Verdigris in Middle Eastern jewellery

Verdigris in Middle Eastern jewellery

by | Tips for collectors

What every collector needs to know

Verdigris in Middle Eastern jewellery

Updated June 6th, 2025

So, this happened… Recently, a Yemeni jewellery set came up for sale at an online auction. A friend sent me the listing, and one phrase in the description stopped me mid-sip:

The piece was labelled:

“A vintage metal ornate dress regalia, with decorative chains and turquoise decoration.”

I nearly choked on my coffee.

‘Turquoise decoration’?! No way. That greenish substance was not turquoise. It was verdigris – a corrosive compound that damages jewellery. Calling it a “decoration” is not just misleading – it’s potentially harmful to collectors and collections. The jewellery set in question is shown below: take a good look at that greenish hue, because that is what we’ll zoom in on here.

I made a 5 second reel out of it on Instagram (which got over 25k views) – but this topic needs a little more explanation than a social media caption. So, here’s a blog on verdigris, the Green Monster!

What is verdigris?

Verdigris is a corrosion product that forms on copper, brass, or bronze when these metals are exposed to moisture and air. The word comes from the French vert-de-gris. It means ‘grey-greenish’, and was used as main component in green pigments. Because it is unstable, and reacts with other materials, it ceased to be used in art as soon as other green pigments became available.

In scientific terms, it’s a mixture of copper salts, formed through the reaction of copper with water, oxygen, and carbon dioxide, often catalysed by organic materials like skin oils, textiles, or leather.

Traditional jewellery from North Africa and Southwest Asia often includes silver-copper alloys or decorative elements containing copper or brass. When these metals are exposed to humidity or stored improperly, verdigris can begin to develop. It looks like green crusts, patches, or powdery growths on the surface. The header above this blog post shows you what that looks like, as does the image of the Yemeni jewellery set.

Why is verdigris a problem for Middle Eastern jewellery?

While it may look picturesque (well, to an untrained eye: me, it makes me scream), it’s far from harmless. Verdigris is corrosive and unstable. If left untreated, it will continue to eat away at the underlying metal, weakening structural components, eroding fine details, and compromising the overall integrity of your jewellery.

If one piece shows signs of verdigris, this may indicate its storage conditions are too humid. If you have more than one piece in the same storage conditions, chances are verdigris may develop on those, too. [1] This makes it not just a problem for one piece, but a risk to an entire collection. It’s a nightmare, honestly.

In museum contexts, verdigris is treated as an active conservation concern. For private collectors, the risk is no different. Ignoring it can lead to permanent loss of historical material, diminished value, and potentially hazardous conditions if the corrosion product interacts with skin or textiles.

How to protect your Middle Eastern jewellery collection from verdigris?

Here are 5 things you can do to protect your collection of traditional jewellery from North Africa and Southwest Asia from verdigris:

Learn to identify verdigris

Verdigris appears as a surface deposit—often flaky, waxy, or powdery. It typically forms in crevices or where metal has been in contact with other materials.

Approach vague or overly positive descriptions with caution

Phrases like “turquoise decoration,” “aged patina,” or “natural wear” can mask underlying issues. If an image shows green deposits on a piece of jewellery that traditionally wouldn’t include turquoise, it’s likely corrosion.

Isolate affected items

If you discover verdigris in your own collection, remove the piece and inspect its storage conditions (see below). Wrap it in clean, acid-free paper or cloth and store it in a well-ventilated, dry area until you can address the issue. This is also why you will want to carry out regular inspections of your jewellery, so you can catch it early.

Store your collection correctly

Avoid high humidity. And if you cleaned an item: make sure it is dry through and through before storing it. Don’t use sealed plastic bags or containers, which trap moisture. Ziploc bags are fine, but don’t seal them shut. Use acid-free tissue and breathable materials. Keep metal components from direct contact with skin oils, leather, or synthetic materials that might accelerate corrosion.

Clean with care

Do not scrape or scrub verdigris off with household tools: this may scratch the metal or force corrosion deeper into the surface. Dry brushing or gently dabbing with a cotton swab under professional guidance may be appropriate, but for valuable pieces, always consult a conservator.

See more about cleaning your jewellery here (….and read this blog post first!).

Caring for Middle Eastern jewellery: know your stuff

And finally, a few thoughts…

The misidentification of verdigris as ‘turquoise decoration’ highlights a broader issue: lack of specialized knowledge in non-dedicated auction settings.

