EU regulation on cultural goods: what collectors need to know

EU regulation on cultural goods: what collectors need to know

by | Tips for collectors

Collecting jewellery

What do the EU-rules on cultural goods mean for me?

Published June 25, 2025

Rules and conventions that affect how you collect jewellery keep on changing, so here is a new blog on a new set of rules! From June 28, 2025, a new European Union law – Regulation (EU) 2019/880 – is in full effect. And if you’re a collector of Middle Eastern jewellery, or someone who sells it internationally, this regulation actually matters. So I’d thought I’d give you the main breakdown of when and why this matters to you!

The main point: you can’t import ancient beads or jewels into the EU without an import licence and sound provenance. Details, exceptions and what to do as either a buyer or seller are in this blog.

Before we start, again a disclaimer up front: I’m a jewellery historian, not a lawyer. But I would like to give you a heads’ up on this development, so you know this exists.

Let’s see how this works!

What is EU Regulation 2019/880 on the import of cultural goods?

This one is not about modern trade tariffs or commercial sales tax. It’s about something deeper: cultural heritage. This regulation governs the import of cultural goods into the EU and is designed to stop the illegal trade of cultural items – especially those removed from their countries of origin during times of conflict or without permission.

This EU-wide regulation sets rules for how cultural goods can legally be brought into the EU from non-EU countries. Its goal is to:

  • Prevent looted or illegally exported cultural items from entering the EU.
  • Protect cultural heritage, particularly from countries affected by conflict.
  • Create a more uniform and transparent system for imports across EU countries.

This is not a new idea: international conventions have been calling for this kind of protection for years. But this is the first time the EU has set up a unified legal framework to enforce it at the border. And as such, this regulation is a gamechanger for many businesses.

How Regulation 2019/880 affects jewellery collectors

If you collect traditional jewellery from North Africa and the Middle East, Regulation 2019/880 probably will not have that much effect. Because after all, there is not that much traditional jewellery that is older than 250 years and that meets the value threshold of the regulation (which I will go into below).

But there are implications for one particular category, and that is why I chose to devote a blog to it. Many old beads, especially those labelled as archaeological, dug-up, or ancient, fall under this regulation. Those are the kind of beads that you will often find in modern designs, and that are avidly collected by jewellery collectors and designers alike. So, if you are selling trade beads and also include ancient beads in your offerings, or designing new jewellery pieces from ancient components, selling these to customers in the EU requires your attention. Even if they’ve been in circulation for decades.

Which jewellery counts as a ‘cultural good’?

So, what is a cultural good? The regulation follows a specific definition of cultural goods. That is a different definition than UNESCO 1970 or the CITES-definitions: I can’t help that, but here we are.

See more about UNESCO 1970 here

See more about CITES here

The definition of cultural goods includes objects of archaeological interest that are over 250 years old. It doesn’t matter how small or unassuming the item is.

So yes: ancient beads, dug-up items, grave goods, or antique adornments that have archaeological origins fall into this category. Jewellery that has been excavated, or that is believed to come from historical sites, even if it’s only a strand of stone or glass beads, may be covered by the regulation.

Still wondering if that affects you? Have a look at these terms, often found on auction platforms, Ebay or Etsy stores:

Saharan ‘Neolithic’ beads. Mummy beads. Sassanian seals. Roman glass beads. Nila beads. Carved seals and intaglios. Ancient Egyptian faience amulets. Islamic glass beads. Etched carnelian beads. Roman/Islamic glass bangles. Ancient melon beads.

Any of these look familiar, or like something you’d buy or sell? That’s when you need to be aware of this regulation on cultural goods. And just to be clear: obviously, I know that many of these items have been above ground for a very a long time. I am also aware that many of these are actually fake or, at best, misrepresented recent productions. In fact, I even can’t help but wonder if we will be seeing a whole lot less of those presumably ‘archaeological’ items, now that these regulations are in place.

But on the other hand… the Sahara is still being robbed of its beads today, as are grave sites on various locations. The point of the regulation is to prevent the illicit trade in those items – and the legislators have chosen to create a definition that includes everything.

Categories of cultural goods: what collectors should know

There are different categories of cultural goods under this regulation. The most relevant for collectors and traders of older jewellery include:

Category B: Objects older than 250 years (these include archaeological objects from excavations or finds, but also things like statues and icons), regardless of their value.

Category C: Other cultural goods older than 200 years, and with a value of 18,000 euros or more.

This last category is more for high-end galleries; I suppose the goods in Category B are most relevant for most collectors and sellers of beads. Note that Category B includes all archaeological objects, regardless of value: that 10 USD ancient bead you have purchased on Ebay, now needs a whole lot more before it may be imported into the EU.

So where is Category A…? Those are cultural goods that have been obtained illegally, and cannot be imported at all.

