Jewelry and Adornment of Libya

Jewelry and Adornment of Libya

by | Cultures & People, Reviews

Libyan jewellery in depth

Jewelry and Adornment of Libya

Published on November 8, 2024

Libya is home to spectacular jewellery, but very few books are currently available on the jewellery heritage of this country. That has now changed with the much-anticipated arrival of Jewelry and Adornment of Libya: a book that fills a huge gap – and in more ways than one!

Jewelry and Adornment of Libya: a personal view

The author of this book, Hala Ghellali, is from Libya herself: she was born and raised in Tripoli. This is where she first encountered silver jewellery as a young woman, when her father took her to the souq to purchase silver bracelets for her. Personal memories like this form the starting point of the book, but Hala’s background is much wider. You may have read her essay in the Postcard Women’s Imaginarium book, for example.

She was schooled in Tripoli, studied in France, and then moved to Italy, Egypt, Syria and finally, the USA. She is fascinated by Libyan history, both the tangible and the intangible (like poetry or proverbs), and has conducted research into jewellery and adornment for years.

What do you get when someone like that writes a book? A super rich, very detailed book that (at least for me) hits all the important nails on the head when it comes to jewellery research.

Jewelry and Adornment of Libya: the outline

Let me start with one of my hangups: references. You know I love references! Sharing one’s sources when making a claim is very helpful when one wants a book to contribute to common knowledge, and simply necessary when one wants to enable future research. Jewelry and Adornment of Libya is referenced, and here’s the beauty of it: it references sources in Arabic, Italian, French, and English, and provides clear references as to which silversmith shared which piece of information, anecdote or memory with the author. That is different for Libyan Jewellery – A Journey Through Symbols by Elena Schenone Alberini (1998) for example: this has a bibliography, but is not referenced.  

This kaleidoscope of sources results in a solid basis for the research in this book. Hala effortlessly combines observations from travel diaries with patent books, colonial legislation with oral history and poetry, museum pieces with personal memories. This variety brings you a book that is packed with facts and insights on the context of jewellery – absolutely crucial if we want to understand the jewellery itself.

The book is roughly structured in three main parts: the world of jewellery producers, the world of jewellery wearers, and wedding customs in Tripoli. So, let me take you on a quick tour!

Libyan jewellery: the silversmiths

The first three chapters of the book discuss the history of Libyan silversmithing. Here, the book differs notably from Schenone Alberini’s book: these chapters really dive in the history of jewellery production. First, a chapter on jewellery in archaeological excavations and travel diaries outlines the sources that exist for the history of jewellery in Libya. Interestingly, these also include reports by merchants, shedding light on the transactional context of jewellery: who buys and sells these things, and for how much?

Next is a chapter on the production of jewellery itself, both in its historic context as well as detailing techniques. The wealth of historic background is incredibly enlightening. Just one example is how we learn about the close relations between the Jewish silversmithing communities of both Tripoli and Djerba in Tunisia. As so often the case, colonial borders mess with transregional cultural identities: in the case of Tripoli and Djerba, these two communities became so closely entangled that much of the southern Tunisian jewellery was hallmarked in Tripoli. This chapter picks apart how political and economic developments affected both the Jewish and Muslim silver business over time.

I can’t emphasise enough how relevant this is – I see so many online sources and discussions on social media claiming that a piece of jewellery belongs to either this or that nationality, without consideration for the historical context, that it is nothing short of refreshing to see someone patiently walking us through the history of it all and presenting us with a nuanced, detailed view.

There is much more in this chapter: guild organisation, the various arts and crafts production centres, techniques and forms, terminology used by both Jewish and Muslim jewellery makers, all against their shifting historic and cultural backgrounds.

