Jewellery and dress

Jewellery and dress

by | Opinion

Two fields of research

Jewellery and Dress

Published on July 26, 2024

Jewellery from the Middle East and North Africa is always part of a larger ensemble: it is linked closely to other elements of personal appearance such as clothing and body aesthetic. Often, it’s not even possible or even necessary to discern where jewellery ends and dress begins. I believe the two are too often presented as separate, while in many cases, they are created to fit together. And on the other hand, I also believe they are two distinct fields of research. So how does that work?

Jewellery and dress: a practical connection

Starting out with the most practical connection: that where jewellery is an integral part of dress. Many jewellery items are designed to fasten clothing or to keep textiles in place: they are as much part of one’s attire as zippers are. That is not limited to North Africa and Southwest Asia: many cultures around the world use an astounding amount of pins, hooks, clasps, and buttons. All of these can be beautifully decorated and some of them are really meant to catch our attention, like the huge toggle buttons worn on the island of Sardinia (Italy), for example.

And when that costume changes, its jewellery changes along with it or even disappears. Many jewellery items are no longer worn, because the costume they were an integral part of, has changed. That is a super logical domino-effect, but one that is not always acknowledged.

Large silver buttons on a sleeve in Sardinia, Italy
A stunning hair pin from Sri Lanka, called kondakoora.

For example, the large Amazigh clothing pins, known as tizerzai, tiseghnas or khlel, that kept the traditional dress of the Maghreb secure, are no longer used as everyday wear, as these garments themselves are no longer worn – at least not widely or on a daily basis. The pins are however proudly worn on festive occasions: although their practical use has dwindled, their life as carrier of cultural identity certainly has not.

Another example is hair jewellery. Hairstyling is an important part of body aesthetic and of social practices, and jewellery was used to keep these wonderful hairdos in place. Here as well, changes in hairstyle bring about changes in jewellery, another example of how closely connected jewellery and dress are.

One example, from yet another region of the world, is the beautiful kondakoora hairpin, which was worn in Sri Lanka. This lavish pin, set with coloured zircons, was placed on hair tightly rolled into a bun. After this custom disappeared, the pins were repurposed as brooches.

See more about hair ornaments in this article – they’re also worn in surprising other fashions!

Learn to read jewellery! Four colourful images of online courses.

Jewellery and dress: glittering fabric

Other pieces of jewellery have become so associated with the textiles they are worn on, that it is useless to try and tell where the jewellery ends and the clothing begins.

Take the richly ornamented face veils from Sinai and Palestine for example, which combine both textile and jewellery traditions. The tatreez embroidery that is so well known from clothing is also used on the face veil, which also carries beads, coins and small pieces such as silver amulets. You’ll find these beads, coins and amulets in turn also strung onto necklaces or sewn on garments themselves.

And the flowing headveil shown above, worn in the region of Mount Lebanon, forms a unit with its stunning tapering tantour of embossed and chiseled silver.

The elaborate face veils of the Rashayda are also both an element of dress and of jewellery. These are made of textile with silver woven in, resulting in very heavy and glinting veils. These are further embellished with silver pendants and amulets, that may equally be worn as jewellery.

This tradition of textiles embellished with silver or even gold thread is found in many garments from the region. It’s called badilah or badla, telli or talli, zari or zardozi. In the Western world, the glittery fabrics from Egypt are commonly known as ‘Assiut’ textiles. [1] They are named after the Egyptian town of Assyut where these were produced as export product during the Roaring Twenties.

Spendid Rashayda dress and silver jewellery.

Jewellery and dress: patterns and designs

The line between jewellery and dress fades even more in the case of embroidered embellishments.

The chest panel of Egyptian Siwa oasis wedding dresses is embroidered in the pattern of an amulet necklace, and even the use of colour in some embroidery styles is similar to colours used in jewellery. And the chest panel of a dress from Bahariya oasis, also in Egypt, is decorated with shining applications. An example is above: click on the image to enlarge it.

The same goes for patterns and shapes used: not only common designs such as triangles, but specific shapes such as fish, tortoises, stars and floral designs exist both in jewellery and in dress as well as in body aesthetics – and beyond, such as in basketry, weaving, but also in architectural decoration like the painted symbols on houses.

It is their meaning to the wearer that is central, instead of a division by material or object category. In some cultures, these designs and meanings overlap on both jewellery and dress, amplifying one another, and in others they differ per material carrier, but work together as an ensemble.