Licence and documentation requirements for importing cultural jewellery

Customs authorities in the EU will require documentation for cultural goods entering the EU from outside. Depending on the object’s category, age, and origin, importers will need to provide either:

  1. An Import Licence, or
  2. An Import Statement

Import Licence (for Category B goods) If you’re importing archaeological items, such as beads or artefacts that were excavated or likely dug up, you will need an import licence. To get this, you must prove:

  • The goods were legally exported from the country of origin.
  • Or, if they were exported long ago, that they were legally in the seller’s possession before the regulation came into effect.

This licence is issued by the EU country where the goods will enter. Without it, the items can be held or sent back at customs.

Import Statement (for some Category C goods) For other items, such as ethnographic jewellery older than 200 years but not archaeological, you may be able to submit a simpler ‘import statement’ confirming lawful export and supporting documents (like a bill of sale, a certificate of origin, or a collection record). That’s everything from before 1825 at this point.

There are two exceptions:

  • The country where the objects were created can not reliably be determined;
  • The objects legally exported from their country of origin before April 24, 1972.

Both you’ll still need to prove, and it does not end there: in these two cases, you will also need to prove it was lawfully exported from the last country it has been in for a period longer than 5 years.

So that 10 USD ancient bead….let’s assume it is unclear where it was actually made in Antiquity. In that case, the seller will need to prove they obtained the bead themselves legally from the last country it has been in for 5 years. That means keeping close track of your inventory records.

I’m in the EU and want to buy old jewellery: what does the cultural goods-regulation mean?

If you are buying old beads or jewellery from outside the EU, say, from a seller in the Middle East, North Africa, or elsewhere – here are 4 pointers:

  • Ask about the item’s origin and age. Beads described as “ancient,” “excavated,” or “dug-up” may fall into Category B, and you’ll need an import licence.
  • Check documentation. Ask the seller to provide evidence of lawful export, such as a government-issued export permit or a dated invoice showing it was acquired before the regulation takes effect.
  • Expect delays at customs. If the documentation isn’t complete, the item could be held, inspected, or refused entry. Factor this into your timeline and budget.
  • Use reputable couriers and declare goods clearly. Mislabelled or undeclared cultural items can lead to seizures or penalties.

I’m outside the EU and want to sell jewellery: what does the cultural goods-regulation mean?

If you’re a seller based outside the EU and you sell older beads or jewellery to EU buyers, your business got significantly more difficult. Here are 4 pointers that might help:

  • Assess your stock. Beads that were excavated, or come from archaeological or burial sites, are now considered sensitive cultural goods. Selling them into the EU requires supporting documentation.
  • Provide export documentation. If your country issues cultural export permits, include a copy. If the item was acquired long ago, include invoices, collection records, or customs documents from that time.
  • Be clear in your listings. If your item is over 250 years old, say so. If it’s not, and you’re confident it’s modern or a reproduction, state that clearly to avoid confusion or unnecessary red tape.
  • Prepare for extra steps. Your EU buyers may ask you for additional documentation, especially for archaeological items. Having it ready builds trust and smooths the process.

Ethnic jewellery may get tangled up in procedures

A point to be aware of here is that regular ethnic jewellery may get tangled up in customs’ procedures.

Many customs’ officials do not recognise the difference between ethnographic and ancient pieces, because it requires a trained eye. That is not their fault: it’s a specific expertise. I am contacted on a regular basis by customs’ consultants both in my own country and in the U.S. to assist in identifying jewellery, because I am both an archaeologist and a jewellery historian. For transparency’s sake: that’s a ‘blind’ consultancy – I only get shown the objects themselves, but nothing on the seller or buyer.

In the experience I have with these identifications, I have found that most of it is actually ethnographic, not ancient: trade beads, vintage glass bangles, vintage rings…

And so while this technically has no consequence for the import and export of vintage traditional jewellery into the EU (compliance with UNESCO 1970 or CITES is another matter!), it does cause delays. That is just my personal observation, but one I wanted to share with you anyway. As I expect that ‘old-looking’ items may be subject to increased scrutiny, I would advise to be as accurate and complete as possible in the descriptions and documentation with each piece you wish to import into the EU.

The importance of provenance

When you have been following this blog for a while, you probably guessed that this section was coming…provenance! Provenance is now more important than ever. Honestly. There is no way around it anymore.

While not all older beads come with perfect paperwork, I would advise buyers and sellers to do what they can to build a clear record:

  • Note when and where the item was acquired.
  • Keep dated invoices, customs declarations, and permits.
  • Avoid vague terms like “ancient style” if the item is in fact ancient.

It all boils down to keeping accurate track of your collection or inventory. And as time progresses, I suspect that this need for provenance will only continue to increase in the foreseeable future. Because while this particular regulation mainly affects archaeological items and cultural goods older than 250 years, it’s a matter of time before ethnographic jewellery starts to attract similar attention of lawmakers.