Because sellers, especially those listing pieces at generalist or online platforms, do not always have the training to accurately assess traditional jewellery from North Africa and Southwest Asia. Mislabelling corrosion as decorative inlay is so stupendously ignorant that it left me baffled, but you might also see signs of wear and damage described as part of the ‘design’. Now, don’t get me wrong, this is not necessarily out of bad intent! In most cases, it’s simply not-so-blissful ignorance.

But the thing is: the consequences are real.

For collectors, this basically means one thing: buyer beware. It’s essential to develop the skills to recognize materials, assess condition, and interpret seller descriptions critically. Accurately interpreting what you’re seeing (…and what you’re being told!) requires more than just an eye for beauty. It requires contextual knowledge: of materials, techniques, and signs of deterioration.

This is why learning matters. Because every piece tells a story – and it deserves to be heard, not eaten away.

So, thank you for being here and following my jewellery blog: together, we learn and preserve this heritage jewellery for the future!

—

More tips for collectors of Middle Eastern jewellery? Browse them all here!

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

—

References

[1] An earlier version of this blog mentioned that verdigris spreads. A knowledgeable reader of this blog pointed out to me that this is not the case, saying ‘keeping jewellery perfectly dry will prevent verdigris from occurring and prevent existing verdigris from affecting other areas’. Thank you!

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.

Joyeria Amazig/Amazigh Jewelry

Joyeria Amazig/Amazigh Jewelry

by | Cultures & People, Reviews

A private jewellery collection

Joyería Amazig/Amazigh jewellery

Published on November 3, 2024

Another private collection that sees the light of day: in an exhibition and a catalogue! The collection of Amazigh jewellery collected by Spanish ambassador Jorge Dezcallar de Mazarredo has been the focus of an exhibition in Granada, and its accompanying catalogue Joyería Amazig presents an overview of the collection.

Amazigh jewellery: neighbours

With the Iberian Peninsula and North Africa being neighbours, separated only by the street of Gibraltar, both geographical realms share a history. Not only of trade, but of mutual colonisation; the Amazigh kingdoms conquered the Iberian Peninsula in the 8th century, and would control it until the 15th century, and in Spain held two ‘protectorates’ in Morocco from 1912 to 1952 amidst the French colonisation of the Maghreb.

It is this shared history that the exhibition aims to emphasise with an exhibition on Amazigh jewellery: ‘to understand more about the cultural wealth of the past, and to build bridges towards a future based on respect for and appreciation of diversity’ [p. 11] [1]

Amazigh jewellery: the book

This publication is bilingual in Spanish and English: an excellent choice, as by using two of the major world languages, the collection may reach a wide audience. The book is divided into two main parts. First, an introductory part highlights the cultural background of Amazigh jewellery. This is followed by the second part, which is the catalogue itself.

The introductory part starts with two essays on the cultural history of the Amazigh, and places these in local context in an essay on the Amazigh in Granada. Given that the exhibition was held in Granada, this chapter truly connects two worlds. The jewellery is then explored by Cynthia J. Becker. Her article uses the collection as a starting point and merges it with her in-depth description of jewellery makers and wearers. I loved how she both includes the broad strokes of history as well as significant local details to place this jewellery collection in its cultural context.

Finally, the ambassador himself details how both his collection and his appreciation for jewellery grew – as you know, it is important to get some idea of the circumstances of collecting and the personal preferences of the collector. This helps understand the collection itself and to compare it with others: each collector holds one piece of the total puzzle, and so having a chapter on the collection history is most valuable. In this case, the starting point was his own culture: the presence of Spanish coins in clothing pins.

The collection: a mixture of pieces

In this case, the collection embraces mostly relatable pieces. Where you will often find catalogues with high-end, exceptional pieces (because that is what the collector is aiming for, and which leave out the more common pieces), these pages reflect the transitional stages of jewellery: the jewellery available in the market today, and their changing interpretations.

Both older and newer jewellery sit side by side with restrung or altered pieces, like the Draa temporal ornament reworked into a pendant [p. 222]. There are also several chimeras or composite pieces in the collection, like the diadem shown on p. 200: this has been constructed of two different bands placed on top of each other, crowned with an upside-down positioned fibula. [2] This has been constructed for the market for cultural outsiders: it would not have been worn as such by the Amazigh community.

That is also the case with the multi-strand necklaces shown on pp 244-245: these are relatively recent compositions, and not part of traditional dress. [3] Creations like these showcase the evolving nature of jewellery from an economical point of view: a way to make a living. Those alterations come in various forms, and are not automatically a bad thing: see how that works and 5 practical tips on how to spot alterations here.

