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Description
Museum Quality Yemen NecklaceAbsolutely amazing necklace of Yemen silver beads with the characteristic "Dot Design" lovingly strung with small slices of Venetian millefiori beads! This necklace is comprised of three strands of beads, merging into a single strand at the top. Each bead is hand made and comprised of many tiny silver dots that have been hand applied to each bead, often with a little curly setting (reminiscent of a flower). These beads were made by Jewish silver
Absolutely amazing necklace of Yemen silver beads with the characteristic "Dot Design" lovingly strung with small slices of Venetian millefiori beads! This necklace is comprised of three strands of beads, merging into a single strand at the top. Each bead is hand-made and comprised of many tiny silver dots that have been hand applied to each bead, often with a little curly setting (reminiscent of a flower). These beads were made by Jewish silver smiths living in Yemen before World War II. These beads are beautiful gems -- almost all bear the signature of the artist -- and have a lovely patina.
This necklace is wearable -- but just. It's approximately 40 inches long, measured from end-to-end (this means that the longer strands are actually a little longer than that). The beads vary in size between about 18 mm at the top, to almost 30 mm in the center. It is a heavy necklace -- weighing a little over 1000 grams. There are about 80 silver beads, with most in good to excellent shape, although a few of the beads at the top are particularly worn.
Note that no bead is exactly perfect -- they are, after all, thin silver and probably about 100 years old, and a few have minor dents, missing decorations or missing a cap at either end. Also, these particular beads have not been polished particularly recently -- but they would shine right up if you wish.
The history of these amazing beads is laid out best by our friends at Beadazzled:
Yemeni Silver Beads
Centuries-Old Craftsmanship
At the southern tip of the Arabian Desert, Yemen juts into the Gulf of Aden, which links the Red Sea and the Indian Ocean. For thousands of years, Yemen served as a crossroads of land and sea routes between Africa, Asia, and Europe, for the movement of goods and peoples and the diffusion of technology, art, religion, and ideas. This cross-cultural contact left its mark on Yemeni jewelry, which incorporates a great variety of motifs with varied meanings. Historically, the finest work was crafted by Jewish silversmiths, largely for Muslim clients, not only in Yemen but throughout the Middle East. They used precious materials from distant sources and metalworking techniques that go back to ancient Egypt and Mesopotamia.
Legend says that Jewish traders first settled in Yemen in the 10th century BC, after King Solomon sent ships south to fabled Ophir in pursuit of trade, and the Queen of Sheba returned the visit, traveling to Jerusalem via camel caravan, bearing gold, gemstones, and those prized Yemeni products, frankincense and myrrh. In time, Jews came to flourish as craftsmen in Yemen, excelling as gold- and silversmiths until the mid-20th century. Then, in 1949-50, virtually all the Jews in Yemen left for Israel. Before departing, however, Jewish smiths trained their Arab counterparts, who strive to carry on the proud legacy of Yemeni craftsmanship. While it is difficult to determine the origin and dates of much Middle Eastern jewelry, Yemeni pieces are distinguished by their quality, and to this day, the finest are praised as “Jewish work.”
Forms and Functions
Besides enhancing a woman’s beauty, traditional Yemeni jewelry reflects her cultural environment. It shows what ethnic or religious group she belongs to, whether her husband is poor or prosperous, which town or village she is from or whether she is a nomadic Bedouin. The uses of traditional jewelry afford insights into the patterns of traditional life. Personal ornaments play a role in the age-old rituals of securing a spouse, celebrating a marriage, welcoming a birth, protecting against evil, and praising God.
Marriage contracts were customarily sealed with bridewealth, mainly silver jewelry. Provided by the groom, it becomes the wife’s property, ensuring her economic security. From time to time she may add to it with a gift from her husband, by making household economies, or by using the proceeds from the sale of a rug she has woven to acquire more jewelry. In time of need, a woman may sell some of her jewelry.
The most spectacular array of jewelry was traditionally worn by Jewish brides of Sana’a, the capital of Yemen. Swathed in gold brocade, the young bride, who may not have even reached puberty, was so weighted with jewelry she could scarcely move. Rings encircled her fingers, bracelets encased her arms, and strands of huge gilt silver beads, called dugag, enveloped her body from neck to waist, which was enclosed in a silver belt hung with bells; ropes of pearls and gold pendants hung from her temples; an elaborate bib necklace, called a labbeh,wreathed her chin; and crowning all was a high tiara framed in fresh flowers and layered with shimmering white pearls, precious red coral, black beads, and gold filigree dangles. Called tishluk lu’lu’, this towering headdress gave its name to the entire ensemble. Other festive occasions when a woman displayed pieces from her jewelry collection included the henna painting ceremony before the wedding and the Sabbath when she first received visitors after childbirth.