And then there is hallmarks! You know I adore my copy of World Hallmarks Volume II, the fabulous overview of hallmarks from non-Western countries. But Libya is missing from this overview. Schenone Alberini does present hallmarks and adds drawings of both hallmarks and amin stamps, but has difficulty organising the hallmarks chronologically – another gap sorted with Jewelry and Adornment of Libya. Here, we learn of the development of hallmarks throughout and after the Italian colonial period, the difference between hallmarks and master silversmith stamps, and the challenges in attempting to organise hallmarks diachronically.

Libyan jewellery: from head to toe

The book then continues with ten chapters devoted to jewellery itself. From head jewellery to waistcoat buttons to belts, anklets and slippers, in these pages you will find an abundance of jewellery – and its stories. Each piece of jewellery is presented with its vernacular name, there are poetry and song references throughout, and here again, everything is discussed in its historic timeframe. For many names, their linguistic origin is also given, which helps a lot in understanding what these names mean and why specifically they are chosen for a particular object.

These chapters are so rich in their descriptions that I don’t even know where to begin. Let me just say that when you read it all, you will get so much more than just jewellery. There are customs and practices, sayings and Qur’an citations, beliefs and glimpses into everyday life. And the photos! The entire book is lavishly illustrated, with images of private collections that have not been published before, but also with photos of how jewellery is actually worn.

As if that was not enough, the final chapter presents jewellery customs related to engagement and marriage in the city of Tripoli. Illustrated with vintage photos of actual wedding ceremonies, this essay brings us customs and habits that have since disappeared, and as such, this forms yet another important documentation of jewellery in its living, breathing context.

Libyan jewellery research: just in time

That sense of disappearing traditions is present throughout the book. In the epilogue, Hala shares the difficult road towards the publication of this book. For one, archives are not always accessible: in 2011, the political situation changed drastically, resulting in difficult times for those living and working in Libya. Another part of the challenges was the unescapable fact that the last generation of both wearers and silversmiths is disappearing rapidly. Who still remembers songs, customs, memories from before the Second World War? And even more relevant: who is willing to actually share these?

This is a challenge we see everywhere around the globe, and this book illustrates how important it is to incorporate this disappearing knowledge before there is no one left to ask. One of the things I really value is how this book pays it forward to future researchers by including an long list of Tripolitan silver- and goldsmiths in the appendix: we may not yet know when exactly they practised their craft, or what their makers’ mark looks like, but at least, this provides us with a starting point in preserving their names and their memory.

Glossary of jewellery terms

There is even more to this book, I’m not done yet. For me, one of the highlights is the glossary of jewellery terms in Arabic at the end of the book. For those of us who do not master Arabic, these four pages with terminology for everything from earrings to anklets are a major asset. You remember that e-book with jewellery search terms in 7 languages I created to help you expand your online search results? This glossary is a big help with the Arabic terms – do note that it is Libyan Arabic, so regionally spoken, but it is very insightful nonetheless.

So far, you’ll have noticed that I’m gushing. Is there no comment to be made at all…? Very few, if I’m being honest.

If I could ask for anything more, it would be a map of Libya and its neighbouring countries to help visualise where, for example, Djerba and Siwa are relative to Tripoli. As an archaeologist, I would have liked to see more diachronic backup for the explanation of some forms of symbolism: up until now, no one has convincingly shown that some forms of pre-Islamic symbolism, like the triangle for Tanit or the cross-in-circle pendant, have indeed been present as such in jewellery continuously. I lean towards the thought that this is more a case of revival than survival, but that is me. And well, ok, final comment, the green font for quotes is at times difficult to read.

But that’s it – the book design is beautiful, the weight of the paper has a sumptuous feel to it, and it’s a good thing that this is a hardback edition: I’m going to be leafing through it quite often.

For those that would want to compare this to Schenone Alberini’s book: that is gorgeous, too, no shade! But Jewelry and Adornment of Libya goes beyond, is more detailed and specific. I found that reading Jewelry and Adornment of Libya helped me place Schenone Alberini’s book in more context, and increased my understanding of Libyan jewellery significantly.