This blog on provenance is a good start!

EU-regulation on cultural goods: main takeaway for collectors of ethnic jewellery

Regulation (EU) 2019/880 isn’t about restricting trade for its own sake – although it definitely has serious effects for sellers and buyers alike. It’s about protecting cultural heritage and ensuring that items move across borders legally and ethically.

The main takeaway is that solid provenance is essential – to prove that an item you’re buying or selling has been excavated legally, or to prove it is not archaeological at all, or to prove it is younger than 250 years. The more complete and reliable your documentation is, the less hassle you’ll have at customs.

If you’re unsure about whether a specific item falls under the regulation, contact an import/export advisor or your national customs office. Better to check now than face difficulties later!

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References

See more on EU 2019/880 here:

https://www.europeanheritagehub.eu/document/regulation-eu-2019-880-of-the-european-parliament-and-of-the-council-of-17-april-2019-on-the-introduction-and-the-import-of-cultural-goods/

https://global.lockton.com/eu/en/news-insights/new-eu-regulation-on-cultural-goods-risk-implications-and-guidance

https://www.fieldfisher.com/en/insights/eu-regulation-2019-880-on-the-importation-of-cultural-goods-the-eu-commission-q-a

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.

Verdigris in Middle Eastern jewellery

Verdigris in Middle Eastern jewellery

by | Tips for collectors

What every collector needs to know

Verdigris in Middle Eastern jewellery

Updated June 6th, 2025

So, this happened… Recently, a Yemeni jewellery set came up for sale at an online auction. A friend sent me the listing, and one phrase in the description stopped me mid-sip:

The piece was labelled:

“A vintage metal ornate dress regalia, with decorative chains and turquoise decoration.”

I nearly choked on my coffee.

‘Turquoise decoration’?! No way. That greenish substance was not turquoise. It was verdigris – a corrosive compound that damages jewellery. Calling it a “decoration” is not just misleading – it’s potentially harmful to collectors and collections. The jewellery set in question is shown below: take a good look at that greenish hue, because that is what we’ll zoom in on here.

I made a 5 second reel out of it on Instagram (which got over 25k views) – but this topic needs a little more explanation than a social media caption. So, here’s a blog on verdigris, the Green Monster!

What is verdigris?

Verdigris is a corrosion product that forms on copper, brass, or bronze when these metals are exposed to moisture and air. The word comes from the French vert-de-gris. It means ‘grey-greenish’, and was used as main component in green pigments. Because it is unstable, and reacts with other materials, it ceased to be used in art as soon as other green pigments became available.

In scientific terms, it’s a mixture of copper salts, formed through the reaction of copper with water, oxygen, and carbon dioxide, often catalysed by organic materials like skin oils, textiles, or leather.

Traditional jewellery from North Africa and Southwest Asia often includes silver-copper alloys or decorative elements containing copper or brass. When these metals are exposed to humidity or stored improperly, verdigris can begin to develop. It looks like green crusts, patches, or powdery growths on the surface. The header above this blog post shows you what that looks like, as does the image of the Yemeni jewellery set.

Why is verdigris a problem for Middle Eastern jewellery?

While it may look picturesque (well, to an untrained eye: me, it makes me scream), it’s far from harmless. Verdigris is corrosive and unstable. If left untreated, it will continue to eat away at the underlying metal, weakening structural components, eroding fine details, and compromising the overall integrity of your jewellery.

If one piece shows signs of verdigris, this may indicate its storage conditions are too humid. If you have more than one piece in the same storage conditions, chances are verdigris may develop on those, too. [1] This makes it not just a problem for one piece, but a risk to an entire collection. It’s a nightmare, honestly.

In museum contexts, verdigris is treated as an active conservation concern. For private collectors, the risk is no different. Ignoring it can lead to permanent loss of historical material, diminished value, and potentially hazardous conditions if the corrosion product interacts with skin or textiles.

How to protect your Middle Eastern jewellery collection from verdigris?

Here are 5 things you can do to protect your collection of traditional jewellery from North Africa and Southwest Asia from verdigris:

Learn to identify verdigris

Verdigris appears as a surface deposit—often flaky, waxy, or powdery. It typically forms in crevices or where metal has been in contact with other materials.

Approach vague or overly positive descriptions with caution

Phrases like “turquoise decoration,” “aged patina,” or “natural wear” can mask underlying issues. If an image shows green deposits on a piece of jewellery that traditionally wouldn’t include turquoise, it’s likely corrosion.

Isolate affected items

If you discover verdigris in your own collection, remove the piece and inspect its storage conditions (see below). Wrap it in clean, acid-free paper or cloth and store it in a well-ventilated, dry area until you can address the issue. This is also why you will want to carry out regular inspections of your jewellery, so you can catch it early.