Jewellery and dress: together, they are more

That is what I find so fascinating about the potential of jewellery as a historic source: comparing it to other elements of a person’s personal appearance, and looking beyond that to the complete setting of that person in their context of their home, family, and culture, shares a lot about how people viewed themselves. But: that takes a village.

For my line of work, for example, I would never call myself a dress specialist. That is simply not my area of expertise. Studying jewellery, on the other hand, is not something one can add ‘on the side’. Both fields are vast in and of themselves. The most meaningful (and fun!) projects I have been involved in, are those where dress and jewellery specialists work together: it’s exciting to see this many-layered heritage highlighted from different angles!

So, just like jewellery and dress are more than just adornment when studied together, those studies themselves become more than their single fields when specialists work together. Who wants to team up…?

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References

[1] For some reason, this is often misspelled as Assuit. I have no idea why, as the town really is called Assiut, not Assuit. A case of endless copy-paste from a faulty source, I think!

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, and obtained her PhD at Leiden University on the jewellery of the Egyptian zar-ritual. 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.

Silver of the Possessed

Silver of the Possessed

by | Reviews

Jewellery of the Egyptian zar

Silver of the Possessed

Updated May 24, 2025

A book by myself this time! Silver of the Possessed brings you the historic and cultural context of Egyptian zār jewellery: what is Egyptian zār jewellery and how may we recognize it?

What is zār?

Zār is a possession cult that was brought into Egypt in the 19th century. It arrived there because of the slave trade: zār is an African possession cult, introduced in Egypt by enslaved women of colour from Ethiopia. And that was not just in Egypt: zār is found in a large area. It is practised differently everywhere: zār in Sudan is different from that in Egypt, and both are different from zār in Oman or Iran.

In all varieties, the general idea is that a person can become possessed by a spirit. This spirit then can make the human host very uncomfortable – until it gets what it wants. One thing to keep in mind is that the spirit will not leave: when its requests are met, it will generally leave the human host in peace, but it stays with the person for the rest of their lives. During a zār, the possessed enter a trance stage during which communication with the spirit is possible.

The Egyptian zār has a unique feature, and that is the use of silver jewellery with images of spirits.

Zār jewellery

And those jewellery pieces are popular collector’s items today. You’ll see several examples in the images in this blog: click on any one of them to enlarge them. While these pieces are very popular, it is not quite clear what they did in the ritual, or who is depicted on them.

And apart from these pieces, there is a lot that is labelled ‘zār’, but is all of that really zār jewellery? How can we tell the difference between regular jewellery and zār jewellery?

You’ll find many different bits and pieces of information on the individual spirits, on the use of jewellery, and of zār itself….but it’s not always easy to tell what’s what. So, I decided to dive into this topic several years ago, and what I found was so much more than I’d ever thought possible!

Zār jewellery in museums and private collections

This book is the result of combing through endless pages of literature from the 19th and 20th century, but also of studying collections of zār jewellery: in museums, and in private collections. I can’t begin to tell you how much fun I had going over so many pieces of jewellery – although entering them all into a database was tedious work at times, it can’t all be glamour and bling!

I have seen well over 1,200 pieces, and while I was describing all these, I started to note changes over time. Zār jewellery from the 1920s looks very different from that of the 1970s – why could that be? And what about all those pieces of jewellery that were absolutely made for zār, but that are so rare these days that no private collections holds these, only very few museums…?

Silver of the Possessed: zār jewellery in context

So what will you find in this book? My goal was to place jewellery of the Egyptian zār in its cultural and historical context. So first, I traced how our current understanding of this jewellery has evolved through collecting and publishing: how do we know what we think we know? Turns out there is quite a lot of copy-and-not-exactly-paste that has influenced our view on these pieces!

Next, I go over jewellery from several angles. Its cultural background in African possession cults can be translated into a new insight of the many roles jewellery played in zār. That comes with a handy table of 5 categories of zār jewellery, so you’ll know how to identify them correctly!

I also looked at jewellery as a financial asset to zoom in on its implications for household economy dynamics, And, ever the archaeologist, I traced the developments in this jewellery over seven decades: interestingly, those changes in jewellery reveal changes in the ritual itself.

For me, the most exciting part is how this jewellery may function as an actual historic source: these jewellery items shed light on the world view of their wearers, and as such form an unexpected additional source for late 19th and early 20th century Egypt. You can actually ‘read’ these pieces, and I’m sharing how I did that.

Egyptian zār jewellery: a catalogue

And of course, there is a catalogue! Over 100 previously unpublished jewellery items in private collections illustrate the changes in this jewellery over the course of nearly a century – you’ll be able to date yours based on these examples, and another handy table with 5 things to look for.

