How to store ethnic silver

by dr. Sigrid van Roode | Tips for collectors

four tips

How to store ethnic silver: 4 proven methods

Updated Jan 11, 2024

How do I store my traditional jewellery from the Middle East? That’s a question I get a lot, and definitely a field I made mistakes in myself. So I’m sharing four proven methods of what works, and what does not work: let’s get to it!

Storing silver jewellery: what you should know first

Before we get to tucking away your collection safely, there are a few things to know about silver itself.

Silver tarnishes easily: when exposed to air and moisture, but there are many other sources that cause a chemical reaction in the silver. That includes people: I’m sure you know several people whose silver jewellery turns dark after a day of wearing, and others whose silver shines even brighter after that same day!

It’s also a relatively soft material that scratches and dents faster than you might like, and vintage silver items are no different. Storing and handling silver always should come with the protection of your items in mind. So here are 4 tips to start storing your silver jewellery in an optimal way!

Storing traditional silver: keep your pieces separate

Store each piece individually and make sure it does not rub against other items. This can be achieved in the simplest way by just wrapping them in acid-free tissue paper, anti-tarnish paper or soft cloth (but not wool).

Larger items, such as complete sets of fibulas for example, can be wrapped in bubble plastic, again taking care that the individual fibulas are kept from direct contact.

Make sure your pieces are clean and dry

If you wear your vintage jewellery, make sure it is clean and dry before you store your items away. Sweat and skin contact can damage silver in the long run, so wipe them off and make sure they are dry before storing them.

The same goes for when they have just been cleaned: wait until they are completely dry before storing them, or better, have a professional clean them instead. More about cleaning silver is here.

Keep your silver pieces locked away from air

Store them in an airtight box or individual zip pouches. Zip pouches come in many sizes: choose the size that fits your piece snugly, but gives it room to move a little. Wrap your pieces in acid free paper before putting them into a zip pouch: the pouch itself may contain abrasive materials that could scratch your silver.

Airtight boxes don’t have to be anything fancy, but can simply be the type of box you store food in (refridgerator boxes, but also cookiejars work well – make sure they have no rubber bands, though).

Adding silica gel (those little packages that come with new shoes, handbags and other leather products) or activated charcoal will absorb moisture and keep your silver from tarnishing.

Avoid direct contact of these materials with your silver, though: make sure the packaging is not damaged.

… and don’t do this

Do not wrap your silver in pages torn from newspapers or magazines: both the ink and the paper will harm it. The same goes for the use of rubber bands (no bundling bracelets together using rubber bands, please)

Those rustic looking, uncoated wooden boxes that make for excellent atmospheric photos are not as fantastic for storing silver, either, unless it is packaged in zip pouches. That also applies to wooden chests of drawers, cabinets and cupboards: avoid direct contact, and even then, check regularly.

Wool also contains agents that may react with silver: that explains why silver elements on a woolen headdress for example turn dark every so often.

Taking care to store your silver properly will go a long way in helping you enjoy your collection for years to come!

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More tips on organizing your collection of silver jewellery? Find them all here!

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References

Learn more about silver tarnishing and how to avoid it here

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.

How to clean ethnic silver

by dr. Sigrid van Roode | Tips for collectors

three methods

How to clean ethnic silver

Updated Jan 10, 2024

How to clean ethnic silver jewellery? And should silver even be cleaned in the first place? This article gives 3 practical methods – and what mistakes to avoid!

Should I clean ethnic silver jewellery?

Jumping right in here: that dull layer with which you found it in that antique store or in that dusty market stall…? That is not ‘authentic’ or ‘original’: the previous wearer would have taken pride in her jewellery glinting in the sunlight. Wearing it on a daily basis would itself have contributed to that shine. So yes, I do recommend to clean your jewellery.

Also, that dark coating you may have found it with, is not ‘patina’: this is just plain dirt. Seeing people claim that you should not clean darkened, dusty silver because of its ‘patina’ just makes me want to scream, in all honesty. Such lack of insight is actually endangering the quality of your jewellery.

Over-cleaning, however, should be avoided. Once the major layers of dirt and grime have been removed, a little tarnish actually protects your silver. Every time you clean it, you remove just the tiniest bit of the surface, leaving your silver exposed to another ‘tarnish-attack’.

You will want to keep an eye on how it develops, but don’t clean it too often.

