Spanish pillar dollar

Spanish pillar dollar

Coins in jewellery

The Spanish Pillar Dollar in Middle Eastern jewellery

Published Jan 10, 2024

Here is a coin that has been very popular in North Africa and the Middle East for centuries! And what is more, its name is still pronounced many times a day, and it captures popular imagination – even yours, although you may not realize it yet… But when it comes to jewellery from the Middle East & North Africa, this is one of the forgotten coins. Its obscurity is totally undeserved, however, so let’s look at the many lives of the pillar dollar!

Pillar dollar: what is it?

The pillar dollar is among the very first machine-tooled coins. Before that, coins were struck manually. The size and even the silver content of coins had varied greatly since Antiquity, but these new Spanish coins? They were something else! They always had the same shape, size, weight and decoration – they were reliable. [1]

The pillar dollar was produced from 1732 onwards. These coins get their name from the two pillars of Hercules on the reverse. These refer to the two rock formations in the Street of Gibraltar. You’ll see in the image above (and in the detailed photos below) that the pillars flank a crowned coat of arms: a not-so-subtle way of saying Spain dominated both the old and the new world.

And that new world is where these coins were produced. The denominations of 8, 4, 2, 1 and .50 Spanish reales (pronounced ‘ray-al-es’) were made of silver mined in Middle America. The coins were exported to Europe: just imagine those galleons, loaded with treasure chests brimming with actual money, sailing across the Atlantic….and you’ll get why all the classic piracy tales involve ‘pieces of eight’ – those are the 8 reales coins.

Pillar dollar and the world economy

That eight reales coin grew increasingly popular because its silver content was consistent, and it was widely available. It was, in other words, a stable coin that would not lose its value any time soon.

It was widely used in the Ottoman Empire, and so you will find it labeled with many names in Turkish:  it was variously referred to as kara kuruş, kebir kuruş, tamam kuruş, real kuruş and riyal.

And that is how it ends up being pronounced hundreds of times a day- today! Riyal is a derivate of its Spanish name, real. It remained the word of choice in Arabic to indicate official coins. [2]

Pillar dollars in jewellery from the Middle East & North Africa

Before banks, before plastic money and cryptocurrency, jewellery was the way to go for building up capital and emergency resources. Coins were worn on clothing and in jewellery: as savings, but certainly also to show off.⁠ The value of coins was, like jewellery itself, in their content of precious metal: even when it had been altered, its silver value would still be valuable.⁠ And the pillar dollar was a prized coin, precisely because of its silver content.

In Egypt, the coin was often worn as pendant on a necklace, like the coin shown above. This is an actual pillar dollar from 1817. In Egypt, the coin was called Abu Madfa, Father of Cannons: the Pillars of Hercules were interpreted as cannons.

Because of that interpretation, the coin soon became a much sought-after amulet as well: as cannons are made of iron, a material that jinn are afraid of, wearing a coin that showed two sizeable cannons would surely keep them at a distance!

Pillar dollars: imitation coins in jewellery

Because of this huge popularity, both as currency and as adornment, the pillar dollar was imitated at a large scale. That is more a matter of ‘keeping up appearances’ than actively engaging with counterfeit money – no one expected to be paid in fake pillar dollars, but wearing them sure looked good from a distance!

And for its function as an amulet, it really did not matter much if the coin was real: as long as those pillars were on it, it was all good. The gallery above shows a few of those imitations of the pillar dollar, in varying degrees of success: all of these were used in jewellery and adornment from the Middle East and North Africa.

The pillar dollar: a universal coin in jewellery

So you see how this coin once was of great importance for trade and commerce. But coins like these have many lives: as currency, as adornment, as amulet, and also as collected object. It’s never just one thing, and that makes these pieces so meaningful!⁠

This blog is based on my book Desert Silver.

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References

[1] Schienerl, P.W. 1981. Spanish/Mexican Dollars in Egypt: Currency – Raw material for Silversmiths – Ornament – Amulet, in: Ornament 5 (3).

[2] Some collectors have taken to call the pillar dollar riyal, too, instead of real: an interesting form of reversing this linguistic journey.

 

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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.

A Palestinian wuqaya

A Palestinian wuqaya

jewellery of Palestine

Traditional Palestinian headdress: wuqaya

Published Dec 20, 2023

This is a beautiful headdress from Palestine, called a wuqaya. It was worn in the area of Jerusalem and Ramallah. [1] It would be placed under the headveil, with the coin fringe showing on the forehead.