Jewelry and Adornment of Libya: a treasure of a book

The author writes that creating an exhaustive catalogue has not been her intention: the book gravitates around Tripoli (but does include many other places in the jewellery chapters), there is always more research to be done, and she hopes that researchers will build upon this work. I hope so, too! And with Jewelry and Adornment of Libya, the standard is set high.

Because with this book, you will get far more than a catalogue with Libyan jewellery. You will get a valuable record of the world in which this jewellery existed: its social, cultural, historical and economic context. This is one of the best recent books on traditional jewellery I have read, also because of its clear referencing – and as you know, I have read quite a few. So, whether you are from Libya yourself, a collector, curator or scholar working with traditional jewellery: go on and treat yourself to this book before it ends up out of print!

More about Jewellery and Adornment of Libya

Jewelry and Adornment of Libya By Hala Ghellali, 2024. 180 pages, full colour, English.

Published by BLKVLD Uitgevers Publishers.

Available with the publisher: see here how to order

I received the book as review copy.

—

More posts on jewellery books? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

Joyeria Amazig/Amazigh Jewelry

Joyeria Amazig/Amazigh Jewelry

by | Cultures & People, Reviews

A private jewellery collection

Joyería Amazig/Amazigh jewellery

Published on November 3, 2024

Another private collection that sees the light of day: in an exhibition and a catalogue! The collection of Amazigh jewellery collected by Spanish ambassador Jorge Dezcallar de Mazarredo has been the focus of an exhibition in Granada, and its accompanying catalogue Joyería Amazig presents an overview of the collection.

Amazigh jewellery: neighbours

With the Iberian Peninsula and North Africa being neighbours, separated only by the street of Gibraltar, both geographical realms share a history. Not only of trade, but of mutual colonisation; the Amazigh kingdoms conquered the Iberian Peninsula in the 8th century, and would control it until the 15th century, and in Spain held two ‘protectorates’ in Morocco from 1912 to 1952 amidst the French colonisation of the Maghreb.

It is this shared history that the exhibition aims to emphasise with an exhibition on Amazigh jewellery: ‘to understand more about the cultural wealth of the past, and to build bridges towards a future based on respect for and appreciation of diversity’ [p. 11] [1]

Amazigh jewellery: the book

This publication is bilingual in Spanish and English: an excellent choice, as by using two of the major world languages, the collection may reach a wide audience. The book is divided into two main parts. First, an introductory part highlights the cultural background of Amazigh jewellery. This is followed by the second part, which is the catalogue itself.

The introductory part starts with two essays on the cultural history of the Amazigh, and places these in local context in an essay on the Amazigh in Granada. Given that the exhibition was held in Granada, this chapter truly connects two worlds. The jewellery is then explored by Cynthia J. Becker. Her article uses the collection as a starting point and merges it with her in-depth description of jewellery makers and wearers. I loved how she both includes the broad strokes of history as well as significant local details to place this jewellery collection in its cultural context.

Finally, the ambassador himself details how both his collection and his appreciation for jewellery grew – as you know, it is important to get some idea of the circumstances of collecting and the personal preferences of the collector. This helps understand the collection itself and to compare it with others: each collector holds one piece of the total puzzle, and so having a chapter on the collection history is most valuable. In this case, the starting point was his own culture: the presence of Spanish coins in clothing pins.

The collection: a mixture of pieces

In this case, the collection embraces mostly relatable pieces. Where you will often find catalogues with high-end, exceptional pieces (because that is what the collector is aiming for, and which leave out the more common pieces), these pages reflect the transitional stages of jewellery: the jewellery available in the market today, and their changing interpretations.

Both older and newer jewellery sit side by side with restrung or altered pieces, like the Draa temporal ornament reworked into a pendant [p. 222]. There are also several chimeras or composite pieces in the collection, like the diadem shown on p. 200: this has been constructed of two different bands placed on top of each other, crowned with an upside-down positioned fibula. [2] This has been constructed for the market for cultural outsiders: it would not have been worn as such by the Amazigh community.