And finally: proper cleaning of a heritage item is a professional’s job. You don’t attempt to restore a painting by yourself, either, right? The above considerations by the way all stem from my experience in the museum world. That includes the fabulous work restorers do, and how wrong choices regarding object maintenance gives them nightmares.

In any case: when you do need to clean silver, here are 3 methods that you can use at home, along with their advantages and disadvantages.

Before you start cleaning your ethnic jewellery…

…read this, if you haven’t already. There are a few things to consider before cleaning, that have to do with the silver content of your jewellery, loss of information and proper documentation.

The tips I’m sharing with you below are relevant to jewellery entirely made of good silver. If your jewellery contains any other materials such as wood, enamel, coral, beads, or is of an unknown alloy, bring it to a professional instead.

Another check to do before you start cleaning is the construction of the piece. Hollow pieces, such as amulet containers or anklets, should not be in contact with water: when water gets in, it is very difficult to get out and it may damage your piece from the inside out. For these, I recommend seeking help of a professional cleaner, too.

Because as I said earlier, cleaning and restoring jewellery is an actual profession. It requires years of study and a serious understanding of chemistry, metallurgy, gemmology and much more.

Anything more complex than a solid silver piece benefits from the care of a professional, so if you do own complex or composite pieces, or are having doubts whether your should attempt to clean anything yourself: do yourself a favour and treat your jewellery to a spa day with someone who knows what they’re doing. Ok?

Method 1: cleaning cloth

Silver can show discoloration after a while. It gets a little duller, and may show a yellowish or dark hue. This is easily remedied by buffing it with a silver cleaning cloth: all you do is rub firmly. Usually when your fingers start to hurt, this is a good sign you’re well on your way and you will see the silver surface return to its soft shimmer. This is sufficient for most jewellery as part of your regular upkeep.

Pro: easy to do

Con: basically nothing, although those fingers hurting is real

Method 2: polishing

When silver has turned black, you may need to polish it using an agent. Precipitated chalk works wonders. The chalk needs to be mixed with water to create a thick paste. Start with three teaspoons of chalk and add a quarter to half a teaspoon of water, stir the water in and continue to add small amounts of water as much as needed until you have a paste.

Rub the paste on the silver using a cotton pad (or a super soft toothbrush, like for babies, for intricate silverwork such as granulation) and gently polish the surface. After polishing, rinse the object thoroughly and make sure no dried chalk is left.

This method is unsuitable for hollow objects, as the rinsing may cause water and chalk residu to end up inside your ornament. Bring these to a professional.

Pro: works really wel

Con: chalk needs to be extremely finely ground to avoid scratching, your brush may also cause scratching, intricate designs need to be rinsed thoroughly, can not be used on hollow objects. Removes a bit of the surface: it will tarnish faster if not stored well.

Method 3: baking soda

The black tarnish can also be removed by submerging it in a baking soda bath. This reverses the process that caused the tarnishing.

Line a bowl with aluminum foil, add a couple of tablespoons of baking soda, sprinkle in some salt and add boiling water. When the water calms down after bubbling, submerge your silver items and let soak.

Again: do not use this method on items that contain anything else than silver, like beads, coral, enamel etcetera, or on hollow pieces.

Once you put your item in, you will see it cleaning up within seconds. Take the silver out as soon as the tarnish disappears (use gloves!), rinse under lukewarm water, dry thoroughly with a soft cloth and polish with a polishing cloth.

Pro: cleans very fast

Con: unsuitable for hollow objects, pieces you don’t know the silver content of, and pieces with anything else than silver. Removes a bit of the surface: it will tarnish faster if not stored well.

Cleaning ethnic jewellery: keep track of what you did

And finally, make a note of your cleaning treatment in your object files. What you will want to note here are the date and the type of treatment, and if needed a before-and-after picture. This will help you keep up with your routine checks on your collection: silver should be polished as little as possible, and a cleaning log helps to keep track!

Cleaning ethnic silver jewellery: the round-up

So, as you see, the decision to clean ethnic jewellery is one that requires some thought. Don’t start overcleaning it, but don’t let it get too dirty, either. One thing is certain: leaving it grimy is not authentic, and even outright damaging to your jewellery. And when in doubt, bring your jewellery to a professional restorer – this way, you’ll have the best of both worlds!

