Restringing ethnic jewellery

by Sigrid van Roode | 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.

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.

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 ‘19^th century on original stringing’, but including beads that did not exist in the 19^th 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.

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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.

Ethnic jewels: silver content

by Sigrid van Roode | 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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References

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

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

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5 rookie mistakes

by Sigrid van Roode | Tips for collectors

Avoid these mistakes in collecting

5 rookie mistakes lessons I learned in collecting jewellery

Published Jan 3, 2024

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

1. Neglecting to research regional styles and techniques

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

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

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

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

2. Overlooking the importance of provenance and collection management

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

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

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

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

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

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

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

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

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

3. Failing to authenticate materials

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

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

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

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

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

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

4. Ignoring preservation and maintenance practices

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

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

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

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

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

5. Underestimating the power of connecting with others

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

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

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

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

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

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UNESCO 1970

by Sigrid van Roode | 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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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

Photography: 5 tips

by Sigrid van Roode | Tips for collectors

how-to tips

Quick photography of ethnic jewellery: 5 tips

Updated Jan 8, 2024

So, you’re in a shop or a souk, surrounded by jewellery, and you’d love to make a few reference snaps? Or sitting at home, staring at your collection and wondering where on earth to begin…? How to take good photographs of ethnic jewellery with your smartphone?

Here are 5 tips to make good photos with your smartphone, whether it be if you plan on documenting your collection or to add a few reference images to your photo library!

1) Photographing ethnic jewellery: use a plain, neutral background

That should not be a total surprise – but you’d be surprised to see how many people photograph jewellery against a printed background!

Choose a clean and uncluttered background that won’t distract from the jewellery itself. A plain white or black background often works well, but actually any dark, deep colour works, as long as it allows the jewellery to stand out.

How to do that on the go? This is where your trusty scarf comes in (a useful accessory, anyway!): it does not matter much if it is wrinkled, enough contrast will allow editing programs like Canva to remove the background. It will have to be a plain scarf though, a busy paisley-print is not what you’re looking for.

Bonus tip: a black, plain scarf also works miracles in museums, to block the reflection of lighting on the showcase. For this, you will need a travel companion to hold up the scarf behind you as you photograph the showcase. Be prepared to meet with more than a few puzzled glances, but it works!

2) Make your jewels shine: use natural light or soft lighting

Natural light is ideal for capturing the true colors and details of the jewellery. Position your setup near a window or use diffused artificial lighting to avoid harsh shadows and reflections.

Obviously, there is only so much you can do in a shop, but asking to see a piece near the door or a window will already improve the light.

Very Important Bonus Tip: check if you are not in between the light source and the object. In other words: when your phone (or your head) casts a shadow over the object, the resulting photo will be less than stellar. By which I mean: bad.

3) Photographing ethnic jewellery: use a tripod if you can

To ensure sharp and clear images, use a tripod to stabilize your phone. There are nifty tripods for smartphones available that fit into your handbag.

If you don’t own one of these, create an improvised setup with whatever is at hand: I have placed my phone on top of larger bracelets, coffee tables, or a stack of books. Anything that allows you to keep the phone steady does the trick.

4) The best ethnic jewellery shots? Don’t forget to take close-ups!

Jewellery is often intricate, so it’s important to get close-up shots that highlight the details, like hallmarks, filigree, enamel, or perhaps even cracks and dents. For this, you’ll need a tripod or other form of stabilizor.

Bonus tip: photograph the backside, too. Even if it is plain and boring.

You’ll never know when it may come in handy – I have had to fly out to Vienna to check the reverse side of jewellery items because someone forgot to photograph them…

5) Use an indicator of scale to tell bracelets from rings

This can be a proper scale, of course, or a simple ruler. If you find yourself without such a useful device (they fit in your wallet), take something else of a known size: your businesscard, a coin, your lipstick…

Place it close enough to relate to the jewel you’re photographing, but leave some space to edit it out if you’d like to use your photos later.

This is seriously essential: sometimes I get asked to identify a piece of jewellery from a photo, and I can’t for the life of me figure out whether I’m looking at a bracelet or a ring. (I suppose that may be the single advantage of the paisley motif on your scarf under tip number 1 above – but still, it’s not enough to use it)

And finally…

Remember to always ask permission first before whipping out your phone to photograph!

Some shops may have restrictions or guidelines in place for photography, so make sure to respect their policies.

That also goes for exhibitors at a jewellery fair or other pop-up location. I usually also specify what I want to use the photos for: ‘study purposes’ is something else than ‘I’ll be sharing your jewellery with nearly 20,000 people on social media, is that ok?’ (for most it is, if you clearly credit them – but not for everyone!).

All of this is of course very different from professional photography (see more about that here), but with these quick tips you can photograph jewellery on a basic, but absolutely very useful level!