Huge silver spheres adorned with barley patterns were the most prominent feature of the wedding regalia of Jewish brides. These silver beads were popular among Muslim women, but ordinarily Jewish women didn’t wear them. They preferred jewelry with wheat designs. On her wedding day, however, the Jewish bride wore many strands of these beads, both plain and gilt silver—she was embellished all over with barley motifs. The use of these beads in the Jewish wedding ensemble enlisted the power of the “Other” for added protection of the bride during the perilous transition from girlhood to womanhood. Conversely, pregnant Muslim women often wore Jewish jewelry to ward off the evil eye and ensure a healthy child. In yet another example of cross-dressing, so to speak, the traditional finery of Yemeni Muslim brides included large cubical beads of amber; these beads were also sought after by Jewish mothers, who hung them round the necks of their children or sewed them to their clothing as amulets.
Bedouin and village women wear a great deal of jewelry while milking goats, weaving rugs, grinding grain, or kneading dough. Massive silver bracelets are always worn in pairs, sometimes five pairs or more. Although they look heavy, they are usually hollow and are relatively light. Anklets are also worn in pairs, while multiple rings adorn fingers and toes. Nose ornaments include large beaded hoops hung with dangles, long pendants inlaid with glass beads, and silver studs in the nostrils. Hoops hung with dangles also decorate ears; often multiple hoops are worn through the ears or suspended from a chain that passes over the head.
Protective ornaments have many forms and functions. Cylindrical or rectangular amulet cases are also sewn to children’s clothing, and a woman’s necklace may incorporate several such cases. The cylindrical cases are called hirz by Muslims and ktab (pl. kutub) by Jews. Some may be opened for the insertion of sacred verses from the Koran or Jewish scripture. Others are left empty and soldered shut. The cases themselves are believed to be invested with amuletic powers that not only can turn away malevolent forces but can attract benevolent ones. Similarly, reciting the 99 attributes of God while counting their 99 prayer beads, the Muslim faithful invoke divine protection as well as divine blessings. And as a woman moves through the bazaar, the tinkle of tiny bells and swish of silver dangles is protective as well as seductive, as is the aroma of scented jewelry intensified by body heat—sound, motion, and smell can repel mischief-making jinn and at the same time attract the glance of passing admirers.
Motifs and Meanings
Rich in symbolism, the opulent ornamentation of Yemeni jewelry echoes Islamic expression in other arts—the lush floral patterns of Persian rugs, the dazzling geometric designs of tile mosaics, the curving lines of calligraphy. Animal and human motifs are rare and highly stylized. A notable exception is the eye, which is widely used to counter the malevolent gaze of the evil eye and deflect it from the wearer. Reduced to its essence in the form of dots and circles, the eye often embellishes dark wood prayer beads in the form of silver piqué work or adorns a silver pendant as a luminous gemstone cabochon. The hand of Fatima also turns away evil, as do arrowlike triangles and swinging tassels. The sun, the moon, and the stars are Islamic astral motifs. The six-pointed Star of David is a mystical Jewish symbol.
Many motifs recall primeval forms of human adornment—seeds, fruit, leaves, flowers. These symbols of nature endure in Yemeni jewelry as stylized rosettes, foliage, grain, almonds, berries, and mangos. While their specific meanings are often unknown, these motifs are associated with general well-being. Grain and pomegranates, bursting with juicy seeds, are symbols of abundance and fertility. Wheat and barley are also linked to women’s daily task of grinding grain to make bread, the basic staple of the Yemeni diet. The Jewish preference for wheat motifs can be traced to the Bible, which tells that barley was used as fodder for Solomon’s horses. Jewish silversmiths were learned craftsmen who knew the significance of each motif—its magical attributes and connection to Koranic or Talmudic texts—and they matched their designs to their clients. Today much of this lore has been lost, and the meaning of many motifs lies buried in the collective unconscious.
Materials and Techniques
Every large village once had a resident silversmith who made jewelry for all patrons. Some craftsmen traveled the surrounding desert to serve the nomadic Bedouin. But over time, silversmiths, like much of the population, migrated to the cities where they set up shop in the suq as both artisan and merchant, with clients all over the Middle East. The largest community of Yemeni smiths congregated in Sana’a, the capital, where several hundred Jews once worked in the silver suq. Their silver supply consisted in large part of recycled silver. In the Arab world, jewelry is not heirloomed, that is, a woman’s bridewealth is not passed down from generation to generation. Rather, when she dies her jewelry is sold to the smith, and the proceeds from such a sale can help a family purchase new jewelry for a new bride when the occasion arises. For his part, the smith puts the jewelry in a burn bag and melts it down as needed to replenish his silver supply.