Wuqaya: design and wear

In the image above (click to enlarge it) you’ll see how it is designed: a more or less square piece of cloth with a central embroidered panel. Below the chin, a series of chains and other coins dangle. The headdress has a beaded border in red and blue, and a double row of coins. According to Weir, this headdress was probably worn by girls [2].

Wuqaya: the coin fringe

The coins on this headdress may tell us a lot about the wearer herself, and the world she lived in.

The number of coins usually reflects the wealth of the wearer. That is because the silver in these coins used to be what made them valuable. From this tradition, the use of displaying coins became standard.

Also when the wearer was not that affluent: all of the coins on this particular headdress are imitation coins in brass. Note the detail with which the coin fringe begins. Starting in the centre, the coins fall in two directions: a red fabric detail covers the part where they part ways. It also ensures the first two coins stay in place.

Brass coins for the headdress of an unmarried girl make sense: she would not have had a large fortune of her own yet. This would become hers upon marriage: learn how that works here.

‘Brass coins on the headdress of an unmarried girl make sense’

Palestinian wuqaya: the chainwork

This particular wuqaya also shows chainwork. This is attached so it would fall below the chin, not unlike the chin-chain from Bethlehem presented in this post. This seems to be a later addition to this piece: the chainwork is irregular, mismatched and seems to have been added rather haphazardly.  

None of the headdresses published seem to have such an addition: it may come from another type of headdress, and used as embellishment of this one.

Its addition is also strange in light of who would be wearing this headdress. Such a set of chainwork is usually reserved for headdresses of married women. They would carry silver coins and display her wealth. This wuqaya however was worn by girls who had not yet acquired such wealth.

A German token coin in Palestine

The central pendant on the chin-chain carries a German text. You’ll see it in more detail on the photo above: click to enlarge it. ‘Spielmarke’ means a token. But this pendant is not as random as it might seem. On its other side, it shows a double-headed eagle. This resembles many actual coins from the period, notably the Maria Theresia Thaler.

The Maria Theresia Thaler was among the most popular coins in the Middle East and far beyond, because of its guaranteed high silver content. You will find these coins on many pieces of jewellery throughout North Africa and Southwest Asia.

Around the border however, it reads ‘Neurenberger Spiel und Rechenpfennig’. These were exported on a large scale to the Ottoman world. As they were much valued substitutes for actual coins, you will find many of these on dresses, veils and other objects of personal adornment.⁠⁠

The wuqaya: between girl and woman

According to Weir [3] this headdress was worn by girls who had reached puberty. That was an age on which girls would marry: in the area around Hebron/al Khalil, a large coin such as a Maria Theresia Thaler would be attached to the wuqaya to indicate the girl was ready to get married.

This headdress would accompany a girl during her transition from unmarried girl into married woman: an important step in her life’s journey.

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Reference1

[1] Völger, G. (ed) 1987. Pracht und Geheimnis. Kleidung und Schmuck aus Pälästina und Jordanien, p. 277.

[2] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 177.

[3] Weir, S. 1989. Palestinian Costume. The Trustees of the British Museum, London, p. 176.

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.

Tuareg silver&carnelian ring

Tuareg silver&carnelian ring

Treasures of the Sahara

Tuareg silver rings with carnelian

Published Dec 13, 2023

You have probably seen them often: those beautiful silver Tuareg rings with a big, glowing, pointy carnelian. They make formidable jewels, but what are they called? Who wore these rings? And are they actual finger rings? I mean, doesn’t that carnelian break…?

Tuareg silver rings with a pointy carnelian: where are they from?

Like any other culture, the Tuareg are not a single group. They consist of many tribes, who inhabit a vast area across the Sahara: from North African countries such as Algeria, Tunisia and Libya to sub-Saharan countries as Mali, Niger and Burkina Faso. [1]

The silver rings with a carnelian likely find their origin in Mali, according to Burner. [2] Over time, their use spread to other regions of the Sahara as well. The rings in the photo above (click on it to enlarge it) were all sourced in Mali.

Tuareg rings with carnelian: what are they called?

Names of things are notoriously varied in living cultures who are spread over a wide region. These rings, too, go by different names.

First, they are called simply what they are: a ring, or tassandert in Tamasheq. That name is the basic name for the category they belong to. In the north, notably in the Hoggar in Algeria, but in adjacent northern Mali as well, the basic name for ring is tiseq (sometimes also spelled tisek). [3] Another word for ring is shisandar.