However, the catalogue does not differentiate between these newer and older pieces, and that is a serious drawback. None of the captions gives a date for the piece shown: the publication definitely does not claim all pieces are indeed old, but does not point out when they are younger, either. There are also no reflections on cultural authenticity, which in several cases might have helped to avoid misunderstandings.

A wide variety of jewellery

Personally, I liked the overview of fibulas that have coins as their main decorative element. Coin jewellery may tell us a lot about its wearers, as I describe here.  7 pages with a series of fibulas carrying Spanish coins present a selection that you will not find as easily elsewhere – here, the focus of the collector brings us another angle through which to study jewellery. The drawback is that of all objects in the catalogue, these lack a proper description. For a Spanish person, these coins are probably easily recognisable and datable, but I’ll need to spend a little more time comparing the images to Spanish coinage through the centuries.

The variety of the collection is wide: I loved the variety in fabric headbands with all sorts of decoration stitched on (although I’m not entirely sure all of them are in authentic configuration), you’ll find several examples of large fibula sets, but also a selection of tiny amulets…there are pieces from Mauritania to Libya and I spent a good time going over all of them.

A noteworthy point of the book is that it zooms out to the transregional elements of Amazigh jewellery on occasion. A temporal pendant from Libya for example is compared to both Moroccan and Tunisian examples [p. 237, only in text, not with images], and while all three are different, their common ancestry is not often addressed directly, so I liked that this was touched upon, however briefly.

Joyería Amazig

The focus of this book is, understandably given the position of the collector, on Morocco, but incidentally you will find pieces from Algeria, Tunisia and Libya as well. It is abundantly illustrated: landscapes, rock art, architecture, paintings and photos of people allow you to appreciate the context of the jewellery.

That being said, there is no reflection on the nature of some of these images: colonial postcards and Orientalising paintings are included without further discussion.Some of these have been made under duress, and not all of them are to be considered reliable sources: personally, I feel that the images chosen for a book should be considered with as much care as the text itself.

The artists’ drawings of jewellery throughout the book are simply beautiful: the drawing on the cover is just one example (although those touches of verdigris are a bit unsettling on such a beautiful piece!) There are many more, and I liked their dreamy rendering of beautiful jewels.

The introductory chapters are well written, and contain a wealth of knowledge about Amazigh history and culture, which is so important when looking at jewellery in its context. The book reflects the changing market for jewellery, and pays attention to the more modest pieces. It is these ‘humbler’ items that stand to disappear first, because collectors do not always value these: see the 4 filters of collecting explained here.

I also appreciated that the catalogue part dedicates a single page to every item, allowing you to see it in full. Each piece of jewellery is presented against a black or cream-coloured background, so they really stand out.

However, caution is needed if you’d want to use this as a reference book: like I said, the captions do not clarify the age of the pieces and also do not address the possibility of pieces being composed and rearranged from older elements. When researching exact details of individual pieces, you’ll need to cross-check information in this book with other sources.

Joyería Amazig is an overview of a personal collection. The chapters on its cultural context in the first part of the book add value; the catalogue needs to be considered with caution.

More about Joyería Amazig

Joyería Amazig: identidad de los pueblos beréberes – Amazigh jewelry: identity of the Berber Peoples

Various authors, 2024. 348 pages, full colour, bilingual in Spanish/English

Published by El legado andalusí.

Available with the publisher: to order, fill out the email form under ‘solicitar información’ and the publisher will get back to you with a quote for shipping costs. (the field ‘correo electronico’ is where you leave your email address)

I received the book digitally as review copy. In all transparency: I received a low resolution pdf to review, and have not seen the printed book itself. I can’t tell you anything about the technical execution of the book, the quality of the images, or show you what it looks like inside – just so you know!

—

More posts on jewellery books? Browse them all here!

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

—

References

[1] I think it’s page 11, the introductory part of the book has no page numbering.

[2] Probably a belt element as shown in Benfoughal, T. 1997, Bijoux et Bijoutiers de l’Aures, p. 162-164, combined with a diadem and the body of a fibula.

[3] As discussed by Alaa Eddine Sagid, curator of the MAP Marrakech, on Facebook-group Ethnic Jewels Community, May 13, 2021.

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].

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 the jewellery of the Egyptian zar-ritual. 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.

