Patina in Middle Eastern jewellery

Patina in Middle Eastern jewellery

by | Tips for collectors

what is patina?

Patina in Middle Eastern jewellery

Published March 18, 2024

Patina is a word you’ll see used often when talking about ethnic jewellery. It may be described as ‘having great patina’, and collectors may be afraid that cleaning ‘removes the patina’. But what is patina? You may be surprised to learn that it is used for two very different things!

Patina in ethnic jewellery: what it technically is

Corrosion. Patina refers to the thin layer that develops on the surface of metals due to natural oxidation and environmental exposure over time. You could think of the greenish hue that bronze statues or architectural elements may have, for example.

But it encompasses a broad spectrum of colours and textures, ranging from earthy browns to deep blues and reds. Patina is a result of the metal’s reaction with elements like oxygen, moisture, and sulphur. As such, it is technically the same as tarnish.

In some types of jewellery, patina is actually prized: it indicates that the jewel is indeed old. But, beware: there are tons of ways to create a fake patina on jewellery!

Patina, rust, tarnish: what is the difference?

Technically, none. They are all words for the oxidation in metals. But patina is often used for the colour effects in particular, while tarnish is more often used for the oxidation itself.

What is more, patina carries a positive connotation, as something beautiful. Tarnish, on the other hand, is used in a negative sense, as something damaging and ugly.

You will also find patina used for bronze, rust for iron, and tarnish for silver: all three denote oxidation processes and their visual results.

There are many different interpretations of the word patina going around, and to add to the confusion, collectors may mean something completely different!

Patina in ethnic jewellery: what collectors also mean by it

Usewear. Very often, the word ‘patina’ is used for something else entirely in the world of ethnography and collectors.

You will find it applied to a particular type of wear: ‘usewear’ refers to the physical evidence of wear and tear that occurs over time as a result of the item being worn or used in its intended manner.

Patina, in this context, usually means the soft wear on a surface as a result of years of rubbing or handling it. Other types of usewear, such as dents and scratches in a piece of jewellery are not called patina.

Although patina is technically the result of oxidation in metal, you will also see the word used with regard to wooden objects in the world of ethnography.

Here, too, it means ‘usewear’: a wooden handle that has been grasped countless times, will have a beautiful, deep colour and a silky, smooth surface. The same goes for antique furniture where doorknobs, edges and surfaces may show discoloration and a softness after decades of use.

Old silver jewellery in Cairo's Khan el Khalili

Patina in ethnic jewellery: what it definitely is NOT

Dirt. Honestly. Dirt is not patina. Dirt is an external substance that accumulates on the surface of jewellery. Dirt is easily removable with gentle cleaning methods. It does not alter the metal itself, like oxidation does, but can obscure the intended aesthetic of the piece.

Cleaning (see 3 methods how to approach that) can effectively remove dirt without impacting the authentic patina that may have developed over the years. The jewellery you see in the gallery above is just dusty and dirty: this is not what patina looks like!

Patina in ethnic jewellery: how to check for authentic patina

So, as we have seen, there are two types of ‘patina’ you can inspect your jewellery for.

Oxidation – Many ethnic jewellery pieces are made from materials like silver, bronze, or copper, which can develop a natural patina or oxidized layer over time due to exposure to air and moisture. This patina is often uneven and may be more pronounced in areas that have been frequently touched or worn.

Polishing and wear patterns – Certain parts of the jewellery, such as clasps, hinges, or chains, may show signs of polishing or smoothing from repeated use. Additionally, wear patterns may emerge on surfaces that come into contact with the skin, clothing, or other jewellery pieces, indicating areas of frequent movement and friction.

You can inspect an item for traces of usewear by employing various methods:

1 Use your eyes: Start by taking a good look at the jewellery. Carefully inspect the surface of the jewellery under good lighting conditions. Identify areas that are likely to show signs of wear and tear, such as the back of a pendant or the inside of a bracelet, and observe these closely. Look for scratches, patina, polishing marks, and any other indications of use. Note: the jewellery needs to be free of dirt to do this – dirt may actually obscure exactly these details.

2 Magnification: Whip out the magnifier! Check for subtle details such as fine scratches or tool marks. Patina, both in the sense of oxidation and usewear, may have been artificially applied.

3 Feel: If you’re looking to see if a piece has indeed been worn for a prolonged period of time, stop looking and close your eyes. Feel the jewellery: does it feel worn and soft, or do you still feel sharp edges? Open your eyes again and check these places on the jewel.

Patina, whether oxidation or usewear, is often used as a factor in authenticating a piece. But there is more to that than patina: this article gives 5 tips on how to establish whether your jewellery is authentic!