This ring with the pointy carnelian in particular resembles another form of jewellery called tanfuk. Because of this similarity, these rings also go by the name of tanfuk – even though they are a different thing. [4]

And finally, another name for these particular rings hints at how they are worn: tassandert ‘n zakat means ‘ring-pendant’. And I know you probably have been wondering how to wear a ring with a huge spikey carnelian and still go about your daily business…so let’s get into that next!

Are those Tuareg rings worn on the finger?

Yes – and no! (by now, you did not really expect a straightforward answer, did you…?) These ornaments can be worn in a variety of ways, and that makes them so interesting.

They are worn on the fingers by both women and men. There is no strict placement on the fingers, although the ring finger is preferred, but they can be worn on any other finger.

Apart from finger rings, you will also find these strung on a leather cord and worn around the neck. That is more often the case in women’s dress. Usually, this will be in combination with other pendants: they can flank amulet cases (tcherot), appear strung together with beads, tanfuk or zinder pendants as well as with the famous variety of ‘crosses’. You’ll see photos of these in the gallery below: click on the photos to enlarge them.

And they appear braided into the hair as well! [5] As with all living heritage, the decision how to wear it is up to the wearers themselves. There are no strict ‘rules’ when it comes to these Tuareg rings: their use is varied by design. These are very versatile ornaments!

" Rings are versatile: they can be worn in many ways"

How to tell the difference between finger rings and pendants?

You might be thinking ‘So how do I know if a ring is meant to be worn on the finger, or as a pendant?‘ Burner gives us a first clue: when the ring itself is either super tiny, or super large, this indicates it is not meant to be worn on the finger. [6]

Usually, the rings with a smaller carnelian are suitable to be worn on the fingers. Examples of these are shown in the photographs above – click on the images to enlarge them. In these rings, you will see the silver setting has worn smooth, as has the pointy tip of the carnelian itself. In everyday life, the ring has rubbed against clothing, bags, tents, hair….and it has gained a smooth wear as a result. But take note: expecially these smaller ones are very suitable to wear braided into the hair, too.

The huge carnelians with serrated sides and sharp points, as shown in the first image with this post (click on the photo to enlarge it) are more likely to be worn as a pendant. Here, you will notice more wear on the inner band, where the continuous movement on a string has left its mark. The carnelian itself feels sharp to the touch (look for the edges in particular).

Carnelian: its meaning for the Tuareg

The use of carnelian, as well as other agates, is also meaningful. It has a strong protective aspect. As in many other cultures, carnelian is associated with blood and life through its colour. [7]

Many of these rings are set with red glass instead of carnelian. That does not make them any less valuable or real: red glass is often used as a substitute, that has become an equally valid material. See more about how that works, and how we look at jewellery, here.

And from glass, it is a small step to green glass imitating green agates. The colour of greenery and growth carries deep meaning in a desert environment.

Tuareg silver and carnelian rings: living heritage

So, as you see, the names as well as the uses of this particular type of Tuareg ring vary over time, and geographically. For Tuareg craftsmen and wearers of today, they may carry different meaning depending on who you ask. And that is a very important thing to bear in mind.

Because as Seligman has shown, the meaning attributed to symbols and shapes among Tuareg craftsmen changed significantly over the course of two generations. [8] That is because jewellery is never static. These rings represent a living, breathing, changing culture in their many shapes, forms and names: a sparkling testimony of the beauty and resilience of Tuareg culture!

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References

[1] See the work of Michel Vallet for a great overview, with maps.

[2] Burner, J. 2011. Bijoux Touaregs. Editions du Fournel, p. 271.

[3] Burner, J. 2011. Bijoux Touaregs. Editions du Fournel, p. 260.

[4] Burner, J. 2011. Bijoux Touaregs. Editions du Fournel, p. 271.

[5] Vaudour, C. 2019. Les Tenues des Touaregs. Fonds documentaire de Michel Vallet, p. 260-261.

[6] Burner, J. 2011. Bijoux Touaregs. Editions du Fournel, p. 271.

[7] See Seligman, T. & K. Loughran (eds) 2006. Art of Being Tuareg. Sahara Nomads in a Modern World, p. 184 for Tuareg jewellery in particular, and my own book Desert Silver for an overview of amulets and colour symbolism.