Store your collection correctly

Avoid high humidity. And if you cleaned an item: make sure it is dry through and through before storing it. Don’t use sealed plastic bags or containers, which trap moisture. Ziploc bags are fine, but don’t seal them shut. Use acid-free tissue and breathable materials. Keep metal components from direct contact with skin oils, leather, or synthetic materials that might accelerate corrosion.

Clean with care

Do not scrape or scrub verdigris off with household tools: this may scratch the metal or force corrosion deeper into the surface. Dry brushing or gently dabbing with a cotton swab under professional guidance may be appropriate, but for valuable pieces, always consult a conservator.

See more about cleaning your jewellery here (….and read this blog post first!).

Caring for Middle Eastern jewellery: know your stuff

And finally, a few thoughts…

The misidentification of verdigris as ‘turquoise decoration’ highlights a broader issue: lack of specialized knowledge in non-dedicated auction settings.

Because sellers, especially those listing pieces at generalist or online platforms, do not always have the training to accurately assess traditional jewellery from North Africa and Southwest Asia. Mislabelling corrosion as decorative inlay is so stupendously ignorant that it left me baffled, but you might also see signs of wear and damage described as part of the ‘design’. Now, don’t get me wrong, this is not necessarily out of bad intent! In most cases, it’s simply not-so-blissful ignorance.

But the thing is: the consequences are real.

For collectors, this basically means one thing: buyer beware. It’s essential to develop the skills to recognize materials, assess condition, and interpret seller descriptions critically. Accurately interpreting what you’re seeing (…and what you’re being told!) requires more than just an eye for beauty. It requires contextual knowledge: of materials, techniques, and signs of deterioration.

This is why learning matters. Because every piece tells a story – and it deserves to be heard, not eaten away.

So, thank you for being here and following my jewellery blog: together, we learn and preserve this heritage jewellery for the future!

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References

[1] An earlier version of this blog mentioned that verdigris spreads. A knowledgeable reader of this blog pointed out to me that this is not the case, saying ‘keeping jewellery perfectly dry will prevent verdigris from occurring and prevent existing verdigris from affecting other areas’. Thank you!

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.

How to care for coral in ethnic jewellery

How to care for coral in ethnic jewellery

by | Tips for collectors

Practical do’s and don’ts

How to care for coral in ethnic jewellery

Updated December 20th, 2024

Coral has a rich history in Middle Eastern and North African ethnic jewellery. You’ll find it alongside beads and other elements, set in silver, worked into cabochons… But how to properly care for coral? It’s a tricky substance and regular cleaning may damage it quickly. So, in this guide, I’ll go over the various forms of coral used in necklaces and provide practical tips for cleaning, storing, and caring for jewellery with coral.

Coral in ethnic jewellery: what you need to know

The main thing to keep in mind is that coral is not a mineral, like other beads you may encounter on a necklace, but rather a marine organism. You’re actually looking at a skeleton of sorts: coral is the skeletal remains of colonies of tiny polyps. The coral used in Middle Eastern and North African jewellery often comes from the Mediterranean Sea.

Because of its marine origins, coral is super sensitive and porous. Neglecting it or worse, using the wrong methods to care for it, may result in the coral losing its colour, breaking or damaging.

Coral in ethnic jewellery: what NOT to do

So, how to avoid disaster? Here are three things to never, ever do:

1 – Soaking it in water

I realize this may sound a bit counterintuitive for a material that actually develops in the sea! But coral is porous, and giving it a long bath can ruin its structure. Avoid submerging coral jewellery in water or exposing it to prolonged periods of high humidity. Moisture can lead to the breakdown of the coral’s calcium carbonate structure and may cause it to become discoloured, or lose its lustre.

2 – Using an ultrasonic cleaner

Superhandy for your glasses, but please do not put jewellery with coral components in your ultrasonic cleaner. That is not only because it would require the coral to be submerged (which it does not like). The intense vibrations generated by ultrasonic cleaners can be too abrasive for the delicate surface of coral, leading to scratches, chips, or other forms of damage.

3 – Using chemical cleaning agents

Coral is a diva! It is sensitive to harsh chemicals, including strong cleaning agents, solvents, and abrasive substances. Avoid using these when cleaning coral jewellery, as they can lead to discoloration, deterioration, or irreversible damage to the coral’s surface.

Coral in ethnic jewellery: how to clean it

1 – Observe the construction. How is coral worked into your jewellery? Is it strung on cord, or added as cabochons to the surface of a pendant or brooch? How is it attached: secured with resin, glue, held in place by prongs? What is sitting next to it? All these factors should be considered when attempting to clean coral in ethnic jewellery. If in any doubt, consult an expert in jewellery restauration!

2 – Easy does it. Begin by gently brushing off any surface dirt with a very soft, dry brush or a soft cloth. If necessary, dampen the cloth with lukewarm water, ensuring it is not too wet. Avoid using hot water or steam, as this can lead to discoloration or degradation of the coral.