That is also the case with the multi-strand necklaces shown on pp 244-245: these are relatively recent compositions, and not part of traditional dress. [3] Creations like these showcase the evolving nature of jewellery from an economical point of view: a way to make a living. Those alterations come in various forms, and are not automatically a bad thing: see how that works and 5 practical tips on how to spot alterations here.

However, the catalogue does not differentiate between these newer and older pieces, and that is a serious drawback. None of the captions gives a date for the piece shown: the publication definitely does not claim all pieces are indeed old, but does not point out when they are younger, either. There are also no reflections on cultural authenticity, which in several cases might have helped to avoid misunderstandings.

A wide variety of jewellery

Personally, I liked the overview of fibulas that have coins as their main decorative element. Coin jewellery may tell us a lot about its wearers, as I describe here.  7 pages with a series of fibulas carrying Spanish coins present a selection that you will not find as easily elsewhere – here, the focus of the collector brings us another angle through which to study jewellery. The drawback is that of all objects in the catalogue, these lack a proper description. For a Spanish person, these coins are probably easily recognisable and datable, but I’ll need to spend a little more time comparing the images to Spanish coinage through the centuries.

The variety of the collection is wide: I loved the variety in fabric headbands with all sorts of decoration stitched on (although I’m not entirely sure all of them are in authentic configuration), you’ll find several examples of large fibula sets, but also a selection of tiny amulets…there are pieces from Mauritania to Libya and I spent a good time going over all of them.

A noteworthy point of the book is that it zooms out to the transregional elements of Amazigh jewellery on occasion. A temporal pendant from Libya for example is compared to both Moroccan and Tunisian examples [p. 237, only in text, not with images], and while all three are different, their common ancestry is not often addressed directly, so I liked that this was touched upon, however briefly.

Joyería Amazig

The focus of this book is, understandably given the position of the collector, on Morocco, but incidentally you will find pieces from Algeria, Tunisia and Libya as well. It is abundantly illustrated: landscapes, rock art, architecture, paintings and photos of people allow you to appreciate the context of the jewellery.

That being said, there is no reflection on the nature of some of these images: colonial postcards and Orientalising paintings are included without further discussion.Some of these have been made under duress, and not all of them are to be considered reliable sources: personally, I feel that the images chosen for a book should be considered with as much care as the text itself.

The artists’ drawings of jewellery throughout the book are simply beautiful: the drawing on the cover is just one example (although those touches of verdigris are a bit unsettling on such a beautiful piece!) There are many more, and I liked their dreamy rendering of beautiful jewels.

The introductory chapters are well written, and contain a wealth of knowledge about Amazigh history and culture, which is so important when looking at jewellery in its context. The book reflects the changing market for jewellery, and pays attention to the more modest pieces. It is these ‘humbler’ items that stand to disappear first, because collectors do not always value these: see the 4 filters of collecting explained here.

I also appreciated that the catalogue part dedicates a single page to every item, allowing you to see it in full. Each piece of jewellery is presented against a black or cream-coloured background, so they really stand out.

However, caution is needed if you’d want to use this as a reference book: like I said, the captions do not clarify the age of the pieces and also do not address the possibility of pieces being composed and rearranged from older elements. When researching exact details of individual pieces, you’ll need to cross-check information in this book with other sources.

Joyería Amazig is an overview of a personal collection. The chapters on its cultural context in the first part of the book add value; the catalogue needs to be considered with caution.

More about Joyería Amazig

Joyería Amazig: identidad de los pueblos beréberes – Amazigh jewelry: identity of the Berber Peoples

Various authors, 2024. 348 pages, full colour, bilingual in Spanish/English

Published by El legado andalusí.

Available with the publisher: to order, fill out the email form under ‘solicitar información’ and the publisher will get back to you with a quote for shipping costs. (the field ‘correo electronico’ is where you leave your email address)

I received the book digitally as review copy. In all transparency: I received a low resolution pdf to review, and have not seen the printed book itself. I can’t tell you anything about the technical execution of the book, the quality of the images, or show you what it looks like inside – just so you know!

