antique under the law.

When it’s you yourself buying jewellery in another country and bringing it home with you, informing yourself about both export and import legislation falls to you.

[I can’t stress this enough, so taking another moment to repeat myself: buying archaeological jewellery in another country really is a no-no. You can’t export that without an official license, and the penalties on trafficking illegal antiquities can be severe.]

And finally, keep the receipts and any documentation – imagine your heirs would want to sell or donate a piece in say, 50 years or so: by then, most of your pieces will have become antiques. Your heirs will be needing solid proof you aquired these legally.

So I can buy vintage Middle Eastern jewellery and comply with UNESCO 1970?

Yes, as far as UNESCO 1970 goes you can buy that bracelet or necklace perfectly well, as long as you duly pay your import taxes and ensure you are compliant with legislation on antiques, if the item qualifies as such.

But… UNESCO 1970 is not the only international convention that affects the trade in traditional jewellery. There are the CITES regulations as well as ethics to be taken into account, too, which I will go into next!

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Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

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References

[1] See more about the convention here: https://en.unesco.org/fighttrafficking/1970

[2] Most, not all. Uzbekistan has strict export laws, for example, and buying old jewellery (or old anything, actually, including household appliances) is a legal no-no. These laws are actively enforced, too: I have had my luggage inspected on several border crossings.

[3] Please take note that this does not apply to antiquities. ‘Excavated’ beads, ‘Neolithic’ beads etc for example are antiquities!

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.