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.

5 rookie mistakes

5 rookie mistakes

by | Tips for collectors

Avoid these mistakes in collecting

5 rookie mistakes lessons I learned in collecting jewellery

Updated Feb 16, 2025

Collecting vintage and antique jewellery from the Middle East is such a beautiful activity. The hunt for that one special piece, the jolt of excitement you feel when it finally arrives or when you walk out of that store! But…did you know there are some pitfalls that can impact the importance and even the value of your collection? Here are 5 mistakes I totally made myself – and which proved to be valuable lessons!

1. Neglecting to research regional styles and techniques

That’s a no-brainer… diving into the market without a thorough understanding of the diverse styles and techniques specific to different regions and cultures will get you duped for sure. The Middle East and North Africa are a mosaic of cultures, each with its distinct jewellery traditions. From the intricate filigree work of Yemeni silversmiths to the colorful enamel designs of Amazigh craftsmen, the nuances are vast and varied.

When I purchased my first pieces of jewellery, as a young student, I definitely made mistakes (and I have the Drawer of Shame to prove it!) It took me a while to learn to recognize both regional styles and stylistic developments over time…and that is what it takes to avoid this: time.

My advice would be to invest time in researching the unique characteristics of jewellery from the regions or cultures you’d like to collect, right from the start. Having a handle on these aspects not only enhances your appreciation for the pieces, but also acts as a safeguard against purchasing replicas or misattributed items.

With time, you’ll become a lot less vulnerable against intentional fooling! This post tells you exactly what to look for.

2. Overlooking the importance of provenance and collection management

Provenance, or the documented history of a piece, is really paramount when building a collection of vintage and antique jewellery. Who were the previous owners of a piece? When was it first acquired? Has it been restored or altered? Equally important is keeping track of your collection. They usually go hand in hand.

The thing is I did not realize that this is actually important until much later. When I first started to collect jewellery, I just purchased what I liked and what I could afford, and never wrote anything down.

And people, did I come to regret that…! Things like the local name of a piece, or the name of the shop I found it, or the year I bought it. From the bottom of my heart: Write. It. Down.

Please do it now, while you still remember it – if not for your heirs, then for future collectors so they don’t have to start all over again with researching things you already knew. It’s such a waste of all the energy and time you have spent on finding out more on your pieces if they end up as nameless orphans.

Added bonus: I’ll never forget my surprise when I had purchased a piece of jewellery I was really excited about, only to discover I already owned one….believe me, there will be a point in time that you do not remember exactly what’s in your collection.

When purchasing jewellery with a gallery or online, ask for a comprehensive provenance that outlines its journey through time. You will have absolutely no problem obtaining this from reputable sellers! And, if you’re the first person to buy a piece in the country of origin itself, its provenance journey starts with you: download this free resource to do that in 5 easy, proven steps.

Why should you even care about provenance for jewellery from the Middle East and North Africa? Well, ultimately, a piece with a well-documented provenance ensures a transparent and trustworthy collection.

And while it may not matter to you now, as provenance only continues to increase in importance, it will be very relevant once you’d like to donate or sell your collection in the future. This post provides you with a clear action plan to approach a museum.

Of course, the jewellery itself speaks to its value and importance! But missing provenance may still cause the value of your collection to plummet, while outstanding provenance has proven to actually increase its value.

Want to start documenting your collection, but have no idea where to start? This course shows you step by step, including templates, checklists and how-to’s!

3. Failing to authenticate materials

Now here’s a field I made errors of judgment in, too. How to recognize real amber and coral from a photograph, for example? The Drawer of Shame contains bloopers here, too.

What is presented as silver may actually be low-grade silver or even base metal, and what about those murky waters of gemstones? Failing to authenticate these elements can lead to costly oversights, as I have learned in the past.

Granted, it’s a mistake you’ll only make once, but still. That feeling of having misjudged is just painful. There’s a reason I call it the Drawer of Shame instead of the Drawer of Valuable Lessons Learned, after all.