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References

Read more here on treatment of silver and copper alloy objects (opens a pdf)

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

Sigrid van Roode

Collecting ethnic jewellery: 4 filters

by dr. Sigrid van Roode | Tips for collectors

collecting traditional jewellery

Collecting ethnic jewellery: 4 filters you may not be aware of

Collecting jewellery and dress: we do it because we believe these items to be important, and we want to ensure their passing on into the future. But there is one aspect of collecting that can turn it into a double-edged sword. On the one hand, yes, these items sometimes only survive because of collecting. But an overlooked aspect of collecting is its other side: collecting inevitably is destructive as well. How does that work, and should we be worried?

Selection filter 1: the course of history

First off, no material culture survives in its entirety. That is already visible within your own lifetime: who still has everything (and I mean everything) like clothing, toys, books etc. from their youth? At some point, you have decided to keep some things and give others away. A process that repeats itself again and again: selecting is a natural process. That goes for adornment and dress, too. Whether it is family heirlooms passed down generations or pieces offered for sale to cultural outsiders, whatever survives to this day is based on selections. Even what you inherit from your grandmother is her personal selection: at least I’m assuming she did not own all jewellery in existence.⁠ So, when you collect jewellery, this is already a selection as a result of the choices made during the wearer’s life. These choices do not have to be voluntarily: people displaced as a result of war and violence may not have been able to hang on to anything at all.

Jewellery selection filter 2: demand and supply

Whatever ends up being offered to buyers, is filtered a second time. This is where it gets interesting. Because buyers get offered what sells: as with any market, here as well demand is tied to offer.⁠ And that second filter is incredibly important. Pieces that do not ‘sell well’ slowly disappear from the material record. An example is jewellery that has been partly dismantled when its wearer needed to sell some of it. These ‘damaged goods’ are not always recognized for what they are: a historic source.⁠ After all, buyers, especially if these are cultural outsiders, rarely appreciate dented and broken pieces. As a result, these are the first to go. They are melted down, reused, and any material traces of the use of jewellery as financial asset and savings account vanish with them.

Jewellery selection filter 3: focusing on published, well-known pieces

The next stage is that the selected pieces, the ones that sell well, then become the norm. These are the pieces that get shown in exhibitions, that are published in books and shared online. That fame creates a third filter, because it increases demand into these better-known pieces. The flip side of this is that relatively unknown pieces never make the cut: they do not sell well, as they are not all that familiar to the prospective buyer. I often get asked whether a certain piece is ‘real’ as it has no parallels in books, and I know of several books that are used as a collectors’ manual. That is not to say books are useless! Quite the contrary, I love books and all sorts of publications on jewellery: the more the better to help spread awareness that this is heritage. The point is to be aware that there is more out there than books can accommodate.

Another symptom is the rejection of pieces that are not exactly similar to well-known parallels: a whole new set of parameters for ‘authentic’ pieces emerges based on publications, while the original wearers did not consider such distinctions relevant and worked with what they had at hand. It’s an endless loop that results in the gradual loss of both things and information.

Jewellery selection filter 4: collecting only things, not their context

That last element, information, is the fourth filter. The focus on collecting objects and not necessarily on all the information that comes with it, in turn deletes that information over time. Things without context are just that: random things. They lose their capacity to speak and their function as a historic source. If collectors don’t write down what they know about their pieces, how will the next generation know what they’re looking at…?⁠ I have addressed a few examples of how that lack of knowledge results in misinformation being spread here. It is incredibly important to preserve not only things, but also what they stand for – while being aware that this is only a fraction of a much wider world.

Building a meaningful jewellery collection: actionable things you can do today

Collecting is by definition selecting. We only see part of the material culture, and that does not even have to be a representative part. No matter how beautiful or extensive a collection is: you’re always working with a result of a chain of selections, never with the original dataset.⁠ That is simply the way it is, and thank goodness that not every single thing is kept – what would we do with it? My point is that it is important to be aware of this process when collecting, buying or selling.

Your actions in each of these steps actively contribute to the safeguarding of heritage jewellery. Here are a few things you can start with today:

Write down those stories of your jewellery travels.

Digitize those receipts (if you have any).

Jot down a few lines in your notebook when a seller shared a piece of information with you.

Download my free guide to organize your collection step by step here and start building not just a collection, but your legacy.

Every little bit helps. It’s in these seemingly small acts that you can contribute a great deal to the preserving of jewellery and the world it comes from!

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Do you own a collection? Please do try and document it as much as possible. Every little note helps! A free guide on how to get started with that is here.

