Patina in Middle Eastern jewellery

Patina in Middle Eastern jewellery

by | Tips for collectors

what is patina?

Patina in Middle Eastern jewellery

Published March 18, 2024

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

Patina in ethnic jewellery: what it technically is

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

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

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

Patina, rust, tarnish: what is the difference?

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

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

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

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

Patina in ethnic jewellery: what collectors also mean by it

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

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

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

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

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

Old silver jewellery in Cairo's Khan el Khalili

Patina in ethnic jewellery: what it definitely is NOT

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

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

Patina in ethnic jewellery: how to check for authentic patina

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

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

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

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

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

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

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

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

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Never miss a thing on jewellery discoveries? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

More tips on collection management? Check this free resource or download the e-book!

—

Would you like to quote this article? Please do! Here’s how:

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

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.

CITES: what does it mean for collectors and museums?

CITES: what does it mean for collectors and museums?

by | Tips for collectors

collecting jewellery

CITES: what does it mean for collectors and museums?

Updated September 10, 2025

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

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

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

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

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

What is CITES? Understanding the convention on endangered species

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

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

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

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

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

CITES and coral in jewellery: antiques

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

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

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

CITES pre-convention pieces: when coral needs a licence

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

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

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

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

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

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

Why antique jewellery still matters for biodiversity under CITES

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

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

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

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

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

What jewellery collectors must know: CITES requirements for importing jewellery

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

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

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

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

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

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

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

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

Frequently Asked Questions about CITES and jewellery

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

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

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

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

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

CITES, jewellery, and the balance between nature and culture

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

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

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Never miss a thing on jewellery discoveries? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

More tips on collection management? Check this free resource or download the e-book!

—

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!

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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.

UNESCO 1970

UNESCO 1970

by | Tips for collectors

collecting jewellery

UNESCO 1970: what does it mean for me?

Updated Jan 4, 2024

You may have heard of it: ‘UNESCO 1970’. But what is that exactly, and what does it mean for owning, buying and selling of traditional jewellery from North Africa and Southwest Asia? In this article, I’ll walk you through the main aspects.

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

Also, this article may not be what you’d like to hear: there are collectors who find all these laws and rules annoying. But here’s the thing: we may not like them, but they exist anyhow, and more importantly: they may affect the future of your collection. So let’s dive into this convention!

What is UNESCO 1970?

First some details. ‘UNESCO 1970’s full name is the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. [1] It was adopted in 1970 by the members of the United Nations. Its aim is, as the title suggests, to prevent the illegal trade in cultural heritage.

After the Second World War, it became increasingly clear that cultural heritage was looted and sold for profit on a massive scale, as a result of which many cultural treasures left their countries of origin.

And that is not just statues and sculptures and paintings and frescoes: jewellery is a favourite, too. It’s portable, valuable and almost guaranteed to have a buyer.

‘Okay,’ I hear you thinking, ‘but that is about ancient jewellery. Mine is max a hundred years old, give or take, and it is still being sold today!’ You’d be right, and I’ll get to that in a bit – where it concerns antiques, not antiquities, is where it gets interesting.

Is UNESCO 1970 law or legally binding for collectors of jewellery?

No, it is not: it is a convention. Up until now, a little over 100 member states of the United Nations have ratified the convention, meaning they explicitly undersign its goal.

That still does not make it law: every country has different ways of embedding the goals of the convention into their own national legislation on heritage and its import and export.

And these laws are binding for collectors and dealers of traditional Middle Eastern jewellery.

Here lies an important criterion in general, so pay attention to the next few lines: this is where miscommunication occurs every so often.

You will sometimes find advice stating that anything exported before 1970 (the date of the convention) is presumed legal. That is too simple.

It ignores the existing laws of the countries of both export and import. Let that sink in for a moment: there may be laws in the country your jewellery comes from, that predate UNESCO 1970.

Egypt is a perfect example of what I mean. Egypt already legally prohibited the export of antiquities without written approval in 1912, and revised that law in 1951.

Proving an antiquity left Egypt legally therefore requires establishing a chain of provenance dating all the way back to 1912. Looking at you, ‘mummy beads’ and ancient amulets – luckily, the majority of these is fake.

So, always check both your local legislation and the laws of the country you are exporting something from. For vintage jewellery these laws may not matter much yet, but please note that they do for antiquities – I strongly advise against buying antiquities without solid proof of legal provenance.

What does UNESCO 1970 mean for collectors of traditional jewellery?

Under most legislation [2], exporting and importing jewellery of 50 – 100 years old is completely legal. [3] It has not been looted or stolen: jewellery like this has been sold in large numbers from the 1960s onwards, and in some cases even earlier. It was readily available, and continues to be sold internationally today.

It also does not qualify as an antiquity or as an antique – yet. Items that are 100 years or older however, may fall under legislation for antiques.

I want to buy traditional jewellery: what do I need to check in advance?

I would advise to start by informing yourself about legislation in the country you are importing jewellery into.

This includes the definition of an antique (this varies from 100 to 250 years depending on where you are – most traditional jewellery is younger, but remember a piece from the 1920s is now over 100 years old).

Other factors to inform yourself about are

  • the threshold value above which import taxes apply;
  • If an export license from the country of origin is required;
  • Verification that the seller is compliant with export laws of the country it is coming from.

Obviously, this also requires a sound and truthful description of the item you’re interested in: reputable sellers will be able to provide you with parallels and references for an item on which its age is determined.

I know it sounds lovely when a piece of jewellery is from the 19th century, but check if it really is, and if so, if you can actually import it – it may be an antique under the law.