—

More posts on jewellery books? Browse them all here!

Join the Jewellery List and receive new articles, jewellery news and more in your inbox!

—

References

[1] I think it’s page 11, the introductory part of the book has no page numbering.

[2] Probably a belt element as shown in Benfoughal, T. 1997, Bijoux et Bijoutiers de l’Aures, p. 162-164, combined with a diadem and the body of a fibula.

[3] As discussed by Alaa Eddine Sagid, curator of the MAP Marrakech, on Facebook-group Ethnic Jewels Community, May 13, 2021.

The Bedouin Silver blog gives credit where credit is due! Transparent referencing and citing sources helps us all grow. Would you like to do the same and quote this article? Here’s how:

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

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.

Glanz und Geheimnis

Glanz und Geheimnis

by | Museums & Exhibitions

a stunning private collection

Glanz und Geheimnis

A hidden gem: the exhibition of traditional silver jewellery and dress from the wonderful collection of Swiss collector Peter Hösli is on show in the Knauf Museum, Iphofen, until November 2023. I had the opportunity to visit this beautiful exhibition – so many rare pieces that I had to return for a second visit!

A stunning treasure of silver and beaded jewellery from North Africa and the Middle East.

Bedouin Silver | Glanz und Geheimnis

Omani necklace from the collection of Peter Hoesli

Glanz und Geheimnis | Oman

Yemeni necklace from the collection of Peter Hoesli

Glanz und Geheimnis | Yemen

Palestinian chin-chain from the collection of Peter Hoesli

Glanz und Geheimnis | Palestine

Bedouin dresses in the exhibition Glanz und Geheimnis

Glanz und Geheimnis | Bedouin dresses

First, what is the Knauf Museum? This is the museum that the Knauf family (if you have ever done home renovation, you have used their products) has founded in their hometown of Iphofen in Germany. Its permanent exhibition shows plaster casts of many famous archaeological sites and artworks from the Classical world, South America, Asia, and ancient Egypt. And in the newly added wing, the museum hosts a variety of temporary exhibitions on a wide range of cultural topics. This year, that topic is silver jewellery from the Arab Peninsula and the Levant, so I had to see this: lots of Bedouin jewellery, and much more!

The accompanying book was already a delight (see more about that here), but seeing these pieces in person and being able to observe every detail was, of course, even better. The exhibition is spread over two floors, and I loved the sight of a magnificent dress of as-Salt, Jordan, greeting me in the bright and airy conservatory between the new and the old wing. It circled gently, allowing visitors to admire its detail on every floor, and I personally thought this one of the best ways I have ever seen such a dress displayed. In case you don’t know what I’m talking about: these dresses are huge!

The jewellery pieces themselves were even more beautiful in real life. Polished to a shine, they were placed either lying down or mounted on mannequin heads. The showcases were spacious and accommodated the jewellery well, with each piece allocated enough ‘breathing space’ to be admired without being spread too thin. The only truly incomprehensible thing about the exhibition is the designers’ choice of background colour for the jewellery: detailed and delicate silver pieces become near invisible against the variegated grey background they were placed on. Instead of an even, contrasting colour, this melée of grey made dainty filigree and granulation very hard to see. A background colour for silver does not even have to be black…but I implore anyone thinking about a jewellery exhibition to just not use variegated grey. The jewellery deserves better.

And especially this jewellery, because like I wrote in the book review, you are in for a treat if you have a chance to see this exhibition. It shows many rare pieces that are impossible to find, such as Najd hair ornaments strung on a strip of cotton, superb filigree work from Yemen, and Palestinian ‘iznaq chin chains that made me gasp. The addition of dresses adds colour and life to the showrooms: several beautifully embroidered Bedouin gowns from Tiraz collection and a number of dresses from Peter’s own collection illustrated how adornment goes beyond just jewellery. And I really enjoyed seeing the small cotton pouches attached to Saudi women’s dresses, that once were filled with aromatics such as oudh…such a wonderful way of perfuming oneself.