Are you wondering how your collection might benefit the communities whose heritage this is? Please consider the work of the Qilada Foundation, my non-profit initiative aimed at reconnecting jewellery collections with their communities of origin.

References

An introductory article on the history of collecting as a phenomenon is W.G.Burgess 2020, State of the Field: The History of Collecting, in: History

The Society for the History of Collecting covers the concept collecting from many angles: see more here

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. She considers jewellery heritage and a historic source. She has authored several books on jewellery from North Africa and Southwest Asia, and on archaeological jewellery. Sigrid has lectured for the Society of Jewellery Historians, the National Museum of Antiquities in Leiden and the Sultan Qaboos Cultural Center, among many others. She curates exhibitions and teaches online courses on jewellery from North Africa & Southwest Asia.

Losing sight

by dr. Sigrid van Roode | Opinion

the decline in knowledge

Losing sight

Traditional jewellery is disappearing at a fast rate. It is no longer made in the quantities past generations would need, and it is being sold both in the countries of origin as well as in the regions of the world where collectors live. These days, that is not just ‘the West’, but also for example China: amber and coral are bought in bulk by Chinese collectors. But besides the jewellery itself, another valuable asset is disappearing at an even more alarming speed. That is knowledge about what this jewellery actually is – and what it represents.

That loss of insight is for example visible in the flawed identification of pieces of adornment. Sometimes these can be way off the mark, such as the Bedouin face veil shown in the gallery below. It was offered up for auction as a body ornament/necklace from Turkmenistan (1). The dorsal ornament from Turkmenistan, pictured below as well, was offered as a Saudi jewel. We might have a good laugh about such a mismatch (and I usually do), but the rate in which these appear is indicative of a much more serious matter.

Now you might think ‘Of course these are misidentified, they are being handled by cultural outsiders’ and that would certainly hold true in a number of cases. But incorrect attributions also, and increasingly, occur within the countries of origin themselves. The photograph in the gallery below shows several splendid Yemeni necklaces – I photographed these in the exhibition Splendour and Shine in the Flow of Time. When I posted this photograph on my Instagram-account, I received dozens of messages from Algerian followers insisting this was Algerian. The Turkmen jewellery, which I photographed on the Amsterdam Tribal Jewelry and Textiles Fair, received a lot of attention as well, with many people writing me these pieces were from Kabylia. These are just a few examples: I receive messages every single day of people who genuinely believe a piece of adornment stems from their culture, even if it hails from another continent, another culture, another language family entirely.

The loss of accurate knowledge also manifests in constructed images presenting as reality. Lebanese singer Myriam Fares launched a new music video early in 2022, in which she claimed to dress and perform in Amazigh tradition: the jewels and dress she used in an online dress-up challenge however were random and had very little to do with actual Amazigh adornment. (2) The comments on this particular post range from appreciation to anger: misrepresenting Amazigh culture on a global stage by an Arab performer is adding insult to injury in an already strained dynamic. Being respectful about adornment has much wider implications than just ‘looking the part’: it includes understanding what jewellery actually means. The photograph of the young woman included in the image gallery (click ‘next’ on the right side of the gallery) is another example of a non-existent, exotic-looking ensemble. Constructed reality in older photographs is a well-known phenomenon, as I addressed in another blog post. It is however still very much alive today, where photos are made specifically to share one narrative or to convey one particular message. There is no such thing as neutral photographs, yet we often accept them as reliable sources of information. When we no longer recognize that a dress is worn the wrong way, or mismatched with ornaments that would not belong with it, the power of misinformation that is shaping our world view will only grow stronger.

Bedouin face veil

Turkmen dorsal ornament

Yemeni necklaces

Turkmen jewellery

Modern mashup

You might also think ‘So what? A wrongly attributed piece, what’s the big deal?’. Incorrectly identifying pieces of adornment is not my point here. That happens all the time, and many of those glitches can be avoided with a little more research. My point is that ascribing pieces of heritage to another culture has consequences. In the continuous struggle for identity and acknowledgement that many cultures face, it is imperative to be aware that spreading misinformation is not helping, to say the least. It can even be outright damaging, if the misattribution occurs willfully and intentionally – rebranding heritage to fit a new narrative is one of the most vicious ways of erasing the past.