Since the mid-1700s, the principal source of the silver used in Middle Eastern jewelry has traditionally been silver coins, preponderantly the Maria Theresa thaler, named for the Queen of Bohemia and Hungary. Because the thaler’s standards of weight and fineness were rigorously maintained, it became a standard of value that is widely used in Asia and Africa. After Maria Theresa died in 1780, coins bearing that date continued to be struck. About 200 million thalers were estimated to be in circulation in Yemen and Ethiopia in 1900. And to this day they continue to be struck and Yemeni smiths continue to draw on this huge pool of thaler, with its stable silver content of about 85%, to regulate the quality of their silver. Recently Middle Eastern smiths have accessed yet a third source of supply, silver ingots from China.
The clientele of the smiths is varied, and they vary their work accordingly, tailoring it to their customers’ resources as well as their tastes. Since Bedouins are generally poorer than farmers, Bedouin jewelry is generally made of lower grade silver than the jewelry of settled folk, and red glass, or sometimes jasper or carnelian, is used instead of coral. While the jewelry Yemeni smiths made for their Muslim peers was often similar to what they made for their fellow Jews, they tended to lavish more time and effort on Jewish pieces, crafting elaborate filigree elements, for example, instead of using easily made stamped parts. For pieces commissioned by high-ranking Muslim clients, Jewish jewelers worked in high karat gold instead of gilt silver or simply silver, and used pearls, Mediterranean coral, and high-quality gemstones.
The tools of the Yemeni silversmith’s trade have remained essentially the same over thousands of years of Middle Eastern metalworking. His basic toolkit is simple: a wooden block, a hammer and anvil, along with chisels to cut, awls to pierce, punches, stamps, and burnishers, as well as a blowpipe or bellows, a melting crucible, and molds of some sort.
Fundamental to his work is the fabrication of flat sheet, grains and shot, and wire. These are the basic elements from which he constructs his jewelry. He then turns to his vast repertoire of techniques to create rich surface ornamentation: hammering and annealing; casting and soldering; repoussé, chasing, and engraving; embossing, punching, and stamping; appliquéand openwork; granulation and filigree. Using a dapping block and a punch, the smith creates hemispheres from silver sheet. Then soldering two hemispheres together he creates beads which he subsequently decorates, using wirework and granulation. He also uses granules and shot as structural elements to reinforce joints of sheet or wire. In addition, he makes small cubical beads called tut entirely from shot soldered together. Using wire of various gauges, he makes chains, loops, links, and rings to assemble the various components.
Traditional Yemeni jewelry is made up of myriad components, rich in detail and decoration. Besides being used to link elements together and suspend pendants, chain is also used for decoration: short lengths serve as fringe, long lengths swing from headdresses, and delicate links are an integral ornamental feature of bib necklaces. Yemeni jewelry is also characterized by a profusion of pendants, plaques, bells, and dangles in many different shapes. As many as five or more amulet cases may be strung along with other components in a single necklace. Exotic coins are also prominently displayed—Ottoman, Arab, French, Indian, but especially Maria Theresa thaler. They are hung from necklaces either as simple pendants or embellished with dangles. Flat surfaces provide a perfect canvas for smiths who find empty space abhorrent, and pendants, caps, plaques, spacers, and triangular terminals are typically encrusted with abstract and vegetal ornamentation created by granulation, appliqué, and filigree.
Pearls from the Persian Gulf and gemstone beads, especially red-orange carnelian from India, are occasionally used in Yemeni jewelry. But coral of various colors, most notably precious red coral from the Mediterranean, has always been the material of choice to complement the silversmith’s work. In addition, red is a symbol of beauty and youth and is believed to have protective powers. Coral beads are often interspersed with another distinctive Yemini bead, a solid silver octagonal bead the size of a pea, called mithamminah. Coral pieces are also set in bezels on amulet cases or plaques. Today precious coral has grown scarce and become expensive, however, and red glass beads and cabochons are often used instead. Other exotic materials that Middle Eastern jewelers have had access to since times of the Silk Road include amber from the Baltic, ivory from Africa, gold, and gemstones. Among the more humble materials they sometimes use in jewelry are cowrie shells, faux amber, and scented beads made of local plant materials, such as myrhh and cloves.