In addition to the jewellery itself, a short film explained the various techniques of silversmithing in the Levant. This was curated by Salua Qidan of both Tiraz centre and Folkglory Designs. Seeing the jewellery made lifted something of the inevitable static nature of any exhibition, and I found this to be a very valuable addition to the exhibition itself. In the same room where the film could be watched, several fully dressed and adorned mannequins brought jewellery and dress together, and I loved seeing how the two interact.

If you are in the area, or have a possibility of traveling there, you should absolutely go see this exhibition!

Glanz und Geheimnis/Shine and Mystery

Knauf Museum, Iphofen, Germany

March 26 – November 5, 2023

—

More museum recommendations on personal adornment from North Africa & Southwest Asia? Browse them all here!

Want to learn more about the world of Bedouin jewellery from Saudi Arabia, and traditional silver jewelry from the Middle East and North Africa as a whole? Check out the online courses!

Looking for tips on collecting and caring for your collection? Find everything you need here!

Never miss out when a must-have book or exhibition appears? Join the Jewellery List and get regular updates in your inbox!

—

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.

Silberschmuck aus Nubien

Silberschmuck aus Nubien

by | Reviews

Collection of Wolfgang and Sibylle Mayer

Silberschmuck aus Nubien

Silver jewellery from Nubia is a category of jewellery that has not received all that much attention throughout the years, and so a new book on this beautiful heritage is very welcome! Silberschmuck aus Nubien is devoted to the private collection of Sibylle and Wolfgang Mayer.

Cover of the book Silberschmuck aus Nubien

Bedouin Silver | Silberschmuck aus Nubien

Sample page form the book Silberschmuck aus Nubien, showing silver jewellery with rosettes.

Silberschmuck aus Nubien | rosettes

Sample page from the book Silverschmuck aus Nubien, showing the beginning of the chapter on bracelets.

Silberschmuck aus Nubien | bracelets

This collection was built up over decades by Wolfgang and Sibylle Mayer, a German couple living and working on the island of Elephantine in the south of Egypt, opposite the town of Aswan, and elsewhere in Egypt. The book opens with the ‘how’ of collecting: I’m always interested in what triggered collectors to fall in love with a certain type of jewellery, and here it is living in, and falling in love with, a culture. Having been in Aswan myself many times, both for work and for holiday sojourns, reading this book brought back so many memories.

I very much appreciated that it looks beyond jewellery itself to its people: the first chapters introduce life in Nubia briefly, and describe the fundamental changes in both the countryside itself and their impact on its inhabitants as a result of the Aswan Dam. Much of Nubia was flooded permanently and people were forced to relocate, which had an impact on lifestyle and thus on jewellery. Understanding that background is important to appreciating jewellery that belongs in it. Speaking of cultural background, I loved how the book also shows the decoration on not just jewellery, but on houses and utensils, too: jewellery is as much part of material culture as anything else.

The book itself is beautifully designed. Each chapter opens with a large black and white photograph of jewellery being worn, and then goes on to show a variety of silver jewellery that you will not find easily anywhere else. Bracelets, pendants, coin jewellery, anklets, earrings, nose rings, finger rings….in many forms and designs, as well as beautifully designed silver kohl needles. There are some truly remarkable pieces to be admired in this book: the imitation coin jewellery is very rare, as are several of the amulets shown.

Much of the collection was purchased in Aswan and in Cairo. That explains why there is a large body of jewellery in the book that is Egyptian, but not necessarily Nubian: zār jewellery. [1] The author explicitly states that he believes the majority of his collection may actually be from Middle and Lower Egypt (notably Cairo) [p. 75], and looking at the photos I agree that that is probably the case. The photographs of a zār included in this section are the same as featured in the book on zār by dr. el-Hadidi, or here on this website – which makes sense, as this is a most private event that is rarely photographed. The many examples of zār jewellery in this book are sometimes misidentified, but that does not diminish the value of the photographs: these pages will give you a great overview of the variety in zār pendants with spirit images!