Related to that is insight in the use of synthetic materials: they really do not have to be indicators of reproductions. You just need to know which is which…for which I refer back to point number 1 above.

Synthetic materials may be authentic replacements, or even part of its design from the start. Click here to see some surprising examples of pieces that were actually designed with plastic.

I’d say it is crucial to be well-versed in the materials commonly employed in Middle Eastern jewellery, and their uses during different time periods. This, too, takes time and learning.

4. Ignoring preservation and maintenance practices

So, you’ve successfully purchased a piece of jewellery…and then all of a sudden it has turned green from verdigris. Yes, been there, too! And that panic attack is one I will not lightly forget.

Silver jewellery requires attention and care to preserve its beauty. Ignoring proper preservation and maintenance practices can result in irreversible damage, diminishing the value of your collection.

How to avoid your collection ending up damaged? For this, you’ll want to implement careful storage practices: see 4 simple tips on how to store – and how not to store – silver here.

A second advice is to regularly inspect pieces for signs of wear, loose settings, or corroded metal. By adopting a proactive approach to preservation, you safeguard the longevity and quality of your wonderful collection.

Quick tip: since that encounter with the Green Monster, I go over my collection twice a year. Around the end of the year, in the holiday season, and roughly halfway through the year during my Summer break.

5. Underestimating the power of connecting with others

Building a collection of vintage and antique jewellery from the Middle East is an ongoing learning process, and that is also the fun of it. I honestly learn something new every day!

Networking with experts and fellow collectors is fun, stimulating and productive. Underestimating the importance of connecting with individuals who share a passion for the same niche can limit your growth as a collector.

That sounds like a big claim, but think of it as an ever-expanding circle: see more, learn more, lessen your chances of getting duped.

For me, I noticed that I started to make significantly less mistakes when I started learning from others. Having conversations works both ways and develops never-ending, mutual learning.

And most of all: I gained friendships and a community that are just invaluable. Thank you for being here!

—

Where can I find more on traditional jewellery from Southwest Asia and North Africa?

More tips for collectors? Browse them all here!

Never miss a thing on jewellery news? 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 from North Africa and the Middle East!

—

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.

Gold dinars at a glance

Gold dinars at a glance

by | Reviews

Un tresor en or: le dinar dans tous ses etats

Gold dinars from all sides

Published Dec 18, 2023

A small blog on a small book filled with treasure! The booklet ‘Un trésor en or – Le dinar dans tous ses États’, published by the Institut du Monde Arabe, is a lovely, and surprisingly complete, introduction into the field of gold dinars from the Islamic world. It’s primarily aimed at kids, but this slightly older kid enjoyed it, too!

Cover of the book Le dinar dans tous ses Etats

Gold dinars: the stories they hold

This tiny publication presents 428 gold dinars shown in the exhibition of the same name, held at the Institut du Monde Arabe in Spring 2023. In just 47 illustrated pages, it introduces the length and width of the world these coins represent. For example, did you know the word dinar is derived from the coin called denarius in Latin? I love these historical continuities.

The booklet explores where the gold for these coins came from, its preferred alloy, its shapes and inscriptions, but there is much more than that. Each spread in the book covers a different topic: Christian dinars, dinars with zodiac signs, calligraphy, names of sultans and caliphs…and let’s not forget dinars struck by women rulers.

It brings several useful introductory schematics, too: how to describe coins, a map with minting offices in the medieval Islamic world, and a very useful overview of all those dynasties and countries at a glance.

Gold dinars: a tiny treasure

Like I said, this is a very small booklet, but it covers much ground! Although it is primarily aimed at kids, I find it a very well executed example of introducing the span of stories a coin can share to a wider audience. It is accessible, abundantly illustrated, and informative: a tiny treasure in itself.

And that makes me look forward to the forthcoming publication of the coin collection in the Khalili Collections even more…!

More information on Un trésor en or – Le dinar dans tous ses États’

Title: Un trésor en or – Le dinar dans tous ses États’. 2023 47 pages, full colour, in French.

Published by the Institut du Monde Arabe (IMA), Paris.