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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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Sigrid van Roode

Donating to a museum

by Sigrid van Roode | Tips for collectors

step by step

Donating your ethnic jewellery collection to a museum

Updated Jan 4, 2024

Thinking of donating your jewellery collection to a museum? That is fabulous! Donating it to a museum is a great way to ensure this heritage is preserved for future generations. But even so, it’s not a decision made lightly, as you entrust the passion of your lifetime to someone else. Therefore, it is very important to explore and carefully weigh your options, so you can decide on a well-informed basis where your collection should go.

I would advise to start that process well in advance, as not every donation is automatically accepted by museums. This article provides you with clear, actionable steps towards donating your jewellery collection.

First, evaluate your reasons for donating your jewellery collection

For example, you could be downsizing as a result of moving to a smaller home: that happens quite often. Donating for tax reasons is also not unheard of: sizeable donations may come with tax benefits.

When your heirs are not all that interested in your life’s work, the question what should happen to it after you’ve gone becomes all the more pressing, and knowing your collection is safe and cared for provides much needed peace of mind.

What do you envisage their future to be? Do you see them in a jewellery museum, in an ethnographic museum, in an art museum, and could that also be a museum in the communities that these pieces culturally form part of?

Last, but certainly not least, there is your personality to take into account: do you see yourself taking family and friends to a museum to show them your contribution glinting in a showcase, or are you more of a ‘behind-the-scenes’-person?

Just to be clear, both are fine! I can tell you from experience it’s extremely cool to see your jewellery displayed in an actual museum, and also that it’s very, very rewarding to be donating anonymously. When it comes to managing your own expectations, it is very useful to pause for a moment and consider why you would like to donate – do you want to get anything out of it and if so, what would that be?

Once you have a view on the ‘why’ of your plan to donate, it will become easier to find an institution that aligns with your values.

Contact the museum you have in mind

Ask after their guidelines, policies, criteria and procedures for accepting donations – some museums already have all of this on their website.

Bear in mind that not all museums accept everything: they may decide to accept only a few pieces and leave the rest. And that is a sound decision on their part! Because if all museums accepted everything that was ever collected, what would that mean in terms of storage space and longtime care…?

Contacting the museum of your choice well in advance will be helpful as it allows you to prepare your donation, or to start looking for other museums if your donation should not be a good match.

Don’t forget to ask away when you have contacted a curator to discuss possibilities: what is the museum’s view on deaccession? Do they have plans in place for an open-access database? Will your collection be mainly in storage as reference collection, or will it be visible (even if it is just digitally)?

Consider tax implications

Donating your collection may have tax implications (both positive and negative), so these should be discussed at an early stage. Getting an appraisal may be useful for tax purposes as well as for providing the museum of your choice with an indication of the value of your donation.

Not every museum requires this though, and you could also decide to simply donate it because of the contribution you’ll make to a shared heritage. Note that laws and legislation vary per country, so consult your tax advisor as well as the museum on this in an early stage.

Have your documentation up to date

Now this is an important point: increasingly, you’ll be asked to provide documentation of your jewellery, such as its provenance, as well as identifications of the pieces you’re donating.

Museums do not always have the resources available to work on an identification of your pieces themselves, due to budget and time constraints. Notably the provenance documentation will grow in importance over the coming decades.

An up-to-date registration of your collection is also useful in for example an overview of the materials that it consists of: are there materials that require special care in storage?

Another possibility to consider here is making your documentation part of the donation itself. If you own, for example, a library on the topic of your collection (jewellery books, anyone?), adding these to a museum library will effectively turn that into a specialized research library that will benefit students and scholars alike.

Many museums host book sales to support their library or other budgets: any double copies could be sold, and they would still end up in the most appreciating hands.

Talk about terms and conditions you may have for your donation

If you have specific conditions in mind on how your jewellery can or cannot be displayed or used, be sure to discuss these with the museum in advance. Is it enough for you if your collection is not put on display, but available to whoever wants to study it? Do you want your name attached to your collection?

It’s good to be aware that some museums accept only unconditional gifts, meaning they can do with your collection as they please. That may include selling parts of it.

Too many restrictive conditions will make it less desirable for a museum to accept your donation, so this is a point that requires careful consideration and negotiation.

The main thing to keep in mind when donating your collection though is the inevitable transfer from ‘your’ collection to ‘their’ collection. That can be a tough one: a museum may not value the pieces you love the most in the same way you do, and once the collection has been donated, it is no longer yours.

Donating your ethnic jewellery collection to a museum: peace of mind

But when a curator has taken the time to walk you through the donation process, explained the possible future of your pieces in the collection (including deaccession), or made a selection of pieces that are truly an addition to the museum, you can rest assured you will have done everything you can to give your collection a secure, meaningful future.

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Never miss a thing on jewellery discoveries? 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 you love!

More tips on collection management? Check this free resource or download the e-book!

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

Sigrid van Roode

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