The chapter on zār jewellery links more to Middle and Lower Egypt than to Nubia, but also within the earlier chapters there is a regional variety within Nubia itself that is not addressed. Nubia encompasses quite a large area, and the rings shown on pages 66-67 for example reflect that: there are rings present as worn by the coastal Rashayda tribes, but also from the Nile Valley villages. These regional varieties in jewellery remain unaddressed throughout the book. The bibliography does not mention the work of Griselda Tayib [2] (but frankly, that is really hard to obtain) or Imogen Thurbon [3]: both focus on Sudan, which also includes parts of Nubia. But, as the author writes, collecting with a scholarly goal was never the plan [p. 106] – this is a collection built from the heart, and that passion shines through in every page.

The collection also shows the cultural influences that you’d expect in a trade city as well connected as Aswan: for centuries, trade routes converged here. The schematic drawing of the rosette, which is a staple of Nubian jewellery, as shown on page 27 is actually drawn after a pendant from Oman – but one that ended up in Nubia and fit right in. One of the bracelets on page 45 is from Yemen, and several rings shown are worn on either side of the Red Sea: there is so much that ended up in the souks of Aswan (and also Cairo, of course) that bears testimony to this long history of trade and connection!

And what I found the most wonderful thing to read are the future plans for this collection! When you have been following this blog for a while, you know my greatest concern is not what is happening to jewellery today, but what will become of it in the future. (and if you’re new to this blog: there is more about that here). What will happen to collected jewellery when its collectors are no longer there? How will it continue to speak for the people who created it? For this collection, there is a clear plan in place: the couple have promised large parts of their collection to a yet to be realized museum on the history of Nubia in Wadi Halfa. Seeing this heritage return home eventually, where it will be integrated in the many stories of living and working in this part of the world, is simply inspiring.

Silberschmuck aus Nubien is a great visual reference book for anyone interested in jewellery from southern Egypt and northern Sudan! The beautiful photography allows you to zoom in on details, and the collection is just stunning. This book does much to spark the enthousiasm for Nubian silver jewellery and to keep it visible and admired: particularly with a relatively unknown category of traditional jewellery, that is no small feat. And if you do not read German, I know you will love it for its photographs and the wide variety of jewellery alone!

Silberschmuck aus Nubien. Ein fast verlorenes Kulturgut. By Wolfgang Mayer, 2021.

Full colour, 111 pages, in German. Published by Edition esefeld & traub, Stuttgart.

Available with the publisher and via Amazon.

The book was purchased in the museum shop of the Schmuckmuseum in Pforzheim.

—

Never miss out on a new book review? Join the Jewellery List and have them sent to your inbox!

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!

—

References

[1] Full disclaimer: I’m close to finishing my PhD-research into zār jewellery and as such have seen more of them and read more about these than can be reasonably expected of anyone else who wants to keep their sanity. When it’s published, hopefully in the near future, this link will refer to it: the collection shown in Silberschmuck aus Nubien is absolutely wonderful and informative regardless!

[2] Griselda Tayib, Regional Costumes of Sudan: see more here

[3] Imogen Thurbon runs the informative website Women’s Literacy Sudan: see this post for example on hair braiding in Sudan

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 Life In Jewels

A Life In Jewels

by | European jewellery, Reviews

Liber Amicorum for Diana Scarisbrick

A Life in Jewels

What do you get a world-renowned jewellery historian for her birthday? The gift of knowledge: a gorgeous book with essays on a wide variety of jewellery topics by her friends! That is what A Life in Jewels is: a book to honour Diana Scarisbrick on her 94th birthday.

Book cover of A Life In Jewels. Liber Amicorum in honour of Diana Scarisbrick.