The best things in life are free

…and sometimes, that includes books. When you have been following this blog for a while, you know I value accessible knowledge. That is why my courses are not ridiculously priced (well, maybe ridiculously low), and also why I partnered with Sidestone Press for this publication. No matter where you are in the world, you will always be able to read this book online – for free.

To make it even better, I have opted for full open access publication of this book. That means that you get to download the pdf of the book, completely free.

So, as you see, there is literally no sales pitch here: I’m giving you this book as a free pdf.

However… if you are anything like me, and prefer a printed copy: we’ve got those, too. Speaking for myself here, I spend too much time as it is looking at screens, and I am a total book nerd as you know, so I prefer to sit down with a cup of something good and just flip through actual book pages. The printed copies come at a very reasonable price.

The choice is all yours!

(final thought: the blazing artwork on the cover is ‘Red Wind: Fire’ by Salma Ahmad Caller, and that just looks glorious in print. Just saying.)

More about Silver of the Possessed

Silver of the Possessed. Jewellery in the Egyptian zar

By Sigrid van Roode (2024). 212 pages, full-colour, in English. Published by Sidestone Press.

Available with the publisher Check their options for ordering from the UK and USA: this will save you import hassle and shipping costs!

This book is the result of my PhD-research.

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Rather see the book in videos? This mini-course on Egyptian zār jewellery brings you up to speed!

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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].

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.

French Hallmarks

French Hallmarks

by | European jewellery, Reviews

A definitive guide

French Hallmarks

Published on March 15, 2024

After the beautiful first volume of French Regional Jewellery, a new book by Michael Fieggen has appeared that is sure to fill a gap in your library! French hallmarks, in detail, with just about everything you’d want to know.

French hallmarks: a practical book

For this book, let’s start at the very end of it: with the indexes. On the last pages you will find indexes of hallmarks, described visually: bees, amphoras, crabs, sphinxes, bulls….even if you have not read a single line in the book, it is immediately of very practical use. Look at the hallmark, identify the shape you see, look it up in the index.

There’s even a chapter with advice on magnifying glasses you’ll need to see the hallmarks: how to buy one, how to use one, and how to properly look at a piece of jewellery. And that’s just the end of the book: there is, of course, so much more!

French hallmarks: a completely new study

This is a book born out of one those ideas that seemed like a really good plan when you first thought of them, and that turn out to lead you straight into another rabbit hole of research. While working on his first book on regional jewellery (see more about it here), the author thought it would be useful to include an overview of hallmarks on jewellery.

When he started looking into them, he soon found that listing an overview of hallmarks was way more complicated than previously thought. Contradicting sources, no sources, erroneously copied marks that continued to be reproduced….there was a lot to tackle. And so, starting from scratch all over again, it took another two years to complete this book.

The result is a study which offers a very detailed overview of platinum, gold and silver hallmarks. It includes hallmarks that have never been published before, and shows a detailed history of hallmarks as they vary over time and per region.

French hallmarks and ethnic jewellery

For jewellery from North Africa and Southwest Asia, I rely on the formidable book World Hallmarks Vol. II by the Hallmark Research Institute. From 1859 to 1967, Algeria used the same hallmarks as those in France – that was because France regarded colonized Algeria as an integral part of their country. The only way to see if a piece of jewellery has been hallmarked in Algeria, is through the mark of the assay office.

The new book by Michael Fieggen includes all those assay offices, not just for Algeria (those are in the World Hallmarks book, too) but also for other regions that were once part of France. Like my own country, The Netherlands: there have been several assay offices located throughout The Netherlands in the early 1800’s.

With the wealth of information in this book, I will be able to date French-marked jewellery all the more precise!

French Hallmarks: a book you’ll need

This book is very well illustrated with clear drawings, schematics and close-up photos. I always find that very helpful, as a stamped mark may look just a little different from the drawing, and seeing them side by side helps in determining what I’m looking at.

It also contains schematics of the placement of hallmarks on different types of jewellery (so you’ll know where to look for it). There is detailed information on import marks, export marks, counterstamps, methods to test for silver and gold content, a bibliography, and a glossary.

And what I really liked, are the small sections with a single anecdote dispersed throughout the book: little bits of additional info that help to understand the hallmarks in their context.

The hardcopy of the book is in French, as you see above in the photo, but for foreign orders an English pdf is available: check the website for more details.

If you are working with French hallmarked jewellery in any capacity, you will greatly benefit from this book!

 

More about French Hallmarks

Les poinçons français des métaux précieux, de 1789 á ce jour.