When it’s you yourself buying jewellery in another country and bringing it home with you, informing yourself about both export and import legislation falls to you.

[I can’t stress this enough, so taking another moment to repeat myself: buying archaeological jewellery in another country really is a no-no. You can’t export that without an official license, and the penalties on trafficking illegal antiquities can be severe.]

And finally, keep the receipts and any documentation – imagine your heirs would want to sell or donate a piece in say, 50 years or so: by then, most of your pieces will have become antiques. Your heirs will be needing solid proof you aquired these legally.

So I can buy vintage Middle Eastern jewellery and comply with UNESCO 1970?

Yes, as far as UNESCO 1970 goes you can buy that bracelet or necklace perfectly well, as long as you duly pay your import taxes and ensure you are compliant with legislation on antiques, if the item qualifies as such.

But… UNESCO 1970 is not the only international convention that affects the trade in traditional jewellery. There are the CITES regulations as well as ethics to be taken into account, too, which I will go into next!

—

Never miss a thing on jewellery discoveries? Join the Jewellery List and find them in your inbox each month!

Looking for background information on your jewellery? Have a look at the courses – there’s so much available on the world of the jewellery you love!

More tips on collection management? Check this free resource or download the e-book!

—

References

[1] See more about the convention here: https://en.unesco.org/fighttrafficking/1970

[2] Most, not all. Uzbekistan has strict export laws, for example, and buying old jewellery (or old anything, actually, including household appliances) is a legal no-no. These laws are actively enforced, too: I have had my luggage inspected on several border crossings.

[3] Please take note that this does not apply to antiquities. ‘Excavated’ beads, ‘Neolithic’ beads etc for example are antiquities!

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.

Photography: 5 tips

Photography: 5 tips

by | Tips for collectors

how-to tips

Quick photography of ethnic jewellery: 5 tips

Updated Jan 8, 2024

So, you’re in a shop or a souk, surrounded by jewellery, and you’d love to make a few reference snaps? Or sitting at home, staring at your collection and wondering where on earth to begin…? How to take good photographs of ethnic jewellery with your smartphone?

Here are 5 tips to make good photos with your smartphone, whether it be if you plan on documenting your collection or to add a few reference images to your photo library!

1) Photographing ethnic jewellery: use a plain, neutral background

That should not be a total surprise – but you’d be surprised to see how many people photograph jewellery against a printed background!

Choose a clean and uncluttered background that won’t distract from the jewellery itself. A plain white or black background often works well, but actually any dark, deep colour works, as long as it allows the jewellery to stand out.

How to do that on the go? This is where your trusty scarf comes in (a useful accessory, anyway!): it does not matter much if it is wrinkled, enough contrast will allow editing programs like Canva to remove the background. It will have to be a plain scarf though, a busy paisley-print is not what you’re looking for.

Bonus tip: a black, plain scarf also works miracles in museums, to block the reflection of lighting on the showcase. For this, you will need a travel companion to hold up the scarf behind you as you photograph the showcase. Be prepared to meet with more than a few puzzled glances, but it works!

2) Make your jewels shine: use natural light or soft lighting

Natural light is ideal for capturing the true colors and details of the jewellery. Position your setup near a window or use diffused artificial lighting to avoid harsh shadows and reflections.

Obviously, there is only so much you can do in a shop, but asking to see a piece near the door or a window will already improve the light.

Very Important Bonus Tip: check if you are not in between the light source and the object. In other words: when your phone (or your head) casts a shadow over the object, the resulting photo will be less than stellar. By which I mean: bad.

3) Photographing ethnic jewellery: use a tripod if you can

To ensure sharp and clear images, use a tripod to stabilize your phone. There are nifty tripods for smartphones available that fit into your handbag.

If you don’t own one of these, create an improvised setup with whatever is at hand: I have placed my phone on top of larger bracelets, coffee tables, or a stack of books. Anything that allows you to keep the phone steady does the trick.

4) The best ethnic jewellery shots? Don’t forget to take close-ups!

Jewellery is often intricate, so it’s important to get close-up shots that highlight the details, like hallmarks, filigree, enamel, or perhaps even cracks and dents. For this, you’ll need a tripod or other form of stabilizor.

Bonus tip: photograph the backside, too. Even if it is plain and boring.

You’ll never know when it may come in handy – I have had to fly out to Vienna to check the reverse side of jewellery items because someone forgot to photograph them…

5) Use an indicator of scale to tell bracelets from rings

This can be a proper scale, of course, or a simple ruler. If you find yourself without such a useful device (they fit in your wallet), take something else of a known size: your businesscard, a coin, your lipstick…

Place it close enough to relate to the jewel you’re photographing, but leave some space to edit it out if you’d like to use your photos later.

This is seriously essential: sometimes I get asked to identify a piece of jewellery from a photo, and I can’t for the life of me figure out whether I’m looking at a bracelet or a ring. (I suppose that may be the single advantage of the paisley motif on your scarf under tip number 1 above – but still, it’s not enough to use it)

And finally…

Remember to always ask permission first before whipping out your phone to photograph!

Some shops may have restrictions or guidelines in place for photography, so make sure to respect their policies.

That also goes for exhibitors at a jewellery fair or other pop-up location. I usually also specify what I want to use the photos for: ‘study purposes’ is something else than ‘I’ll be sharing your jewellery with nearly 20,000 people on social media, is that ok?’ (for most it is, if you clearly credit them – but not for everyone!).

All of this is of course very different from professional photography (see more about that here), but with these quick tips you can photograph jewellery on a basic, but absolutely very useful level!

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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.