[8] Seligman, T. & K. Loughran (eds) 2006. Art of Being Tuareg. Sahara Nomads in a Modern World, p. 222-223.

 

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.

Perfume jewels: meskia

Perfume jewels: meskia

Ottoman splendour

Perfume jewels: the meskia pendant

Updated Feb 19, 2024

In the Maghreb, notably in Algeria and Tunisia, spectacular containers called meskia are worn. What are these, what is their history and why are they important? In this post, I’m exploring these delicate and sumptuous jewels.

What is a meskia?

A meskia is a small, delicate pendant with an open worked lid, which contained fragrances. It is usually made of precious materials, such as gold, and decorated with gemstones and pearls. Its name, meskia, is derived from its content: it would hold musk, but was also used for other scented substances. [1]

These containers are relatively small and very opulent in their decoration. That tells us more about the importance attached to these jewels. So, what is that importance?

Meskia: fragrance and faith

Like its name suggests, the contents of boxes like these would have been musk. Musk is an important and popular scent, as it was said to be the favourite fragrance of the Prophet. In that respect, it carries a religious association.

Musk was a scent that was imported into the Mediterranean in Late Antiquity: the Persians had access to the trade with Central Asia. [2] This is where the musk deer lived, from whose glands the scent was first extracted.

Through the association with the Prophet, musk became extremely popular and was imported on a massive scale. That popularity continues until today. Musk is now largely synthetically produced, and you will find it in many shapes and forms throughout the Islamic world.

Style and execution: Ottoman luxury

The opulence of the meskia reflects its origin in the Ottoman period. The Ottoman Empire stretched across the Mediterranean, and included large parts of what is now Algeria and Tunisia. The splendour of the Ottoman court in current-day Istanbul traveled with Ottoman dignitaries, merchants and craftspeople to all corners of the empire. Here, it continued to inspire both the local elite and craftsmen who catered to a wealthy clientele.

" The meskia is a sign of status: both the container and its contents are precious and expensive"

Differences in meskia styles

Not all meskia-pendants are the same: their shape is similar, but there are differences in their execution that are particular to the regions where they have been made and worn. [3]

The Algerian meskia shown above (click to enlarge it) is made of ajour-cut sheet gold. The box itself is decorated with a rim of pearls. Its lid has been set with a border of rubies around a large central emerald. The floral design of the lid shows accents of small rubies and emeralds, and a few diamonds set in the silver leaves.

The Tunisian meskia (click to enlarge it) is made in a different technique: its lid is executed in fine filigree. The dangles of pearls and irregularly shaped precious stones serve to convey that same luxurious status.

Meskia: an urban jewel

Wearing a meskia has long been an urban tradition. [4] This is where the wealthier people lived: rich merchants, affluent families and of course the administrative and military Ottoman elite. They had access to the best craftsmen, as well as to precious stones used to decorated these perfume containers. The content of these containers was expensive as well. Wearing a meskia was a sign of wealth: not only because of the container, but because of the expensive perfume in it, too.

Outside of the main urban centres, fragrance was worn as well, but it took other forms such as the scented paste beads and silver perfume containers.

See more about those scented paste beads from North Africa in this article!

The meskia today: an important wedding jewel

The meskia is still part and parcel of wedding attire. Algerian and Tunisian brides wear elaborate necklaces made of scented paste beads, rows of pearls and a meskia container. As these jewels are quite costly, they can be rented for the day from the wedding planner. Through their combination of heritage, identity and faith, they add an important level of festivity to the wedding. It’s a small, but highly significant piece of jewellery!

Collage of a smiling woman from Egypt, wearing gold earrings, with dewy rose petals, jasmine and lilies. A bright yellow text box reads 'Scents of the Middle East'

Explore the world of fragrance in the course Scents of the Middle East!

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References

[1] Eudel, Dictionnaire des Bijoux de l‘Afrique du Nord, under ‘meskia’, notes that ‘mesk’ is also a word used to indicate a leather pouch in which jewellery was stored. This shares the significance of a container designed to hold precious content.

[2] King, A.H. 2007. The musk trade and the Near East in the Early Medieval Period. PhD-thesis Indiana University, p. 239.

[3] As already noted by Eudel in his Dictionnaire des Bijoux de l‘Afrique du Nord, under ‘meskia’.

[4] Akam, F & A. Hanafi, 2003. La mode Ottomane dans les bijoux citadins, in: Bijoux & parures de’Algèrie, Somogy Editions d’Art, p. 37-41.