Piece by piece, accurate insights in dress and adornment are diluted further with chunks of misinformation that are repeated over and over again – the Internet is as fast as it is patient. Images are easily copied and shared, with the accompanying background information disappearing and being replaced by brief, and often wrong, captions. With the watering down of conducting proper research to simply ‘Googling’, these nuggets of misinformation continue to be repeated and shared. The meticulous work of Wafa Ghnaim of Tatreez and Tea is just one example of the time and effort it takes to bring back the detailed meaning of Palestinian tatreez from the brink of oblivion, and there are many more researchers that work tirelessly to ensure not only material culture survives, but its cultural, social, economic and historic meaning as well. One of the most important factors in this ongoing effort is that the results are shared widely, so they are accessible to people worldwide: the databases of both the Textile Research Centre and the Zay Initiative are just two examples of accessible information.

And we need those efforts more than ever. Because we have now arrived at that point where the transfer of knowledge to the next generation is crucial. If we lose sight of both the details of and the wider world behind adornment, if we let the stories of both wearers and collectors slip through the cracks of time, the remaining jewellery pieces will have lost their voice as a historic source forever.

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Do you own a collection? Please do try and document it as much as possible. Every little note helps! A free guide on how to get started with that is here.

Are you wondering what to do with your collection? Please consider the work of the Qilada Foundation – my non-profit initiative aimed at repatriating collections and everything they represent to their countries of origin.

References

1) Catawiki lot 59513855, auctioned on June 17^th 2022

2) The choreography did, however: this was copied straight from a choreography by Kif-Kif Bledi, a group of performers who are known for their deep study of dance and identity. The contemporary twists they add to traditional dance made the choreography easily identifiable as a creation of Kif-Kif Bledi as shown in this video– the intellectual property dispute is still ongoing.

Sigrid van Roode

DIVA Library

by dr. Sigrid van Roode | Reviews

jewellery research

DIVA Library

Jewellery research is not just looking at beautiful jewellery, but involves a lot of desk study, too: looking for parallels, tracing provenance, finding out more about cultural context and meaning…Which is why I love books about jewellery just as much as jewellery itself, and so I was thrilled to visit the library of DIVA Antwerp: with 23,000 titles on jewellery, this is an incredibly important resource!

Antwerp has been a center of the diamond trade and expertise for centuries, as well as a major hub for silversmithing and jewellery creation. The DIVA museum showcases that history, serves as knowledge center and is a springboard for young designers. A visit to the museum is a treat in itself: each room is carefully designed with its own look & feel and focuses on one aspect of the diamond and jewellery history. From ancient Egyptian objects and their Art Déco counterparts, Moghul splendor from India and religious objects in silver and gold to shining tableware and dazzling parures, each of the six rooms in the museum has its own theme and stories to share.

And behind it all is an even larger treasure: the library. Here, you will find books on everything jewellery related, from archaeological works to modern designers, cultural significance of jewellery, art historian approaches, and related fields in the applied arts. Special care is given to auction house catalogues and even newspaper clippings that will help identify the provenance of jewellery items. Through these becomes possible to trace the journey of a certain piece through repeated auctions and sales. The emphasis of the collection is on Belgian jewellery, notably silver and diamond, but you will find plenty of books on other jewellery fields and geographical areas, too.

The library does not only house books, but other materials as well. Glass negatives, complete archives of designers and traders, model books, sales registers…the antique design drawings I was shown are works of art on their own. A special treat are the antiquarian volumes on jewellery making, which somehow survived the centuries and contain recipes for soldering, technique descriptions and overviews of gem cutting. All of these are carefully stored in custom made boxes, old drawings and prints are carefully restored, so as to survive the next few centuries as well.

The library is more than a static space filled with books, but is a vibrant knowledge hub. Design students come to find inspiration in the collection, regular talks share the many stories in this library with a larger audience, the reading room offers an airy, bright space to sit and enjoy the volumes of your choice. Whether that is to work on your school project or your dissertation, the librarians are happy to help. I definitely will be spending more time here to discover more!

See more about the museum itself here, and more about the library can be found here. The Instagram account of the library @DIVALibrary is a joy to follow, too!

I was shown around the library as a personal gesture by the librarian, with no obligation to write a blog. I am just enthousiastic about this large research library and wanted to share this treasure with you.

More places to go or books to read about jewellery? Explore my suggestions and reviews here!

Or join the Jewellery List to have new updates delivered straight into your inbox: never miss out on a jewellery thing!

Sigrid van Roode

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