What is ‘real’ jewellery?

What is ‘real’ jewellery?

by | Opinion

Value and authenticity

What is ‘real’ jewellery?

Updated Jan 8, 2024

A recurring question I get is whether a piece of ethnic jewellery is ‘real’. Usually, that does not refer to its use, but to the components used: shouldn’t this be coral instead of glass? Why does this necklace include plastic? And the reasoning behind that, in turn, is that glass and plastic are cheaper, economically speaking, and thus of lesser importance. But economic value is not always the main factor in determining whether a piece of jewellery is ‘real’.

Value of jewellery: supply and demand

Economically speaking, the age-old law of supply and demand dictates value. The discovery of new sources or changes in demand can significantly impact the value of a given material. When demand exceeds supply, prices rise, and materials become more highly regarded. Those are the basics.

Anything that people want and is in short supply, is valuable, whether it is Hermès bags or diamonds. Both of these are kept in short supply artificially: there’s a limited number of bags made and the diamond supply is actually vast, but carefully guarded. [1] So, from that point of view, components in jewellery that are readily available (and thus cheaper) are less valuable.

Value of jewellery: peer pressure

There is also the matter of what we want that has a serious impact on how certain materials are regarded. We may not only want something because it is rare, but we may also really want something because we see other people, who we’d like to associate ourselves with, wear or own that something. (basically, that is what influencer marketing is all about)

Take the decline in silver jewellery in North Africa and Southwest Asia after the 1960s for example. When oil was discovered in the Gulf, this new field of work created a huge amount of jobs for migrant workers from across the region.

Those workers returned home with new values and new ideas on how to express wealth, as they had seen during their stay abroad: gold. Silver jewellery was regarded as old-fashioned and was massively sold off to buy new, gold jewellery.

Value of jewellery: new technologies

Technological developments also have a significant impact on the choice of material, and this is where notions of value begin to get blurry.

A great example from Europe is strass jewellery. Strass, also known as rhinestone or paste, is nowadays often looked down upon. It’s not a ‘real’ gem, it is literally glass that is treated to look like a real gem. Many people associate strass with glitzy gaudiness, maybe with cheap jewellery, and perhaps even with bad taste.

But the fascinating thing is that when strass was just invented (by a Mr. Stras, in the 18th century), it was actually held in high esteem. It was not thought of as a mere substitute, it was the real deal in and of itself and up until the 1820s was considered as actual high-end jewellery art. [2]

The same holds true for the use of bakelite in traditional jewellery of North Africa and Southwest Asia, as I have written about here. It may look like a cheap substitute for coral to us today, but back in its own day this was the height of innovation.

Value of jewellery: more than economics

So you see how the blurring of the line between natural and synthetic materials challenges traditional notions of value, and more precisely, how it illustrates that we should consider materials not just from an economic point of view. Equally important are their own cultural context and their own timeframe.

Because when we observe jewellery from North Africa and Southwest Asia in its own cultural context, and sometimes even in its local geographical context, we see a different notion of value.

Value of jewellery: cultural and spiritual value

Materials and components that we would consider insignificant based on their economic value are strung alongside gold, pearls, coral and other precious materials. Apparently, these components carry the same level of meaning.

Red plastic beads can happily sit next to coral beads because they are both reddish in colour. Aluminium is the material of choice for anklets worn by ritual specialists in Sudan, and iron is the only material that will keep jinn away (why? find out here!). Teeth, thorns, pebbles, pieces of bone and other such materials need to be sourced in a very particular place that is believed to be imbued with magical capacities (see more about that here): they are set in silver or gold with the same care extended to actual gemstones.

Economically worthless materials may hold great value – they are real

‘Real’ elements in jewellery do not have to be the most expensive ones, but somehow, that is how we have come to look upon them. If a piece of jewellery holds components of a ‘lesser’ economic value, we question the entire piece.

And of course, we should always be aware of reproductions or imitations designed to dupe: I wrote down 5 tips to help you recognize reproductions here. But when we look at jewellery in its cultural context, the choice of materials may reveal a lot about personal, local and societal preferences. And that in itself is more valuable than an arrangement of ‘perfect’ elements could ever offer!

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Where to find more on the cultural values of jewellery…?

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Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

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

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References

[1] You will enjoy Aja Raden’s book Stoned, which dives into the value of precious materials. Be advised though that it contains a number of historical, factual inaccuracies – but the line of reasoning is fascinating.

[2] P. von Trott zu Stolz 1982, Stras. Simili-Diamantschmuck des 18. Jh., p. 113. Antique paste jewellery is getting expensive these days, too.

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.

UNESCO 1970

UNESCO 1970

by | Tips for collectors

collecting jewellery

UNESCO 1970: what does it mean for me?

Updated Jan 4, 2024

You may have heard of it: ‘UNESCO 1970’. But what is that exactly, and what does it mean for owning, buying and selling of traditional jewellery from North Africa and Southwest Asia? In this article, I’ll walk you through the main aspects.