Available in the webshop of the IMA.

I purchased this booklet in the museum shop of the Institut du Monde Arabe, Paris.

—

Where can I find more on traditional jewellery from Southwest Asia and North Africa?

More book reviews of jewellery books? Browse them all here!

Never miss a thing on jewellery news? 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 from North Africa and the Middle East!

—

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.

Oman Adorned

Oman Adorned

by | Reviews

Omani silver jewellery

Oman Adorned. A Portrait in Silver

Published Dec 15, 2023

It’s a book that has been out for almost 30 years….Oman Adorned. A Portrait in Silver was published in 1997, but still is on the ‘most wanted’-list for many collectors. What is it about this book that makes it such a must-have, even though it has been out of print for decades?

The book 'Oman Adorned. A Portrait in Silver' shown with an Omani gold and silver necklace.

Oman Adorned: a hard to find book

I myself have been looking for this book for the better part of 12 years. And when I finally obtained a copy in 2023, I could not believe my luck! So, what’s the big deal about this book? Is it worth the hype?

I’d say: yes, it is. And that is not because I purchased it at a steep price and am now trying to convince myself, rather than anyone else, that it was worth it. (looking at you, new pair of overpriced shoes!) In all transparency, I hit the book jackpot for once, with a bookstore who did not realize the value of its contents for collectors and sold it at a very reasonable price.

Omani silver jewellery: an overview

Oman Adorned presents the silver jewellery tradition of Oman in three parts. These are geographically defined between Northern Oman, Central Oman and Southern Oman.

Where it truly excels, is in providing the cultural context and original names of things. And those names are not just given for the jewellery pieces themselves, but also often for its individual components: beads, dangles, coins…and even the sound some hollow anklets with small pebbles on the inside make is mentioned with its own name.

For each jewel, the book describes how and when it was worn. A large number of photographs shows what that looked like. The introductory chapter brings the history and geography of Oman, and throughout the book its various cultures are presented.

Detail of Dhofari silver jewellery from Oman.

Living Omani silver: trade, background and culture

On top of all this, all three parts of Oman Adorned include background information beyond the pieces themselves. There’s a chapter on silver jewellery for children, and jewellery in relation to the lives of women: how and when they obtain silver jewellery and why.

You’ll also find a chapter on silver jewellery and the Omani zar ceremony, the difference in jewellery and meaning between boys, men, girls and women, and chapters on trade and ownership. You’ll read how babies’ ears were pierced, how anklets added to the festivities of dance, how kohl was produced and hair was braided.

As such, Oman Adorned covers many more aspects of jewellery than just the ornamental. It discusses silver jewellery as ornament, as possession, as amulet, and as part of economic trade and household economy.

And that is what sets it aside from other books on jewellery: many of them present jewellery with only very little information, and this book places jewellery squarely in its cultural context.

Limits of Oman Adorned

As you see, this is a must-have book in its detailed descriptions and background information. And even this thorough work has its limits.

The book is extremely well-researched, but it is not complete. And it could never be, because jewellery is living heritage that changes along with its makers and wearers: creativity cannot be frozen in time, or in book pages for that matter.

As the authors themselves already write in their foreword, there is so much more on Omani adornment they did not get around to investigating. They also note the gaps in knowledge and jewellery as a result of collecting: a super important point that many other books do not address. See more about that here.

They describe this book as ‘a start’ – and if this is the start, you’ll get an idea of how much more is out there…! Incidentally, the wonderful research project on Omani silver carried out by several research partners is a fantastic follow-up: click here to read more about this exciting project! The Dhofari jewellery shown above was on display in the British Museum in the accompanying exhibition, celebrating Omani silversmithing.

Oman Adorned: how to get it

Now that is the most difficult part! The book has been out of print for decades, and getting your hands on a copy is no easy task. Of course, we all hope that we will run into a copy in that small charity shop, at the sale of the local library or in that huge bookshop with second-hand books…but those odds are slim. It does pop up irregularly online, but that is indeed a rare occasion.