—

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.

Etienne Dinet: Algerian passions

Etienne Dinet: Algerian passions

by | Museums & Exhibitions

Institut du Monde Arabe

Etienne Dinet: Algerian passions

Published March 13, 2024

You are probably familiar with the most famous painting by Etienne Dinet: a couple standing under a starry sky, a bush in full bloom behind them, the woman wearing loads of jewellery. It is also the lead image of the exhibition in the Institut du Monde Arabe. Etienne Dinet, Passions Algériennes, shows an overview of the work of this Orientalist painter.

Etienne Dinet: the ‘ethnologist painter’

Hajj Nasredinne Dinet was born as Etienne Dinet in Paris, in 1861. He studied art, and visited Algeria for the first time in 1884. That was in Bou Saada, where he would eventually end up living. After converting to Islam in 1913, he took on the name Nasreddine, and completed the hajj in 1929. From his conversion onwards, the paintings include more religiously themed scenes such as prayer and mosques.

He spoke and read Arabic, and called himself an ‘ethnologist painter’ – his goal was to paint life as he lived it every day, before it would disappear as a result of a changing environment. [1] The realism in the details is indeed fantastic. I enjoyed going over each and every painting on display to see its rendering of bracelets, earrings, anklets, facial tattoos and more.

Jewellery in Dinet’s paintings

Dinet painted in the region of Bou Saada, Biskra, Laghouat and further south in the M’zab. The jewellery of this vast region is easily recognizable on the paintings. We see the characteristic round fibula closing the head veil on the chest, larger and smaller bracelets, and the elaborate headdresses.

Apart from the abundant silver, the painter also included the less precious materials such as cowrie shells, glass beads, and leather bands.

An example is the painting with children shown above (click to enlarge it): apart from the earrings, there is a single cowrie shell plaited into the hair of the child sitting with its back to the viewer, and another cowrie with a blue bead with the child opposite.

Etienne Dinet – Passions Algeriennes: a beautiful exhibition addressing Orientalism, too

Ethnographically correct though these paintings may be, it is hardly surprising they are very much Orientalist. The Algeria depicted is sugar coated, bathing in sunshine and surrounded by blooming flowers. The women are in some cases painted as mysterious, like the dancer under the night sky, or even naked. And like many photographers of the time, Dinet also painted in his studio: a photograph of the painter at work (in the gallery above, click to enlarge it) shows his models posing.

I could not help but think of the photographs by Marc Garanger, taken between 1960 and 1962. These are so close in time: the children painted around 1900 – 1920 could be the older women in these, which show the much grittier reality of colonialism.

The composition, light and colours of the paintings also reminded me of the work by Lawrence Alma Tadema, who painted equally dreamy paintings of another imagined reality: the past. Here, too, the level of detail and accuracy is astounding, while the scenes themselves depict the world as it could have been – not as it actually was.

The exhibition and its accompanying magazine illustrate this variety of perspectives: it addresses both the exoticizing and the accuracy, the clear and abundant love for Algeria and the position of the colonizer, the combination of faith and religion with art. I enjoyed seeing many beautiful paintings in private collections and museums brought together, and learning more about both the painter and his world.

 

Etienne Dinet, Passions Algériennes: Jan 30, 2024 – June 9, 2024.

Institut du Monde Arabe, Paris. See more info on their website here.

—

Explore the world of fragrance in the course Scents of the Middle East!

More posts on exhibitions and museums? Browse them all here!

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

—

References

[1] Bentchikou, G. & N. Guillout, Un peintre ethnologue, in: Etienne Dinet, Passions Algériennes, Editions Beaux Arts.

[2] See this article on these photographs for example

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.

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!

—

Want to get your jewellery collection organised and sorted? Learn how in this practical course!

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

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

—

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

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

The Bedouin Silver Jewellery Blog: Sigrid van Roode

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

Jewellery throughout life

Jewellery throughout life

by | Cultures & People

A journey from baby to grandma

Jewellery throughout life

Published March 08, 2024

Jewellery will tell you so much about a woman’s journey through life: from infancy, through adolescence, to adulthood. Some jewellery is only worn by unmarried girls, others by married women only while other pieces indicate motherhood. So how does that work?

Ethnic jewellery and children

For children, jewellery often doubles as an amulet. Child mortality used to be very high in the past, and children would not grow beyond their first year in a sad number of cases. They were believed to be killed by jinn, who were envious of a mother’s most cherished hope. Many amulets are made specifically for children. See a case of protection against such an evil jinn in this article.