Coral in ethnic jewellery: how to store it

Proper storage is crucial to maintaining the integrity of old coral jewellery. Because of its porosity, coral can be affected by changes in temperature and humidity. To prevent deterioration, store your jewellery in a cool, dry place away from direct sunlight. You may want to consider using a soft pouch or a lined jewellery box to protect the pieces from dust and scratches.

When storing multiple pieces, wrap each item individually in a soft cloth to prevent them from coming into contact with each other. It’s advisable to avoid storing coral jewellery alongside other jewels that could potentially scratch or damage the surface.

And of course, as with any jewellery storage: periodically check your stored jewellery to ensure it remains in good condition and address any issues promptly.

Coral in ethnic jewellery: how to revive its lustre

A method you’ll often find to restore lustre to coral, is by rubbing it with oil. Rubbing coral with oil can give it a glossy finish. This is particularly beneficial for vintage or old coral jewellery that may have dulled over time.

But… here is a caveat, too. It is crucial to approach this method with caution.

It’s really important to bear in mind that not all coral responds well to oil, and the effectiveness of this method can vary depending on the specific type of coral used in your jewellery. If in doubt, and especially when dealing with valuable or antique pieces, it’s advisable to consult with professionals who specialize in coral and jewellery conservation for personalized guidance.

Here are some considerations when caring for coral by rubbing it with oil:

1 – Observe the coral

Have a close look at your coral. How porous is it? Does it show clear pits and grooves? Porous coral varieties may absorb oil differently, and some corals may not benefit from oil treatment at all. When in doubt, consult an expert!

2 – Use suitable oils

Like I said, coral is a diva! Do not use harsh or scented oils: they may contain chemicals that can harm the coral. Stick to simple, pure oils without additives. Mineral oil or baby oil are often used, as these are mild and less likely to cause adverse reactions.

3 – Test it first

As with your own skin, test a small surface before rubbing your entire coral necklace with the wrong oils. Use a cotton swap and apply a tiny amount.

4 – Be gentle

When you have observed that the oil does not lead to an adverse reaction, apply the oil very sparingly with a soft cloth or a cotton swap. Here, too, it is paramount to avoid excessive saturation. Wipe any excess oil with a clean, dry cloth.

Caring for coral: not that difficult

I’d hope to have given you a few pointers on how to enjoy your coral jewellery. It’s really not that hard to properly care for it, as long as you check every now and then how your coral ornaments are doing!

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

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

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

15 reasons why provenance matters for ethnic jewellery

15 reasons why provenance matters for ethnic jewellery

by | Tips for collectors

Provenance and research

15 reasons why provenance matters for ethnic jewellery

Published Feb 12, 2024

When you have been reading this blog for a while, you know that the topic of provenance for ethnic jewellery pops up every now and then. It gives some people the heebie-jeebies, others are outright annoyed this word keeps crossing their path, and others again never gave it much thought and wonder what the fuss is all about. Here are 15 reasons why paying attention to provenance is a really good idea!

Provenance: what is it again?

Provenance is like the story of a piece of jewellery. It tells us where it comes from, who owned it before, and how it got to where it is now. It’s a way to know the history of the jewellery, like a family tree for things.

This can be important because it helps us understand its value, make sure it’s real, and sometimes, it’s needed for legal or museum reasons. So, when you hear about the provenance of a piece, it’s like hearing its life story and all the places it has been. Or, when you’re more into detective TV-shows: the chain of evidence.

It may take the form of receipts, entries into a diary or purchase ledger, photographs with a jewel in it, your own notes on what a seller shared with you…anything that may serve as proof of the story of your jewellery.

Why does provenance matter for ethnic jewellery?

I mean, let’s be honest for a minute: we all have seen enough heist-movies to understand that provenance is very relevant when it comes to a Rembrandt or Picasso, or the big diamond necklace from some royal or celebrity.

For looted art, we also get it. No peddling stolen cultural heritage. Makes total sense.

But ethnic jewellery..? That was available by the kilo in the 1960s. It would have been melted down if not for collectors, (both foreign and local!), and receipts were not exactly provided.

And what is more: it is still being offered for sale in the countries of origin. Why on earth would anyone care about proper provenance now?

In my view, provenance is not just about legal acquisition (although that definitely plays a role, too). In provenance discussions, the emphasis is often on illegal trade. And that is what annoys people to a point where they’d rather avoid the topic altogether. I totally get that. But there is more to provenance, and so I’d like to step away from the whole legal/illegal vibe and focus on something else entirely.

Or better, make that two things.

First, the world is changing – the 1960s are 80 years away from us. Traditional jewellery is taking on a new role for the cultures that it comes from. It is increasingly valued as heritage, displayed in museums, and part of a country’s identity.