15 reasons why provenance matters for ethnic jewellery

15 reasons why provenance matters for ethnic jewellery

by | Tips for collectors

Provenance and research

15 reasons why provenance matters for ethnic jewellery

Published Feb 12, 2024

When you have been reading this blog for a while, you know that the topic of provenance for ethnic jewellery pops up every now and then. It gives some people the heebie-jeebies, others are outright annoyed this word keeps crossing their path, and others again never gave it much thought and wonder what the fuss is all about. Here are 15 reasons why paying attention to provenance is a really good idea!

Provenance: what is it again?

Provenance is like the story of a piece of jewellery. It tells us where it comes from, who owned it before, and how it got to where it is now. It’s a way to know the history of the jewellery, like a family tree for things.

This can be important because it helps us understand its value, make sure it’s real, and sometimes, it’s needed for legal or museum reasons. So, when you hear about the provenance of a piece, it’s like hearing its life story and all the places it has been. Or, when you’re more into detective TV-shows: the chain of evidence.

It may take the form of receipts, entries into a diary or purchase ledger, photographs with a jewel in it, your own notes on what a seller shared with you…anything that may serve as proof of the story of your jewellery.

Why does provenance matter for ethnic jewellery?

I mean, let’s be honest for a minute: we all have seen enough heist-movies to understand that provenance is very relevant when it comes to a Rembrandt or Picasso, or the big diamond necklace from some royal or celebrity.

For looted art, we also get it. No peddling stolen cultural heritage. Makes total sense.

But ethnic jewellery..? That was available by the kilo in the 1960s. It would have been melted down if not for collectors, (both foreign and local!), and receipts were not exactly provided.

And what is more: it is still being offered for sale in the countries of origin. Why on earth would anyone care about proper provenance now?

In my view, provenance is not just about legal acquisition (although that definitely plays a role, too). In provenance discussions, the emphasis is often on illegal trade. And that is what annoys people to a point where they’d rather avoid the topic altogether. I totally get that. But there is more to provenance, and so I’d like to step away from the whole legal/illegal vibe and focus on something else entirely.

Or better, make that two things.

First, the world is changing – the 1960s are 80 years away from us. Traditional jewellery is taking on a new role for the cultures that it comes from. It is increasingly valued as heritage, displayed in museums, and part of a country’s identity.

And second: for ethnic jewellery, provenance is far more about safeguarding knowledge about heritage. Provenance is super important for research purposes!

15 reasons why documenting provenance is a really good idea

Here is a list of reasons I could think of, varying from research to appraisal to personal – and yes, I even included a few legal reasons why caring about provenance is a really good idea.

1 – Cultural significance. Provenance is crucial as it provides insight into the cultural context of the vintage ethnic jewellery. Knowing where a piece comes from exactly, ensures that it does not end up orphaned and detached from its cultural context. Take it from me: I just spent years of my life figuring out what Egyptian zar jewellery is, and much of that research was devoted to piecing together the exact provenance of pieces that are now with collectors and museums.

2 – Preservation of heritage Of course, the focus on provenance is also about protecting cultural heritage. It aims to prevent the trafficking and illegal trade of artworks that might have been taken from their places of origin under questionable circumstances. Read more on how that may affect ethnic jewellery in the future here.

3 – Research value Very important: secure provenance of vintage ethnic jewellery is a great help in jewellery research. It provides insights into the evolution of styles, techniques, and materials used, and it also may help to understand its function and use.

Documenting the journey and origin of traditional jewellery, even when purchased in bulk, shines a light on the social, economic, and cultural conditions of the time. Proper provenance can be a make-or-break factor in our knowledge about jewellery, and about the cultures that it comes from.

That research I mentioned under reason no. 1 allowed me to understand why jewellery became available on the market when it did, and what its changing importance for its wearers was. Without provenance, that jewellery would just be a random pile of things.

Moving on from research to trade: provenance is important for the jewellery market as a whole, too.

4 – Market credibility. Emphasizing provenance contributes to the overall credibility of the market. A transparent and well-documented history of a piece of jewellery adds value and trust to the entire industry, benefiting both buyers and sellers.

5 – Market value. Knowing the provenance of your pieces can contribute to their market value. As the market begins to place more emphasis on transparency and traceability, having a documented history can make your collection more appealing to potential buyers or institutions. This is already a visibly growing practice in the ethnographical world, where tribal art is offered with a clear provenance.

