Yemeni Bedouin Necklace

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Comment by Anna Garner on February 12, 2012 at 1:40

Thank you Marie-Ange.  That is a very nice invitation ;)   I have examined the three pieces today and will choose which one should be listed -- probably one day next week.  It is time to trim my fruit trees, spray them with organic disease prevention, and dig the weeds.  I also have some baby raspberry plants to share with friends.  But I should be able to fit in photographing and listing one of the Yemeni head bands.  Thanks again.

Anna

Comment by Marie-Ange on February 12, 2012 at 0:33

Hi Anna, yes if you have one for sale please list it in Vividvault, I purchased mine here on this site and love it dearly so I am sure more people would love to own one.

Comment by Anna Garner on February 11, 2012 at 22:04

While it is still warm in everyone's memory, perhaps I should photograph one of mine and list it in VividVault?  ;)  It takes me days to get anything done, so I am sure I will need to refresh our memories of these pieces made by the Jewish silversmiths and often worn by the Bedouin women.  I am writing this because I will need to remember what I have learned on this forum in order to describe the piece as fully as possible.  Thanks to all for the comments.  I learn something new each time that I check in.  

Comment by Joost Daalder on February 11, 2012 at 21:14

After all of that, I'd just like to say again how much I like this piece!

Comment by Joost Daalder on February 11, 2012 at 21:12

Karim, thanks: very useful information and sound thinking. And I very much also like the subsequent comments by Patti and Anna. I'd underline particularly what Patti says about Jewish workmanship - to me the metal components come across the same way, i.e. as made by the best craftsmen (who in Yemen were Jewish before they went to Israel), even though that in no way precludes the piece being worn by Bedouins, as we all agree, and as in any case you learned directly from those who were in a position to inform you, including a country wearer. As to repairs etc I agree wholly with what Patti wrote first, and Anna subsequently, as well as, of course, what you say about necessary restorations carried out within the cultures themselves (so long as they are not badly done, anywhere!). I thoroughly agree with Anne about the need for restringing - not doing that in time does lead to things falling apart, with old pieces, and possible damage to or loss of components.

Comment by Anna Garner on February 11, 2012 at 16:01

In line with what Patricia has written on this subject, I agree that I was embarrassed the first time I sold an authentic, original Afghan wedding necklace as what it really is: a conglomeration of fossil shells from past aeons, coral from the Mediterranean and Turkoman silver, along with some European black spacer beads, etc., etc.,   It had been assembled for wear, but come to find out, on cotton string that had seen its better days.  When a friend of mine heard that I was going to put most of my collection up for sale, she wanted to choose some pieces for herself.  She chose the Afghan wedding necklace.  The first time she tried to wear it, one of the strands broke!  The old cotton had simply worn through.  Now I try to check all the strings and I find in many cases, it is necessary to restring the pieces.  Sometimes the clasps are completely missing.  In those cases, I try to find an old clasp from a similar unusable piece.  If that is not possible, I use a modern clasp and disclose the fact in my description of the piece.  It is glaringly obvious, anyway ;)

Comment by Patricia Deany on February 11, 2012 at 15:18

Yes, I imagine that Bedouin people would wear such necklaces. By Jewish, I guess I meant Jewish style or perhaps made by Jewish artisans before they all left for Israel. The elements look like Jewish made elements.  I think that restringing or redoing by native people meant to be worn by them is just fine. But taking unrelated elements and restringing them  and then claiming that they are intact antiques is not fine -- they should be advertised then as antique elements on a newly strung necklace -- just reliable reporting is all I am concerned about. I might love the restrung necklace and buy it anyway.

Comment by Karim Carlo Rotondi on February 11, 2012 at 14:55

Hello to everybody involved in this conversation and thanks to all for finding this piece interesting. I owe you a couple of clarifications. First... I sold this one already, two or three months ago. Second. While it is true that the silver work may draw from Jewish styling and maybe craft as well, no doubt that this kind of necklace is made for Bedouin usage. I bought several of these in Yemen, over time, and each time was told so. This fact was confirmed when I saw it by myself, worn by a Bedouin girl in the desert, east of the country.
Last but not least...: what do you think of restorations made by local people in the traditional way? I deem them appropriate because, think it over... the ultimate end of these objects is to be worn! cheers Karim

Comment by Joost Daalder on February 10, 2012 at 20:02

I would agree with both of you, Anna and Patricia, that loose parts are undesirable, and I am saying that as a collector and also on behalf of my wife who similarly would not wear the piece. So, in our case, the piece would be subjected to less pressure. But visibly loose parts that should not be loose (a) look foul (spoiling the unity of the piece's appearance, and (b) are risky, in that when you carry a piece or move it around you soon exert pressure on it and it may snap. I personally feel that looking after jewellery does involve the odd repair for the sake of both looks and safety, but the work should always be done with restraint: maximum respect for what is old, minimum interference and then only with materials as close as possible to what the missing thread (etc) would have looked like - preferably materials themselves old, and in any case as close a match as possible. It should ideally be effectively invisible, I feel, or look like what a good repairer within the culture would have done to match things as well as possible. I think such repairs - really for preservation of the piece - are often a real necessity, and quite "forgivable" if properly carried out. And certainly if the piece gets worn, there does not seem an alternative, as otherwise it may really suffer seriously.

Comment by Anna Garner on February 10, 2012 at 17:20

Well, that makes sense to me, too.  That loose cone really does detract from the over all appearance of the piece I have.  I have two more of these headdresses in my collection, but their components are all secure.  I wore one of them to a lecture I gave on some special pieces in my collection.  It made quite an impression.  They are quite comfortable.  I don't have thick braids any more to fasten them in.  ;)

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