Bedouin Silver | Life In Jewels

And it is a treasure! Nineteen chapters deal with European jewellery studies in all timeframes and from a variety of angles. As these are all essays from a jewellery historian point of view, instead of an art historian perspective, each contribution is an inspiring example of the stories that can be told when jewellery is placed in context. The oldest period included is the Roman period, where we read about the power of the gaze on Roman imperial gems. Staring is impolite pretty much all over the world, and in this essay you’ll read more about what the Romans thought of those staring eyes of tiny carved portraits. Added bonus for me is that several of the gems shown are now in the National Museum of Antiquities in Leiden, The Netherlands, so I can walk over and see them in person! The next essay zooms in on classical (and neoclassical) gems as well, but from a collectors’ point of view: what can we learn about a collector by studying both their collections and the way they assembled them?

A late Medieval type of jewel is addressed in the essay on heart-shaped brooches from the 15th century, a category of jewellery that has received little coherent attention. I really appreciated how this chapter outlines possibilities for further research on these beautiful pieces: if anyone is looking for a research topic, this is your cue! One of my favourite chapters is the essay on jewellery theft in early modern London: this reads like nothing short of a crime novel – and also presents several examples of how difficult it is to identify jewels based on a description from a different timeframe: what on earth is ‘a gem like a pigeon’? (p. 63)

Closer to home for me was the essay on jewellery in two portraits of Sophia de Vervou: these are located in The Netherlands, and I wished I had read this essay back when I first saw them! Every bejeweled detail is unpicked, explained and placed in the context of other information surviving about Sophia’s life, down to the collar of her dog – this essay brings the woman on the portraits to life. Claims to power are expressed in jewellery in the chapter on the Stuart court in Rome, where medallions with portraits of throne pretenders James and Charles (yes, that’s the Bonnie Prince) were created by Italian craftsmen and sold to supporters.

Jewellery also serves as memory of notable events, as the essay on commemorative rings illustrates: rings commemorating the storming of the Bastille, which launched the French Revolution, or patriotic rings from Poland and Hungary, are just a few examples that carry world history and tell us more about the allegiances of its wearers. And there is so much more in this book: a portrait of Lord Petersham wearing a bat pendant, the gorgeous rings in the Musee Carnavalet, the sapphires of Queen Victoria, the close relation between illuminated manuscripts and the enameled jewellery by Falize, down to modern design and gardens in jewellery, via the French crown jewels and a splendid Chaumet tiara…in every essay, you’ll find a new angle to place jewellery in context. The only chapters that were difficult to read for me are the two contributions in Italian – but for a glimpse on unpublished gems and cameos, I’ll happily whisk out my dictionary!

Obviously, there is much to be learned from the individual chapters, but its real power to me is the joy of researching jewellery and sharing findings that is almost palpable on every single page. All contributions breathe enthusiasm for both the topic at hand and the person this book is dedicated to. And indeed, we owe Diana Scarisbrick a great debt for her never-ending passion for jewellery research – she still has yet another book in the works, and I can only hope to be blessed with that same energy should I ever be reaching her age. The book contains her impressive bibliography as well, which I’m sure will get you looking for several titles to add to your library! The volume is beautifully illustrated throughout with large, full-colour photographs.

If you are involved with European jewellery in any way, as a curator, collector, scholar or dealer, you will want to own this fabulous birthday present: this gift of knowledge to the woman who inspired so many scholars of jewellery is a beautiful gift to yourself.

A Life In Jewels. Liber Amicorum in honour of Diana Scarisbrick. Edited by Beatriz Chadour-Sampson, Sandra Hindman and Carla van de Puttelaar, 2022.

Full colour, 279 pages, in English, with contributions in French and Italian. Published by Ad Ilissum/Paul Holberton, with the gracious assistance of Les Enluminures.

Available with the publisher.

The book was received as review copy from the publisher.

More book recommendations on personal adornment and history…? Click here to see my other picks for you!

Never miss out on a new book review? Join the Jewellery List and have them sent to your inbox!

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.