Booksite Find More Books keeps track of online bookstores and other digital platforms. They cast their search net wide, and include results from (among others) AbeBooks, Amazon, Ebay and roughly 60,000 antiquarian book dealers. With the search results for your title, it also shows a graph where readers can see how the price of a book develops over time and how often it is offered for sale. The results for Oman Adorned are telling: it has not been seen online between 2016 and 2023.

Oman Adorned: what is a reasonable price for this book?

There is no easy answer to this one! Its current value is determined largely by its scarcity and lack of competition: it’s a rare book, and a very detailed one. Anyone can make a catalogue, let’s say, but this book goes above and beyond that.

But, if it were to be reprinted, and with such high demand I wonder why it hasn’t already, the value of existing copies would plummet. And imagine…if a new book on Omani silver were to be published, provided it matches the detail and knowledge in Oman Adorned, the price would decrease, too.

I suppose the consideration is not so much to see it as an investment. It rather depends on the balance between the value of knowledge and insight, and your budget. For me, this is an exceptionally good (actually indispensable) book to help me in identifying and studying Omani silver. But, although I have come across a few copies incidentally earlier, those outweighed my means. Simple as that.

So, I located it in a library, and went there whenever I needed to look something up. Worldcat is a great resource for locating titles in libraries, but… here as well, it’s a rare title.

Are you looking for a copy of Oman Adorned? Set search alerts online, with your local bookstore, and…keep looking! It may take time, but if I found one, there is hope for you, too.

Do you own a copy that you wish to sell? Contact me and I’ll help you get in touch with people who would treasure it. Again, in all transparency: I will not be selling it for you – I will simply provide guidance on how to find a buyer who truly appreciates it.

Oman Adorned: an exceptional book

Oman Adorned. A Portrait in Silver is not just a phenomenal book in its wide variety of jewellery types, but very much also because of its rich and detailed social, historical and cultural context. This book is way more than a catalogue of things: it truly is a portrait of this beautiful country as seen through its jewellery.

More information on Oman Adorned. A Portrait in Silver

Title: Oman Adorned. A Portrait in Silver. By Dr. Miranda Morris & Pauline Shelton, 1997. 362 pages, full colour, in English.

Published by Apex Publishing, Muscat 7 London.

I purchased this book in a second-hand bookstore online.

—

Where can I find more on traditional jewellery from Southwest Asia and North Africa?

More book reviews of jewellery books? Browse them all here!

Never miss a thing on jewellery news? 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 from North Africa and the Middle East!

—

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.

Dictionnaire des Bijoux

Dictionnaire des Bijoux

by | Reviews

North African jewellery

Dictionnaire des Bijoux

The Dictionnaire des Bijoux (Dictionary of Jewellery) by Paul Eudel presents jewellery from North Africa. It’s a resource that has been around for more than a century, and you’ll find a downloadable copy for your own use with this post. What does this book offer, and what do we need to know before using it?

Describing jewellery from North Africa: the colonial background

Before you think: ‘Why do I need to know how, why and when a book was made? I just want to see jewellery references!’ – bear with me. Especially with older books, it is important to have some idea of the aim with which they were written. And that is because that aim colours our understanding of jewellery today. So here we go.

Paul Eudel’s overview of jewellery from North Africa was published in 1906. The Dictionary of Jewellery is the product of a project that started well before the 1900’s. Eudel had first published his works on the works of jewellers in Algeria and Tunisia, followed by an essay on jewellers in Morocco.

During this timeframe, the Maghreb was colonized by France. It is against this background that the book has been compiled. Its purpose was not simply to document jewellery from a cultural perspective, but far more from an economical perspective. Knowing what types of jewellery existed and what materials went into them, provided a basis to calculate and impose everyone’s favourite: taxes. Taxes, that would flow into the economy of France.

A dictionary of jewellery: critical reading

The re-edition of this book which I read, features an introduction by Moroccan ethnologist Abdelmajid Arrif. That introduction adds very necessary context to the book. One of the points he makes, is that the very act of listing, documenting and presenting information into a dictionary is a very colonial thing to do.