And second: for ethnic jewellery, provenance is far more about safeguarding knowledge about heritage. Provenance is super important for research purposes!

15 reasons why documenting provenance is a really good idea

Here is a list of reasons I could think of, varying from research to appraisal to personal – and yes, I even included a few legal reasons why caring about provenance is a really good idea.

1 – Cultural significance. Provenance is crucial as it provides insight into the cultural context of the vintage ethnic jewellery. Knowing where a piece comes from exactly, ensures that it does not end up orphaned and detached from its cultural context. Take it from me: I just spent years of my life figuring out what Egyptian zar jewellery is, and much of that research was devoted to piecing together the exact provenance of pieces that are now with collectors and museums.

2 – Preservation of heritage Of course, the focus on provenance is also about protecting cultural heritage. It aims to prevent the trafficking and illegal trade of artworks that might have been taken from their places of origin under questionable circumstances. Read more on how that may affect ethnic jewellery in the future here.

3 – Research value Very important: secure provenance of vintage ethnic jewellery is a great help in jewellery research. It provides insights into the evolution of styles, techniques, and materials used, and it also may help to understand its function and use.

Documenting the journey and origin of traditional jewellery, even when purchased in bulk, shines a light on the social, economic, and cultural conditions of the time. Proper provenance can be a make-or-break factor in our knowledge about jewellery, and about the cultures that it comes from.

That research I mentioned under reason no. 1 allowed me to understand why jewellery became available on the market when it did, and what its changing importance for its wearers was. Without provenance, that jewellery would just be a random pile of things.

Moving on from research to trade: provenance is important for the jewellery market as a whole, too.

4 – Market credibility. Emphasizing provenance contributes to the overall credibility of the market. A transparent and well-documented history of a piece of jewellery adds value and trust to the entire industry, benefiting both buyers and sellers.

5 – Market value. Knowing the provenance of your pieces can contribute to their market value. As the market begins to place more emphasis on transparency and traceability, having a documented history can make your collection more appealing to potential buyers or institutions. This is already a visibly growing practice in the ethnographical world, where tribal art is offered with a clear provenance.

6 – Ethical sourcing. There’s a growing awareness of ethical considerations in the jewellery and ethnography world in general. Provenance helps ensure that jewellery has been sourced and traded ethically, aligning with contemporary values and expectations.

7 – Authenticity assurance. Knowing the provenance helps in ensuring the authenticity of the jewellery. While you may have bought pieces you love, having a well-documented history can assure you and others that what you own is genuine and not a counterfeit. In an era where forgeries are becoming more sophisticated, provenance acts as a safeguard. Mind you, fakes are as old as humanity itself – it’s never a definitive assurance, but it sure helps!

8 – Investment value. For collectors looking at jewellery as an investment, a strong provenance can enhance the security of that investment. It provides a comprehensive history that can be crucial for future sales or transfers. As the art world evolves, a well-documented history becomes increasingly important, ensuring that your pieces retain their value and relevance over time.

9 – Age verification. Provenance serves as a means of verifying the age of vintage jewellery, allowing collectors to accurately assess its historical significance. It is another tool in your toolbox to avoid getting duped.

This is also a really important factor in jewellery research: if I can be certain that a particular style or type existed at a given period, this will help me place those jewels in their cultural context.

But that is me: what about you? What can proper provenance bring you, personally?

10 – Family legacy. Provenance is vital for those who wish to pass down jewellery as a family legacy. It provides a documented history for future generations, and it is these generations that may be needing sound provenance. When combined with your own family history, the provenance of a piece may include photo-albums, diaries, memories…the life of your jewellery becomes entwined with your own. Its history is as much your history, and the most heartbreaking conversations I have are with heirs who had no idea of this part of their parent’s lives – and now can no longer ask.

11 – Insurance coverage. Switching to the cold-hearted reasons: provenance is often required by insurance companies to assess the value of your collection accurately. While you may not be concerned about selling, having proper documentation can ensure that your pieces are adequately insured against loss, damage, or theft. In other words: keep those receipts, even if it’s only for your insurance coverage!

12 – Legal considerations. Provenance documentation is increasingly becoming a legal requirement, especially when dealing with the sale or transfer of valuable items. While it might seem burdensome, having a record of your purchases can protect you from legal issues and ensure compliance with evolving regulations. These are in more detail:

13 – Ownership verification. Provenance serves as a means of verifying ownership, a crucial aspect when transferring jewellery to museums or other institutions. It helps confirm that the seller has legal rights to the item and can transfer ownership without legal complications. This is actually a thing: if you’d like to make a donation, the receiving party will want to ensure you are actually entitled to do so.

14 – Legal transfer to heirs or institutions. If you plan to pass your collection on to heirs or donate it to institutions in the future, having a clear provenance makes the transition smoother. It helps your beneficiaries understand the value and significance of each piece, and it helps prevent disputes or legal challenges among heirs or between the donor and the receiving institution.