Traditional Jewelry Today
In the rapidly evolving Middle East, much has changed in the six decades since the Jewish smiths left Yemen. Traditional silver jewelry is disappearing, as is the traditional world in which it was created and used. The demand is now for gold. Upscale urban dwellers’ desire for gold is usually satisfied by contemporary jewelry made in Italy. while rural folk’s lust for glitter lures them to cheap costume jewelry. And although some of the traditional wedding finery is worn on special occasions, for the marriage ceremony, the bride usually wears a modern white wedding gown.
Because Yemeni families do not heirloom a deceased woman’s bridewealth but sell it to smiths who recycle the silver, examples of traditional silver jewelry more than a generation old are rare. In large urban suqs, however, a few elderly silversmiths remain. Masters of their craft, they continue to use traditional techniques to produce traditional designs in the face of modernity, mass production, and a dwindling clientele. And if a knowledgeable collector or dealer is lucky he may find a good piece in stock, or better yet, she may be allowed to rummage through the burn bag and save a treasure or two from the fire.
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4.6 ★★★★★
Based on 6 reviews
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Product Reviews
★★★★★ 4
Arthurian Fae Quest…say less.
Format: Kindle
A fae centered Arthurian tale unlike any I’ve read so far. The author did a great job at descriptive world building, with scenes easily playing out in my minds eye. There was plenty of action, suspense, and even a touch of horror. An enemies to lovers, slow burn romance, a quest, with plot twist and turns aplenty. There was a love triangle, which I’m not usually a fan of but, it played out well in this story line. The FMC, Morgan Pendragon, was so blatantly naïve, yet I typically expect as much in a ‘book one’ of a series, especially one that features a fairly sheltered princess. I was happy to read that in spite of this, she still showed a strong sense of morals, fire, and spine. Now our MMC? Kairos Draven, aka Void’s Edge. Oh, how I’m a sucker for a smoking’ hot grumpy warrior alpha with a witty mouth, and a strong sense of “touch her and die” attitude, so you know who held all my cards. That ending? Just made me swoon all the harder. Now add a battlecat that rivals the size of a horse…and well Ms. Briar Boleyn you have well and truly stolen my heart. I’m excited to see where the story goes from here, and follow along to see more of the characters growth. I went into this story fairly blind, and I think I enjoyed it all the more because of it.
Once the story got going, it had me in an absolute chokehold and it was difficult to put down.
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Reviewed in the United States on May 12, 2024
★★★★★ 3
Not a bad start
Format: Kindle
3 stars
Thank you Netgalley and Briar Boleyn for the ARC!
A camelot/king Arthur retelling with fae. I was hooked by the idea of this book immediately and was eager to jump into this world.
• slow burn
• enemies to lovers
• who did this to you
Morgan Pendragon watched her mother die by her father's hand when she was just eight years old, hiding under the bed. Morgan is believed to have the tainted blood of the fae in her veins and is cast aside so that her fathers illegitimate son, Arthur, can become the king. She's seen his cruel treatment of the fae firsthand, so when he sends her on a journey to find a fae weapon she seizes the opportunity to do more with her life. Along the way, she finds more than she could have imagined.
I don't know a whole lot about King Arthur and Camelot but I had a lot of fun with this story! The plot has some similar tropes to popular romantasy books (From blood and ash) but there's enough originality here that it doesn't feel like I'm reading a copy. I liked how the fae were different in appearance than what is typical in most fantasy books I've read. In this book they have blue hair, violet skin and a wide range of other characteristics. I thought that the world building was easy to follow and I could easily immerse myself into this world. After reading the blurb I kept wondering when she was going to go on the journey to find Excalibur and it doesn't happen until around the 45% mark.
The story is a bit slow at times but starts to pick up once they begin their journey to find Excalibur. The John Wick style Inn was a fun concept that I enjoyed reading about.
There are a lot of similarities to this and FBAA and I would have liked to have it be a little more different, but I'm hoping book two will have the story turn into something of its own. Overall I enjoyed reading this story and I'm looking forward to reading book two especially after that ending.
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Reviewed in the United States on May 27, 2023
★★★★★ 5
Unraveling Fate and Fae: A Captivating Journey in "Queen of Roses"
Format: Kindle
"Queen of Roses" by Briar Boleyn is a dark fantasy romance that masterfully combines elements of myth, magic, and romance with a captivating King Arthur retelling infused with a Fae twist. From its intricately woven plot to its compelling characters, this novel delivers an immersive reading experience that will leave readers eagerly anticipating the next installment.
At its core, "Queen of Roses" is an enchanting tale of forbidden love and destiny, featuring an exceptionally slow-burn romance that ignites with the intensity of an enemies-to-lovers trope. Against a backdrop of magic and mythical creatures, the story unfolds with tension, banter, and forced proximity, drawing readers into a world filled with love, friendships, self-discovery, and betrayal.