Hyena’s claws set in silver, coral beads, bells and tassels are all used to protect the child. A very often seen amulet is a blue glass bead, pinned on the inside of the child’s clothing, or on its cap. An example is in the gallery above: click to enlarge the photos and see a variety of jewellery for kids.

Apart from amulets, jewellery for children also formed the basis of their very own ‘piggy bank’. On festive occasions, or when there was money to spare, a girl would receive small pieces of jewellery.

Ethnic jewellery and adolescence

Jewellery is also used in transition stages. When a girl becomes eligible for marriage, she will start to wear jewellery that communicated her status.

Girls in the Siwa oasis, Egypt, receive a special pendant when they are eligible for marriage: the round silver disc known as adrim or ‘virgin’s disc’. This heavy disc, finely decorated with geometrical designs, fish, birds or floral motifs, is worn until marriage. Persistent tradition has it that these discs would be thrown in the local well in the oasis after marriage: instead of throwing such a valuable item away, it was presented to a younger sister or female relative. [1]

Photocollage of a vintage photo of a Baluch Lady from Muscat and the Muscat cityscape, made by Sigrid van Roode

Ethnic jewellery and marriage

Marriage is also clearly marked by special jewellery. Both the event itself and the married phase afterwards see a distinct use of jewellery: a married woman wears more, and different, jewellery than an unmarried girl. See more about dowry jewellery in this post.

It is important to realise that the transition from an unmarried to a married existence is not only visible in jewellery, but equally clearly marked in costume and hairstyle. From the day of marriage, women will wear other jewellery, clothing different in colour, model or even both, and wear their hair in a style reserved for married women.

Silver and coral necklace from Libya, showing two fish in the central pendant. These were believed to bring good luck and abundance.

Ethnic jewellery and motherhood

The next phase, when a wife also becomes a mother, calls for specific jewellery items too. In Egypt and Libya, the salhayat or salhat pendant is worn by mothers. Traditional lore has it that the tip of the pendant is often broken off if the wearer gives birth to a son. This however is unlikely, as the ornaments would be too precious to damage in this way. Probably, the tip of such a pendant was broken off when the wearer needed money. [2]

In Kabylia, Algeria, a round brooch abundantly decorated with enamel and coral, the tabzimt, is given to a new mother by her husband. [3]

And these are just two examples: there are gifts of jewellery to celebrate the birth of a child throughout the region.

Ethnic jewellery and old age

And finally, in the evening of her life, if she is widowed, a woman will be wearing only a few items such as bracelets or rings. That is because, during her lifetime, she will have sold most of it to cover expenses, or pay for the wedding of sons (see how that works here).

Ethnic jewellery throughout life

Each tribe, village, region and country has its own silver jewellery code. But jewellery is much more than that. It accompanies a child safely through the early years of its existence, it signals that a girl is ready to get married and it proudly displays the wealth of a new bride.

All the jewellery a woman has received during her life, from the tiny pendants when she was a child to the more sizeable pieces she is entitled to as a married woman and a mother, form her own personal asset. These two aspects are inseparable: following the jewellery over the course of a lifetime is following the journey of the wearer herself.

Enroll in an online course! Four images of four different, colourful online courses on jewellery of North Africa & the Middle East.

—

More posts on jewellery and people? Browse them all here!

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

Want to dive into the world jewellery, women and life decisions? Take the e-course and learn how to read jewellery!

—

References

[1] See for example Weissenberger, M., 1998. Les bijoux des oasis égyptiennes, in: Bliss, F. 1998. Artisanat et artisanat d’art dans les oasis du desert occidental egyptien, Rüdiger Köppe Verlag, Köln, Fahmy, A.  2007. Enchanted Jewelry of Egypt. The traditional art and craft. American University in Cairo Press, Cairo, Bliss, F. 1998. Siwa, die Oase des Sonnengottes. Beitrage zur Kulturkunde Band 18. PAS, Bonn. Persistent legend has it that these discs were flung in a local well upon marriage, but the item is far too valuable to be simply thrown away. I mean, really, you would not toss your creditcard into a well when you got married either, would you?

[2] Can’t repeat this often enough! See Vale, M.M. 2011. Sand and Silver. Jewellery, Costume and Life in Siwa Oasis. York Publishing Services, York, p. 91.

[3] See Tamzali, W. 1984. Abzim. Parures et Bijoux des femmes d’Algerie. Dessain et Tolra, Entreprise algerienne de presse, Algers. However, this custom is disputed: the tabzimt can also be part of the dowry gift and not necessarily be reserved only for the birth of a son.

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.

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.

—

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!

—

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.