6 – Ethical sourcing. There’s a growing awareness of ethical considerations in the jewellery and ethnography world in general. Provenance helps ensure that jewellery has been sourced and traded ethically, aligning with contemporary values and expectations.

7 – Authenticity assurance. Knowing the provenance helps in ensuring the authenticity of the jewellery. While you may have bought pieces you love, having a well-documented history can assure you and others that what you own is genuine and not a counterfeit. In an era where forgeries are becoming more sophisticated, provenance acts as a safeguard. Mind you, fakes are as old as humanity itself – it’s never a definitive assurance, but it sure helps!

8 – Investment value. For collectors looking at jewellery as an investment, a strong provenance can enhance the security of that investment. It provides a comprehensive history that can be crucial for future sales or transfers. As the art world evolves, a well-documented history becomes increasingly important, ensuring that your pieces retain their value and relevance over time.

9 – Age verification. Provenance serves as a means of verifying the age of vintage jewellery, allowing collectors to accurately assess its historical significance. It is another tool in your toolbox to avoid getting duped.

This is also a really important factor in jewellery research: if I can be certain that a particular style or type existed at a given period, this will help me place those jewels in their cultural context.

But that is me: what about you? What can proper provenance bring you, personally?

10 – Family legacy. Provenance is vital for those who wish to pass down jewellery as a family legacy. It provides a documented history for future generations, and it is these generations that may be needing sound provenance. When combined with your own family history, the provenance of a piece may include photo-albums, diaries, memories…the life of your jewellery becomes entwined with your own. Its history is as much your history, and the most heartbreaking conversations I have are with heirs who had no idea of this part of their parent’s lives – and now can no longer ask.

11 – Insurance coverage. Switching to the cold-hearted reasons: provenance is often required by insurance companies to assess the value of your collection accurately. While you may not be concerned about selling, having proper documentation can ensure that your pieces are adequately insured against loss, damage, or theft. In other words: keep those receipts, even if it’s only for your insurance coverage!

12 – Legal considerations. Provenance documentation is increasingly becoming a legal requirement, especially when dealing with the sale or transfer of valuable items. While it might seem burdensome, having a record of your purchases can protect you from legal issues and ensure compliance with evolving regulations. These are in more detail:

13 – Ownership verification. Provenance serves as a means of verifying ownership, a crucial aspect when transferring jewellery to museums or other institutions. It helps confirm that the seller has legal rights to the item and can transfer ownership without legal complications. This is actually a thing: if you’d like to make a donation, the receiving party will want to ensure you are actually entitled to do so.

14 – Legal transfer to heirs or institutions. If you plan to pass your collection on to heirs or donate it to institutions in the future, having a clear provenance makes the transition smoother. It helps your beneficiaries understand the value and significance of each piece, and it helps prevent disputes or legal challenges among heirs or between the donor and the receiving institution.

15 – Museum acquisition policies. Many museums have strict acquisition policies that mandate a clear provenance for any item they accept. By meeting these standards, your pieces may become more attractive to potential buyers or institutions, expanding the reach and influence of your collection. Here is a roadmap to help you get started with donating your collection.

Why should you care for provenance as a business?

While it might feel like an extra layer of scrutiny, emphasizing provenance is not meant to hurt anyone’s business. It revolves around transparency and accountability. It is, in essence, a collective effort to elevate standards, protect cultural heritage, and safeguard the knowledge still attached to jewellery, before it has completely vanished.

Why should you care for provenance as a collector?

Documenting provenance may seem like a lot of effort, especially for collectors who just want to enjoy the pieces they’ve acquired over the years without the hassle of documentation. However, as I have outlined above, there are several important reasons why provenance is gaining attention, even for items purchased decades ago without receipts.

Provenance: anything I can do…?

After working your way through this list, you may be thinking: I don’t really see how this affects me. The thing is, it may not be relevant now, but it certainly will be in the near future. Whether we like it or not, the emphasis on provenance is growing stronger.

And I would not be devoting this much blog space to it if I felt it was a minor matter. I believe establishing and documenting provenance is incredibly important, not because of the legal/illegal angle, but because of everything we stand to lose. There is a wealth of heritage, culture and history in your jewellery that deserves to be preserved, and provenance is one of the factors that helps do just that.

So even if there is just one among the 15 reasons above that speaks to you, now is the perfect time to get organized!

I created a guide for you with clear, actionable steps that you can start with today. Find it here: every little note you make today, helps preventing this beautiful aspect of a culture from getting extinct. Thank you!

—

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

—

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].

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.