Now of course every culture on earth has been making lists since writing was first invented. On a side note, writing was invented because humans wanted to make lists – the invention of writing is literally rooted in economy.

It gets colonial when a culture starts making lists of things encountered in another culture: cities captured, enemies killed, loot taken are hot topics in ancient inscriptions. But, also the seemingly innocent listing of jewellery types in a colonized region falls into that category.

Dictionnaire des Bijoux by Paul Eudel, with a Kabyle fibula placed on the cover.

Jewellery from the Maghreb: what do we miss?

So, what are we missing from these many pages of jewellery examples? Most importantly, all cultural context is left out. This book presents an overview of jewellery types and nothing more. It’s a catalogue of sorts. Some entries also tell us where a certain piece was worn, and some even by whom. But mainly, it’s a list of objects.

The oral histories that go with jewellery pieces are missing. Their meaning as wedding or dowry gift, the symbolism in their design, the songs jewellery features in, the art and creativity of the jewellery creators themselves…all that and more has no place in a dictionary. It’s like a phone book, more or less: it simply lists your contacts, but it does not capture their personality or your relationship with them.

Eudel’s dictionary of jewellery: what do we have?

If you have read this far, you might be wondering by now if this book is useful at all. It very much is! The main thing to keep in mind is that this book is not the definitive book on North African jewellery. Obviously, you would not reasonably expect a book of only roughly 200 pages to showcase all jewellery from four countries. But lists often have that effect: if it’s not on the list, it does not exist. This is the third filter of selecting: click here to see how that works!

What it absolutely is very valuable for, is the original names of things. This overview presents us with a wealth of jewellery pieces from the Maghreb, all listed with their own name. These are often missing from today’s descriptions outside of the Maghreb itself, so having access to these is a major advantage.

The drawback is that, well, you’d have to know their name to find anything (it’s a dictionary, after all), but the many illustrations speak for themselves and make it easier to find the piece you’re looking for. And I may be a little bit of a nerd, but I love starting at A and letting myself be surprised by what I encounter!

Those illustrations themselves are also incredibly helpful. A perfume container for musk, called meskia, is depicted both open and closed. The hundreds of detailed drawings bring the jewellery from North Africa to life and show us what they looked like around the beginning of the 20th century. As a time capsule, it is a very helpful resource to get an idea of the date of some jewellery pieces.

Dictionnaire des Bijoux de l’Afrique du Nord: an important resource

With all its pros and cons, the Dictionnaire des Bijoux is an important resource for North African jewellery. It is a starting point for research, in that it offers insight into the types of jewellery in existence in the late 19th and early 20th century. When you’re looking into North African jewellery, this book will be a great help with their vernacular names. And with those, you will be able to extend your search and learn more: see here how to go about that!

As it is an old book, it is widely available in pdf-form, and you’ll find a downloadable pdf below this blog. This is a digital scan of the original book, so in its original formatting and without additional explanations, introduction or indexes.

Personally, I like having a reprint in tangible form on my shelf: it makes for much easier reading and searching. Details of the book that is pictured above in the video and the photograph are below: this edition has been reformatted and includes the introduction by Abdelmajid Arrif, the essay on jewellers in Morocco, and an alphabetic index.

Download the Dictionnaire des Bijoux here

More information on Dictionnaire des Bijoux de l’Afrique du Nord

Title: Dictionnaire des Bijoux de l’Afrique du Nord. Maroc, Algerie, Tunisie, Tripolitaine. By Paul Eudel (1906), with an introduction by Abdelmajid Arrif 2014. 255 pages, b/w with a few colour images, in French.

Published by Editions Frontispice.

Available online and in well-sorted bookstores.

I purchased this republished book in the museum shop of the Institut du Monde Arabe, Paris.

—

Where can I find more on traditional jewellery from Southwest Asia and North Africa?

More book reviews of jewellery books? Browse them all here!

Never miss a thing on jewellery news? 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 from North Africa and the Middle East!

—

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.