While the novel excels in world-building, character development, and plot intricacies, some readers may yearn for a bit more fire and spice in certain aspects of the narrative. However, the promise of future developments in the series offers hope for an even more dynamic and engaging story to come. I know I personally cannot wait to get into book 2.
With a cliffhanger ending that leaves hearts racing and minds reeling, "Queen of Roses" succeeds in immersing readers from start to finish. Its dark and twisted fantasy elements are expertly balanced with moments of adventure, action, and unexpected twists, keeping readers on the edge of their seats until the very last page.
As the story delves into complex themes and explores the depths of its characters' struggles and desires, it's important to note that "Queen of Roses" may contain triggering content. Readers are advised to check the trigger warnings before diving into this captivating tale.
Overall, "Queen of Roses" is a must-read for fans of dark fantasy romance, offering a mesmerizing journey that will leave readers eagerly anticipating the next chapter in the series. With its lush prose, intricate storytelling, and unforgettable characters, this novel is sure to leave a lasting impression on all who venture into its enchanted world.
I want to extend a heartfelt shoutout to the author for granting me the opportunity to dive into "Queen of Roses" through NetGalley. It has been an absolute pleasure to explore the captivating world and characters crafted with such skill and imagination. Thank you for entrusting me with this glimpse into your enchanting world.
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Reviewed in the United States on April 1, 2024
★★★★★ 4
Right from the start, I was drawn in by the prologue!!!
Format: Paperback, Format: Paperback
Queen of Roses (Blood of a Fae #1) by Briar Boleyn
Genre General Fiction ( Adult), Romance, Sci-Fi & Fantasy, Dark Romance
“More primordial than the stars. My name was on his lips as he promised unspeakable darkness to any who came between us.”
Right from the start, I was drawn in by the prologue!!!
I’m a big fan of “touch her, and you die” vibes, but I mean, what’s also not to love about a unique Arthurian retelling with gender twists, a treacherous royal court, a dangerous quest, magical Fae & mystical monsters, entwined with a bit of spice!
Morgan, Princess of Pendrath and true heir to the throne has spent most of her life dimming her light to feel safe and to make others comfortable. She is treated as an outcast in the court and repressed by her family due to the blood of the Fae within her and forced to join the Temple of the Three as a priestess in training to one day replace Merlin.
Her brother, King Arthur, who reminds me of Joffrey from Game of Thrones, later tells her that he has other plans and offers her a choice of the Temple or to marry her off for political gain, unless… that is, she can journey through the great unknown and return with a long-lost fae weapon with enchanted powers known as Excalibur.
Her quest begins with a roguish crew that includes the mysterious, arrogant, and heart-tuggingly handsome Captain of the Royal Guard, Kairos Draven, whom she can’t decide if she wants to stab or indulge in pleasure with.
Along the way are plenty of surprises, mystical creatures, and betrayal, all while Morgan uncovers more of the truth about herself and who she can trust.
This book had intriguing storylines and lovable characters that kept me turning pages and wanting more. I can’t wait to see how it all unfolds and comes together in book 2, Court of Claws, which I just started reading!!
Read if you’re into-
Dark Fantasy/Romance
Slow–Burn
Question Everything
Magic and Action
Fae
Arthurian Legend
Stabby/Broken FFC
Morally Gray MMC
Forced Proximity
Queen of Roses is perfect for Holly Black, Jennifer L. Armentrout, and Sarah J. Maas fans.
Please check the trigger warnings page in the table of contents before reading this book.
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Reviewed in the United States on August 16, 2023
★★★★★ 3
3.5 stars, A little boring to say the least.
Format: Kindle
Wow so I'm not sure where to begin on this one. This was a very different take on the legend of Arthur and Excalibur. This is told from the point of view of Morgan the sister of Arthur. Honestly the first 50% of this book is world building and character building which unfortunately was super boring for me. Morgan to me was a female MC that had a hard time in believing in herself. Sometimes taking too long to understand exactly what was going on around her. Draven was also a different male MC, like I couldn't put my finger on him and what he was all about. It was not until the last 10% of the book did we get some answers on the mystery that is Draven. The other 50% of the book centered around this big journey with everyone having a different motive. We see a spark of magic around this time that had me excited but then we never expanded upon that and what it could mean for the female MC. I feel like I want to read the second book just to see where this goes, but the spice was probably a 2 out of 5. Side characters are ok, Lancelet was fun but I almost felt like I wanted more.
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Reviewed in the United States on September 13, 2023