15 – Museum acquisition policies. Many museums have strict acquisition policies that mandate a clear provenance for any item they accept. By meeting these standards, your pieces may become more attractive to potential buyers or institutions, expanding the reach and influence of your collection. Here is a roadmap to help you get started with donating your collection.

Why should you care for provenance as a business?

While it might feel like an extra layer of scrutiny, emphasizing provenance is not meant to hurt anyone’s business. It revolves around transparency and accountability. It is, in essence, a collective effort to elevate standards, protect cultural heritage, and safeguard the knowledge still attached to jewellery, before it has completely vanished.

Why should you care for provenance as a collector?

Documenting provenance may seem like a lot of effort, especially for collectors who just want to enjoy the pieces they’ve acquired over the years without the hassle of documentation. However, as I have outlined above, there are several important reasons why provenance is gaining attention, even for items purchased decades ago without receipts.

Provenance: anything I can do…?

After working your way through this list, you may be thinking: I don’t really see how this affects me. The thing is, it may not be relevant now, but it certainly will be in the near future. Whether we like it or not, the emphasis on provenance is growing stronger.

And I would not be devoting this much blog space to it if I felt it was a minor matter. I believe establishing and documenting provenance is incredibly important, not because of the legal/illegal angle, but because of everything we stand to lose. There is a wealth of heritage, culture and history in your jewellery that deserves to be preserved, and provenance is one of the factors that helps do just that.

So even if there is just one among the 15 reasons above that speaks to you, now is the perfect time to get organized!

I created a guide for you with clear, actionable steps that you can start with today. Find it here: every little note you make today, helps preventing this beautiful aspect of a culture from getting extinct. Thank you!

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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.

How to spot alterations

How to spot alterations

by | Tips for collectors

5 practical tips

How to spot alterations of ethnic jewellery

Published Feb 2, 2024

Jewellery has multiple lives. That is what I find so fascinating: it shows traces of earlier lives, other wearers, the choices they made, the changing fashions they appreciated. And during its long existence, it may have been altered. But when is that regular use, and when is it turning into deception…?

Alterations to ethnic jewellery: cultural context

As I have written before, altering jewellery is standard practice – up to a certain point. That is because it served many purposes, including that of financial asset. The financial value of jewellery means it was treated differently than we would do today, and in order to read the traces of these alterations, we need to be aware of their cultural context.

I’ll go over several types of alterations next, and discuss whether these are to be expected, or that they have been willfully applied to entice a buyer.

Alterations to ethnic jewellery: repairs

Repairs are part of the normal life cycle of jewellery. Imagine wearing a bracelet or necklace every single day: chances are you’ll bump into something, a thread may snap, a stone may fall out.

This is then repaired, and sometimes, those repairs are visible. The Yemeni bracelet in the gallery above has a repair, and the copper pin is a replacement. The repair itself has worn smooth: it is an old repair and the bracelet has been worn for a long time afterwards. The Nubian bracelet in the centre has a tear, that has been fixed.

Pins in closures or hinges of a bracelet are replaced often: if a closing pin is not attached to the bracelet itself by means of a security chain, odds are that at some point it will fall out or go missing otherwise.

Stones may also disappear from their settings and get replaced: the detail of a Kabyle necklace in the gallery above, on the right, shows a replacement coral in a setting that was created for a much larger cabochon. Click to enlarge the photo and look at the coral in the star-shaped pendant: see how there is space between the prongs of the setting and the coral itself?

Alterations to ethnic jewellery: traces of economy

Jewellery represented financial value in its amount of precious metal. When you would be needing cash, pieces of jewellery could be sold. And that could also be, quite literally, a piece of an existing jewellery item.

An example are the pendants you see above. These were worn in Siwa Oasis, but also in Libya and Tunisia. The upper right one (click the image to enlarge it) has one of its tips broken off. Nowadays, you will be told that this was to celebrate the birth of a son. Nothing could be further from the truth: these tips were likely broken off when the wearer needed money. [1]

Another example are the bracelets from Nubia. The single bracelet shows clear signs it has been removed: likely, this has been done when part of a bracelet, such as shown next to it, was exchanged for money.

These alterations are also part of the regular life cycle of jewellery.

Altering ethnic jewellery: repurposing

It gets interesting when pieces of jewellery are being repurposed, because their original use is starting to fade. Hair ornaments, for example, were turned into necklaces when the elaborate hairstyling of a culture disappeared. An example of this practice are the hair ornaments from Oman, which have been repurposed into necklaces as I describe here.

The same goes for temporal pendants, like the pair shown above, and large earrings: these are now often sold as bracelets.

