What is ‘real’ jewellery?

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 18^th 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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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.

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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.

UNESCO 1970

by dr. Sigrid van Roode | 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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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.

Rings as amulets

by dr. Sigrid van Roode | Magic & Amulets

rings of power

The Magic of Rings

Updated Jan 1, 2024

If there is any piece of jewellery that has been associated with magical powers, it has to be the ring. Rings carry a lot of meaning, and a lot has been written about Classical and European rings: how about rings in North Africa and Southwest Asia? Can a ring be an amulet? In this article, I’ll show you 5 ways rings can work as amulets.

Rings on our fingers

Rings are very prominent items of jewellery. They sit on our finger, where they are visible to both ourselves and the people around us. They can be used to attract attention or to show off riches, but at the same time their presence is very personal, felt on our fingers by our every move.

And that is an even more important symbiosis: rings move along with every gesture of our hands. As such, they are almost active jewels. This symbiosis is of influence on the placement of rings on the finger.

In Oman, a pointed ring is worn on the index finger: it reminds the wearer of her daily prayer. But in Morocco on the other hand, the index finger is left unadorned for precisely the same reason. [1]

That is always something to bear in mind: just like any other form of informal ritual, the magic of rings differs from region to region and also over time.

Ring power: sealing

The significance of rings is reflected in the Arabic word for ring, khatim. Originally, this referred to a seal. That brings along that symbiosis again: when the wearer seals something, they will need to move both their hands and fingers, as well as the ring itself. The ring becomes an inextricable part of that act.

In everyday life, this seal would be an engraved seal with the owner’s name, or a pious text. In magic, it could be a particular design that was assumed to hold power, such as the seal of Solomon or magic squares.

This practice of wearing rings with images or texts that were considered powerful, was already widespread in ancient Egypt and Mesopotamia. In that respect, rings with inscriptions are a continuation of a practice that is millennia old.

Ring power: inscriptions

Over time, the use of rings for sealing was joined by inscriptions that were not meant to seal: they are legible when worn, instead of engraved in a mirror image.

Engraving a text in a ring would enhance its efficacy: Edmond Doutté, when writing about North Africa in the early 20^th century, mentions a spell to attract prosperity in business, which needed to be engraved in a ring. When worn, this would lead to an increase in profit. [2]

So, a ring was something to seal with, but also something that held power of its own.

Ring powers: shape

That is also due to its shape. A ring has no beginning and no end, it is the perfect symbol for eternity and cyclical events. That makes it the perfect symbol for, for example, love and friendship, or to designate a space.

But because of their power to encircle, in some cases rings were believed to do more harm than good. That works along the same lines as knot magic. Just like anything knotted (see more about that here), pilgrims to Mecca were advised not to wear rings on their person. [3]

Ring power: material

The material of which a ring was made, contributes to its power, too. Iron is believed to keep evil at a distance as jinn are afraid of it (see more here on conflicting views on iron and adornment), and silver was the material of the Prophet’s own signet ring. [4] Besides the ring itself, materials used in its setting were also chosen for their properties.

A ring set with a carnelian stone was believed to bring continuous blessings to the wearer [5], and the three varieties of a stone named yaqut were believed to protect against the plague when set in a ring or a necklace. [6]

Here, the power of the material chosen to be set in a ring is combined with the power of the ring itself, and of course of the image or text engraved in that material. Rings are not simply carriers of powerful images or texts, but the entire ensemble including the ring itself is a threefold agent of protection and power.

That is also why many sorcerers and magicians are said to carry signet rings, and rings feature in magical tales [7]: in the 1001 Nights, it is a ring that binds a jinn to do as the owner of the ring commands. [8]

Ring power: magical creating

Making rings could also be part of the process that imbued them with special powers. Not only should they be created on a particular moment in time (often calculated based on astrology, see more on that here), but instructions to make rings could also include specific acts to be carried out, such as slaughtering an animal or incensing the finished product. [9]

Ring power: hard to get

And finally, notably the powerful rings are associated with vivid tales on how hard it is to actually get your hands on them. There are many tales in which rings travel long distances or find themselves in seemingly impossible situations.

The trilogy around Lord of the Rings is even based on all these difficulties, and notably on the hardships in destroying that one ring. Tales like these are also found in the Islamic world. King Solomon’s ring was stolen from him, and after many adventures was found inside a fish. [10]

Rings as amulets: a tradition of millennia

There is power in rings: in their shape, their material, their colour, the process of making them and the journey of obtaining them. Rings have fascinated us for thousands of years, and now you have a little more background on why!

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Find out more about the histories behind amulets in the e-course on Amulets and Magic in Jewellery!

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References

[1] See my book Desert Silver; in prayer, the index finger is pointed upward.

[2] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 264.

[3] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 88.

[4] See Iafrate, A. 2016. Solomon, Lord of the Rings: fashioning the signet of power from Electrum to Nuhas, in: Al-Masaq 28:3, pp. 221-241 for a discussion of the material of the Ring of Solomon.

[5] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 84, see also Porter,V., Saif , L.and E. Savage-Smith, 2017. Medieval Islamic Amulets, Talismans, and Magic, in: Flood, B. and Necipoglu 2017. A Companion to Islamic Art and Architecture, p. 543.

[6] Content, D. 2016. Ruby, Sapphire & Spinel: An Archaeological, Textual and Cultural Study, p. 18-19, discussing the Stone Book of Aristotle which dates back to the 9^th century. This lapidary is not by Aristotle, but has been composed in the Middle East. The varieties of Yaqut are ruby and two varieties of sapphire.

[7] Gunther, S. and D. Pielow, eds, 2018. Die Geheimnisse der Oberen und Unteren Welt, p. XXII

[8] Idem, p. 405 and 407, referring to the story of Aladdin.

[9] Porter,V., Saif , L.and E. Savage-Smith, 2017. Medieval Islamic Amulets, Talismans, and Magic, in: Flood, B. and Necipoglu 2017. A Companion to Islamic Art and Architecture, p. 522-523, discussing an example from the Arab Middle Ages.

[10] Doutté, E. 1909. Magie et Religion dans l’Afrique du Nord, p. 157.

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

by dr. Sigrid van Roode | 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!

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 19^th 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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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

by dr. Sigrid van Roode | 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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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!

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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.