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.

Intricacy and doves

Intricacy and doves

A bracelet from tunisia

Intricacy and doves

This is the first installment in the series ‘Objects in Detail’: what stories does this Tunisian bracelet hold?

Silver bracelet from Tunisia, showing two registers with engraved doves.

What do we see? This is a silver bracelet from Tunisia. Its name is swar, which means ‘bracelet’, and it comes from the region of Médenine and Tatouine. [1] First, let’s look at what we see. It has a beautiful and elaborate decoration: a raised, horizontal band divides the bracelet in two halves, and on each half three large panels are visible. The central panel shows an intricate geometrical pattern, and on the two side panels a sweet dove looks at us. The panels are separated by a small decorated vertical band, and the panels with the doves are bordered by a horizontal band above them. When you look closely at the central band, you will see its decoration is worn. That also goes for the upper rim, which has become thinner and smoother. That tells us that this bracelet has been worn regularly. It would have been part of a bride’s dowry, and by the looks of it, she loved wearing it!

Reading the bracelet: the engraving. Like almost all jewellery, the decoration on this bracelet is not just pretty: it is supposed to do something. The intricate pattern on the central panel is designed to confuse evil. [2] Complexity always is meant to achieve that goal – apparently evil is easily distracted. Give it something shiny and it will focus on that, confront it with complex patterns and it will lose its way and forget it was coming for you. I wrote a little about that in this blog post on knots – these do the same thing. The doves, rendered here in a super cute form, are called asfur, and feature on many pieces of jewellery. They are bringers of good luck and blessings [3] and so this bracelet does two things: it keeps evil at a distance, and attracts good fortune for the wearer.

A collage showing a silver Tunisian bracelet with doves, a photo of a dove and a Tunisian arched window with bright blue shutters. A text box reads 'Intricacy and doves'. The logo of Bedouin Silver is visible.

Look beyond the jewellery Jewellery is meant to be worn, not to be admired as standalone object. It is first and foremost directly related to the body, and placing it there can have the location of engravings making even more sense. If you consider for a moment how this bracelet looks when worn (imagine it on your wrist) the central panel is what stands out. This is what you see first, and that makes it the perfect place to add a first line of defense against any forces that might wish the wearer harm. That same principle works outside of jewellery, too: in the image above you’ll see an intricate design around the window of a Tunisian home. This works in exactly the same way: any and all evil that might want to enter the house will get stuck in the maze of lines. The same principles apply to both jewellery and other things you want to keep safe.

Map of North Africa, showing the distribution of silver bracelets. A text box reads 'Bracelets with two registers and six main panels in North Africa. The logo of Bedouin Silver is visible.

…and even further This bracelet is from Tunisia, but it tells us more about its wider cultural family. And it does that through its shape. The same basic lay-out, a manchet with a central raised band, is found all over North Africa. The design into six panels is also visible, for example, on a pair of bracelets shown above. They were made in Cairo, and worn in Siwa oasis as well as Libya. While the individual details vary and are usually typical to a region, the main lay-out is similar. This in turn places jewellery in a wider cultural perspective. As I wrote earlier, the borders present on the map today are relatively recent. These bracelets reflect the transnational cultural identity of the Amazigh people, and their permanent exchange of ideas, languages, people, and things across the trans-Sahara network of trade routes. [4]

So here you see how a bracelet can share so much, ranging from the individual woman that once wore it to the region of the continent she lived in: jewellery is a historic source!

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References

[1] Baclouti, N. (no year), Les Bijoux d’argent de Tunisie. Office National de l’Artisanat, p. 180-181, also Gargouri-Sethom, S. 2005, Les Bijoux de Tunisie. Dunes Editions, p. 107. Please note that as this is transcribed from Arabic, you will find the same name spelled as ‘suar’, ‘souar’, ‘suwar’, ‘aswar’ and ‘iswar’ (and probably a few more varieties of this). See more on how that works in this blog post.

[2] A parallel piece with identical geometrical designs can be seen in Gargouri-Sethom 2005, p. 106.

[3] Gargouri-Sethom, S. 1986. Le Bijoux Traditionnel en Tunisie, Edisud, p. 97

[4] Gargouri-Sethom, S. 1994, Les Arts Populaires en Tunisie, Agence Nationale d’Exploitation du Patrimoine, p. 89, mentions how in the south of Tunisia, jewellery closely resembles that of Libya.

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.