And a particular example is the pair of zar ornaments from Egypt, shown above. When you click to enlarge them, you will see that their engraving has literally been cut in half. These were zar pendants, used in the zar ritual, until they became obsolete. They were then turned into earrings, aimed for sale at tourists.

And that is where the regular life cycle of jewellery in its original culture starts to morph into alterations aimed at selling pieces at cultural outsiders.

From the point of view of its original culture, adapting jewellery in order to sell it to a new market still falls under its financial purpose. What use is perfectly good silver lying about when you’re in need of money? Selling it is the logical thing to do, and if altering it aids in reaching that goal, altered it will be! I would do the same.

But for the buyer on the receiving end, here is where it becomes important to be aware that this jewellery has been changed to suit your needs – it would not have been worn as such in its original culture.

Alterations to ethnic jewellery: composite pieces

This is where we move into alterations that have been carried out specifically to make a piece presentable again. Dangles are added, or new compositions are created out of old elements.

An example is the Kabyle brooch shown above. Click to enlarge it, and have a good look at the dangles. They are different in their colour scheme from the main the body of the brooch: the turquoise colour and the orange-yellow are only present in the dangles. The brooch itself has imitation coral, but the central dangle has real coral. They do not match.

These dangles likely come from a post-1962 necklace (see more about those here) and have been added to complete a brooch that has lost its own.

This is a straightforward addition to complete an incomplete piece, but there are far wilder composite pieces out there. Flexible bracelets joined together to form a necklace, caps embellished with just about anything lying around in a workshop presented as ‘headdress’, beaded necklaces with random pieces from another culture strung in….a truly composite is known as a chimera, after the mythical beast, or a pastiche.

A stunning silver and coral necklace from Yemen.

5 tips how to spot alterations to ethnic jewellery

So, how to spot alterations and interpret them in their correct cultural context? Here are some tips.

1 – Examine individual components.

Analyze each component of the jewellery individually. Components such as dangles, pendants, finial beads, and temporal pendants should match in terms of size, design, and style. Notice any differences in these components? That may indicate alterations or modifications, as the original silversmith would have taken great pride in the design.

An example is the Yemeni necklace above. Click to enlarge it, and inspect the finials and central pendant. Their design does not match: the finials are from a different necklace. The closure is an alteration, too.

2 – Check for consistency.

Assess the overall consistency of the jewellery. Original pieces are designed to be cohesive, with elements complementing each other seamlessly. Inconsistencies in design, colour, or materials may suggest alterations.

3 – Evaluate wear and tear.

Examine the wear and tear patterns on the jewellery. Original components that have been worn together for an extended period should exhibit similar signs of use. See for an example of two pieces that moved in sync for a lifetime this article. Altered or replaced components may show variations in wear compared to the original parts. An example of such variations can be seen in this article on restrung necklaces.

4 – Consider provenance and documentation.

Yesss, there we are again! Examine any available documentation or provenance associated with the jewellery. Historical records, photographs, or detailed descriptions can offer clues about the original state of the jewellery. That is also why ‘before and after’ photos of any restorations are so incredibly important: they keep track of changes.

5 – Use scientific techniques.

Ok, this is not a possibility for everyone: I’ll be honest, this is something more suited for museums. If feasible, consider scientific techniques such as X-ray analysis or material testing such as XRF. These methods can reveal hidden layers, alterations, or substitutions that may not be visible through visual inspection alone.

What do I need to spot alterations?

…no, you don’t need to set up a lab in your living room! But, fair warning, what you will be needing is something much more superhuman.

First of all, you need to be aware of general designs, shapes, decorations etc. to spot alterations. It always boils down to knowing what you’re looking at. It also never hurts to ask experts for advice, or to look up a book or two. That’s not the difficult part, though. The difficult part comes next.

Far more important is time. Do not be in a hurry or feel pressured to buy. This is the superhuman part: take your time to observe a piece in detail and look really, really well. Patience is a virtue, also when it comes to buying jewellery. We all know that rush of excitement and the desire to purchase, but it is during the ‘buying fever’ that you will overlook the smaller details. (if it’s any consolation, it still happens to me, too!)

On a side note, this is also why those layers of dirt on jewellery are anything but authentic and original: they obscure the details you’ll want to be looking for.

Alterations of ethnic jewellery: a bad thing?

I’d say it very much depends on which stage in their life the alterations were made. In general, they’re part of life. Repairs and repurposing are part of an object’s life and make sense in its cultural context. They also allow us to reconstruct that life, and as such these alterations can be a powerful historic source.

It’s when the alterations start to take place outside of this cultural context, and moreover, when they are being presented to you as authentic, that it matters a great deal.

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More posts on the pitfalls and fun parts of collecting jewellery? Browse them all here!

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References

[1] M.M. Vale 2011. Sand and Silver discusses this. She knows. She talked with actual Siwan women about this and I am in awe of her myth-busting skills!

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

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

Sigrid van Roode

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