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

Also, this article may not be what you’d like to hear: there are collectors who find all these laws and rules annoying. But here’s the thing: we may not like them, but they exist anyhow, and more importantly: they may affect the future of your collection. So let’s dive into this convention!

What is UNESCO 1970?

First some details. ‘UNESCO 1970’s full name is the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. [1] It was adopted in 1970 by the members of the United Nations. Its aim is, as the title suggests, to prevent the illegal trade in cultural heritage.

After the Second World War, it became increasingly clear that cultural heritage was looted and sold for profit on a massive scale, as a result of which many cultural treasures left their countries of origin.

And that is not just statues and sculptures and paintings and frescoes: jewellery is a favourite, too. It’s portable, valuable and almost guaranteed to have a buyer.

‘Okay,’ I hear you thinking, ‘but that is about ancient jewellery. Mine is max a hundred years old, give or take, and it is still being sold today!’ You’d be right, and I’ll get to that in a bit – where it concerns antiques, not antiquities, is where it gets interesting.

Is UNESCO 1970 law or legally binding for collectors of jewellery?

No, it is not: it is a convention. Up until now, a little over 100 member states of the United Nations have ratified the convention, meaning they explicitly undersign its goal.

That still does not make it law: every country has different ways of embedding the goals of the convention into their own national legislation on heritage and its import and export.

And these laws are binding for collectors and dealers of traditional Middle Eastern jewellery.

Here lies an important criterion in general, so pay attention to the next few lines: this is where miscommunication occurs every so often.

You will sometimes find advice stating that anything exported before 1970 (the date of the convention) is presumed legal. That is too simple.

It ignores the existing laws of the countries of both export and import. Let that sink in for a moment: there may be laws in the country your jewellery comes from, that predate UNESCO 1970.

Egypt is a perfect example of what I mean. Egypt already legally prohibited the export of antiquities without written approval in 1912, and revised that law in 1951.

Proving an antiquity left Egypt legally therefore requires establishing a chain of provenance dating all the way back to 1912. Looking at you, ‘mummy beads’ and ancient amulets – luckily, the majority of these is fake.

So, always check both your local legislation and the laws of the country you are exporting something from. For vintage jewellery these laws may not matter much yet, but please note that they do for antiquities – I strongly advise against buying antiquities without solid proof of legal provenance.

What does UNESCO 1970 mean for collectors of traditional jewellery?

Under most legislation [2], exporting and importing jewellery of 50 – 100 years old is completely legal. [3] It has not been looted or stolen: jewellery like this has been sold in large numbers from the 1960s onwards, and in some cases even earlier. It was readily available, and continues to be sold internationally today.

It also does not qualify as an antiquity or as an antique – yet. Items that are 100 years or older however, may fall under legislation for antiques.

I want to buy traditional jewellery: what do I need to check in advance?

I would advise to start by informing yourself about legislation in the country you are importing jewellery into.

This includes the definition of an antique (this varies from 100 to 250 years depending on where you are – most traditional jewellery is younger, but remember a piece from the 1920s is now over 100 years old).

Other factors to inform yourself about are

  • the threshold value above which import taxes apply;
  • If an export license from the country of origin is required;
  • Verification that the seller is compliant with export laws of the country it is coming from.

Obviously, this also requires a sound and truthful description of the item you’re interested in: reputable sellers will be able to provide you with parallels and references for an item on which its age is determined.

I know it sounds lovely when a piece of jewellery is from the 19th century, but check if it really is, and if so, if you can actually import it – it may be an antique under the law.

When it’s you yourself buying jewellery in another country and bringing it home with you, informing yourself about both export and import legislation falls to you.

[I can’t stress this enough, so taking another moment to repeat myself: buying archaeological jewellery in another country really is a no-no. You can’t export that without an official license, and the penalties on trafficking illegal antiquities can be severe.]

And finally, keep the receipts and any documentation – imagine your heirs would want to sell or donate a piece in say, 50 years or so: by then, most of your pieces will have become antiques. Your heirs will be needing solid proof you aquired these legally.

So I can buy vintage Middle Eastern jewellery and comply with UNESCO 1970?

Yes, as far as UNESCO 1970 goes you can buy that bracelet or necklace perfectly well, as long as you duly pay your import taxes and ensure you are compliant with legislation on antiques, if the item qualifies as such.

But… UNESCO 1970 is not the only international convention that affects the trade in traditional jewellery. There are the CITES regulations as well as ethics to be taken into account, too, which I will go into next!

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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!

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References

[1] See more about the convention here: https://en.unesco.org/fighttrafficking/1970

[2] Most, not all. Uzbekistan has strict export laws, for example, and buying old jewellery (or old anything, actually, including household appliances) is a legal no-no. These laws are actively enforced, too: I have had my luggage inspected on several border crossings.

