CITES: what does it mean for collectors and museums?

CITES: what does it mean for collectors and museums?

by | Tips for collectors

collecting jewellery

CITES: what does it mean for collectors and museums?

Updated September 10, 2025

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

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

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

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

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

What is CITES? Understanding the convention on endangered species

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

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

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

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

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

CITES and coral in jewellery: antiques

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

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

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

CITES pre-convention pieces: when coral needs a licence

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

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

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

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

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

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

Why antique jewellery still matters for biodiversity under CITES

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

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

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

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

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

What jewellery collectors must know: CITES requirements for importing jewellery

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

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

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

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

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

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

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

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

Frequently Asked Questions about CITES and jewellery

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

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

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

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

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

CITES, jewellery, and the balance between nature and culture

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

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

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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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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.

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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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!

—

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.