By Michael C.W. Fieggen (2024). 190 pages, full-colour, available in French (hardcopy) and English (pdf). Published by Michael Fieggen.

Available with the author via this link

The book was gifted as review copy by the author.

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

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

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.

Etienne Dinet: Algerian passions

Etienne Dinet: Algerian passions

by | Museums & Exhibitions

Institut du Monde Arabe

Etienne Dinet: Algerian passions

Published March 13, 2024

You are probably familiar with the most famous painting by Etienne Dinet: a couple standing under a starry sky, a bush in full bloom behind them, the woman wearing loads of jewellery. It is also the lead image of the exhibition in the Institut du Monde Arabe. Etienne Dinet, Passions Algériennes, shows an overview of the work of this Orientalist painter.

Etienne Dinet: the ‘ethnologist painter’

Hajj Nasredinne Dinet was born as Etienne Dinet in Paris, in 1861. He studied art, and visited Algeria for the first time in 1884. That was in Bou Saada, where he would eventually end up living. After converting to Islam in 1913, he took on the name Nasreddine, and completed the hajj in 1929. From his conversion onwards, the paintings include more religiously themed scenes such as prayer and mosques.

He spoke and read Arabic, and called himself an ‘ethnologist painter’ – his goal was to paint life as he lived it every day, before it would disappear as a result of a changing environment. [1] The realism in the details is indeed fantastic. I enjoyed going over each and every painting on display to see its rendering of bracelets, earrings, anklets, facial tattoos and more.

Jewellery in Dinet’s paintings

Dinet painted in the region of Bou Saada, Biskra, Laghouat and further south in the M’zab. The jewellery of this vast region is easily recognizable on the paintings. We see the characteristic round fibula closing the head veil on the chest, larger and smaller bracelets, and the elaborate headdresses.

Apart from the abundant silver, the painter also included the less precious materials such as cowrie shells, glass beads, and leather bands.

An example is the painting with children shown above (click to enlarge it): apart from the earrings, there is a single cowrie shell plaited into the hair of the child sitting with its back to the viewer, and another cowrie with a blue bead with the child opposite.

Etienne Dinet – Passions Algeriennes: a beautiful exhibition addressing Orientalism, too

Ethnographically correct though these paintings may be, it is hardly surprising they are very much Orientalist. The Algeria depicted is sugar coated, bathing in sunshine and surrounded by blooming flowers. The women are in some cases painted as mysterious, like the dancer under the night sky, or even naked. And like many photographers of the time, Dinet also painted in his studio: a photograph of the painter at work (in the gallery above, click to enlarge it) shows his models posing.

I could not help but think of the photographs by Marc Garanger, taken between 1960 and 1962. These are so close in time: the children painted around 1900 – 1920 could be the older women in these, which show the much grittier reality of colonialism.

The composition, light and colours of the paintings also reminded me of the work by Lawrence Alma Tadema, who painted equally dreamy paintings of another imagined reality: the past. Here, too, the level of detail and accuracy is astounding, while the scenes themselves depict the world as it could have been – not as it actually was.

The exhibition and its accompanying magazine illustrate this variety of perspectives: it addresses both the exoticizing and the accuracy, the clear and abundant love for Algeria and the position of the colonizer, the combination of faith and religion with art. I enjoyed seeing many beautiful paintings in private collections and museums brought together, and learning more about both the painter and his world.

 

Etienne Dinet, Passions Algériennes: Jan 30, 2024 – June 9, 2024.

Institut du Monde Arabe, Paris. See more info on their website here.

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References

[1] Bentchikou, G. & N. Guillout, Un peintre ethnologue, in: Etienne Dinet, Passions Algériennes, Editions Beaux Arts.

[2] See this article on these photographs for example

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.

CITES: what does it mean for collectors and museums?

CITES: what does it mean for collectors and museums?

by | Tips for collectors

collecting jewellery

CITES: what does it mean for collectors and museums?

Updated September 10, 2025

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

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

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

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

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

What is CITES? Understanding the convention on endangered species

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

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

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

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

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

CITES and coral in jewellery: antiques

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

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

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

CITES pre-convention pieces: when coral needs a licence

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

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

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

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

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

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

Why antique jewellery still matters for biodiversity under CITES

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

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

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

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

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

What jewellery collectors must know: CITES requirements for importing jewellery

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

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

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

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

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

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

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

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

Frequently Asked Questions about CITES and jewellery

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

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

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

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

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

CITES, jewellery, and the balance between nature and culture

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

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

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The Bedouin Silver 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.