[3] Please take note that this does not apply to antiquities. ‘Excavated’ beads, ‘Neolithic’ beads etc for example are antiquities!

Sigrid van Roode

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.

Jewellery Museum Pforzheim

Jewellery Museum Pforzheim

by | Museums & Exhibitions

new perspectives

A visit to the Jewellery Museum, Pforzheim

The Jewellery Museum (Schmuckmuseum) in Pforzheim, Germany, is a must visit destination for anyone interested in jewellery and jewellery history. Here is what I saw during my last visit!

View into the Schmuckmuseum, Pforzheim

Bedouin Silver | Pforzheim Schmuckmuseum

Sigrid van Roode looking at the waterfall of jewellery in the Schmuckmuseum, Pforzheim

Bedouin Silver | Sigrid in Schmuckmuseum

View into the exposition room filled with rings in the Schmuckmuseum, Pforzheim

Bedouin Silver | Pforzheim Ring Room

Four stunning rings from the collection of the Schmuckmuseum, Pforzheim, against a black backround.

Bedouin Silver | Pforzheim ring selection

The museum houses a vast collection of jewellery, both from Europe and from other parts of the world. That jewellery is something that connects us, and expresses shared values, is highlighted in the room ‘What Is Jewellery?’. I featured an in-depth exploration of this theme by the museum in this blog, and seeing it for myself was a treat!

In this room (you’ll see an impression in the gallery of images above), the first thing that caught my eye was a sparkling waterfall of gold and gold-tinted jewellery cascading down from the ceiling in the central showcase. Jewellery from all eras and geographical locations is presented here in a seeming jumble that still is perfectly harmonious. As you can see by the slightly bewildered look on my face in the second photo, I enjoyed spending time peering into this showcase from all its sides, there is so much to see here! There is a sense of joy and playfulness in this installment that I believe is really important, too, in between the more serious aspects of jewellery history: just enjoying jewellery, simply for its own sake.

That same combination of jewellery from different times and places continues throughout the room. In every showcase, a different topic is highlighted that is shared by multiple cultures. The use of specific colours for example, or the values attached to jewellery, or the protective capacities it holds, or the social status it communicates. You’ll find jewellery here from North Africa, Oceania, Central Asia, India, Tibet, Nepal and other places combined with European jewellery. It is a multidisciplinary and integrated approach to what jewellery means to the society that used and created it, and I found it very valuable to start out my visit to the museum by pondering what jewellery is, exactly: it gets one thinking and provides context for the other collections.

Next were two rooms filled with jewellery history, from the Classical world until the revival pieces of the 19th century, and everything in between. I stayed here for a considerable time, because the museum boasts a formidable collection of historic rings, and these are shown here, too. Hundreds of them! If you have a thing for rings, this is the space for you. They are neatly organized in separate showcases, that each present a selection of rings in chronological and geographical order. You’ll see what that looks like in the third photo above. I did not really notice how brilliant this display was until I was done: because the rings are displayed in so many showcases, it feels like peeking into yet another treasure chest. Each showcase has just the right amount of rings, too: you’ll be able to enjoy them instead of reaching that point of overwhelm. I can’t recall having admired hundreds of rings and still being eager to see more: well done in terms of managing the attention span of visitors!

But there is more than rings: the showcases along the walls present necklaces, bracelets, earrings, tiaras and so much more, also in chronological order. A separate section with pocket watches brings jewellery and technique together, but I must admit that I spent most of my time with the jewellery exposition. The quality of the pieces shown here is also breathtaking: I created a collage of a few rings in the last photo above, to give you an idea of what awaits you. The exhibition continues with a bright, large room dedicated to more recent jewellery. Here, I saw dreamy, delicate Art Nouveau jewellery and modern jewellery creations: the art of jewellery craftmanship is still very much alive in Pforzheim.

After all that, it was time for a coffee in the pleasant museum café and perusing the well-stocked bookshop. I really like the themed publications such as Landscapes in Jewellery, Animal Myths in Jewellery, and Sun, Moon and Stars in Jewellery, but of course there is much more (see the bookshop here – the list of publications can be downloaded), and you will be able to find many jewellery pieces and other gifts.

I highly recommend visiting the Schmuckmuseum if you have the opportunity: with several temporary exhibitions every year, there is sure to be something that is of interest to you. The signage is bilingual in both English and German. Also check out the online magazine Melting Pot: lots of thought-provoking and interesting jewellery articles!

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Schmuckmuseum, Pforzheim, Germany: see practical info on their website (using the toggle in the upper right corner, you can set the language to German, English or French).

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

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!

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Sigrid van Roode

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

Photography: 5 tips

Photography: 5 tips

by | Tips for collectors

how-to tips

Quick photography of ethnic jewellery: 5 tips

Updated Jan 8, 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And finally…

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

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

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

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

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Never miss a thing on jewellery discoveries? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

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

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

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.

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

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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.