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Description
Yemen Silver Bead Necklace - Finished NecklaceThis amazing necklace of 6 large Yemen silver beads, each one signed by the artist, and 7 smaller spacer beads. The beads on this necklace are extremely well matched. Each bead is hand made and comprised of many tiny silver elements that have been hand applied to each bead, with an equator around the middle and longitudnal lines up and down. These beads were made by Jewish silver smiths living in Yemen before World War II. These beads are beautiful
This amazing necklace of 6 large Yemen silver beads, each one signed by the artist, and 7 smaller spacer beads. The beads on this necklace are extremely well matched. Each bead is hand-made and comprised of many tiny silver elements that have been hand applied to each bead, with an equator around the middle and longitudnal lines up and down. These beads were made by Jewish silver smiths living in Yemen before World War II. These beads are beautiful gems -- all bear the signature of the artist -- and have a lovely patina.
The beads are in excellent shape and are very solid (note that the extra weight does add to the price). The beads are strung on a silver chain with a clasp in the back. The larger beads measure approximately 30 mm in diameter and the smaller spacer beads (which are also quite beautiful) measure about 18 mm in diameter. The entire necklace measures 18 inches. The entire necklace weighs 147.2 grams.
The history of these amazing jewelry pieces 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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Amazing value and performance — perfect everyday home printer!
Color: Black, Style: ET-2800-B, Pattern Name: Printer
After lots of research and comparing ink costs, I finally purchased the Epson EcoTank ET-2800 Wireless Color All-in-One Cartridge-Free Supertank with Scan and Copy and it has been one of the best tech investments I’ve made for my home setup. Whether I’m printing documents, photos, homework, or creative projects, this printer delivers consistently reliable results without the usual stress over ink costs.
Right out of the box, setup was surprisingly easy. Epson’s app guided me through the wireless connection, and within minutes the printer was connected to my Wi-Fi and ready to go. The initial filling of the ink tanks took a few extra minutes, but the included bottles were clearly labeled and simple to use without mess.
The print quality has exceeded my expectations for an all-in-one home printer:
- Documents: Crisp, clean text — perfect for school assignments, work documents, letters, and recipes.
- Photos: Bright, colorful prints with decent detail (especially when using good-quality paper).
- Graphics & Crafts: I’ve printed worksheets, planner pages, labels, and even small art pieces — and everything looks sharp and vibrant.
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Cartridge-Free Ink — Game Changer
This is the real highlight:
- Cartridge-free Supertank System:
Instead of tiny cartridges that run out in no time, this printer uses large refillable ink tanks — which means massive savings on ink long-term.
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You really feel the savings after your first few refills. I used to go through cartridges quickly, but now I only refill every few months — and even then, it’s affordable.
The included ink bottles provide a ton of pages, and you can easily track levels through the transparent tanks so you’re never caught off guard.
The wireless setup works smoothly. I can print from:
- My phone (via Epson app, AirPrint, or Google Cloud Print)
- My laptop or tablet
- Directly via Wi-Fi without cables
No more plugging USB in every time — super convenient.
The scanner is quick and easy to use:
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The scan quality is clear and accurate — ideal for digitizing receipts, forms, or school worksheets.
Pros:
- Huge savings on ink long-term
- Excellent print quality for text and color graphics
- Easy wireless setup and mobile printing
- Transparent tanks — see ink levels at a glance
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Minor Notes
- Initial setup takes a bit longer because of ink filling — but it’s worth it.
- Photo prints are good for casual use, though super high-detail photography will still look better with dedicated photo printers or labs.
- No automatic document feeder (ADF) — so multi-page scanning requires manual pages.
The Epson EcoTank ET-2800 has transformed my printing experience. It’s affordable to run, produces great everyday prints, and the wireless features make it super convenient for the entire household. If you’re looking for a home printer that won’t drain your budget on ink, this one is absolutely worth it.
Whether you’re printing school documents, work files, planners, photos, or craft projects, this printer does it all with ease — and saves you money over time.
Highly recommended for home use — practical, efficient, and budget-friendly!
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Reviewed in the United States on February 5, 2026
★★★★★ 5
Excellent Investment!
Color: Black, Style: ET-2800-B, Pattern Name: Printer
I have had this printer for two years now. I purchased it to do invitations and signs for my Daughter's baby shower. I designed an invitation, printed more than sixty copies with address labels, return address labels, numerous signs, games
and raffles tickets. I used it again for the Baby's 1st Birthday same amount of items. I have not had to fill the colored ink in over 2 years. I have filled the black. My husband also uses it for work and I've printed several other projects including pictures. Everything has always exceeded my expectations. For the price you get excellent quality. I find the software easy to use and update.
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Reviewed in the United States on June 11, 2026
★★★★★ 5
Easy set-up, high quality prints, beautiful design!
This sleek and modern print/copy station has every feature you could ever need. With an easy set-up and user friendly interface and endless ink supply, this device exponentially enhances work-flow reduces technological headaches for good!
Let's be real. My old printer had been a great work-horse for many years. Unfortunately as I upgraded my computer setup and phone, it was no longer syncing appropriately and had become a manual, troubleshooting headache! I was having to print the "even" pages on auto handling, then flip them by hand to print the "odd" pages with normal handling, then re-order appropriately. Not only this, but the cartridge price for my old device had risen to $30 per cartridge and I was constantly needing to replace and go through the pain of a slow, manual alignment process. Something needed to change. And that is when the HP OfficeJet Pro stepped in.
The setup was an absolute dream. The provided QR code takes you directly to a setup slide-show that walks you through each step one at a time (I've posted a few screen-shots of the interface). Everything worked smoothly and as intended. I especially appreciated the speedy, automatic alignment. Once set-up was complete, I was able to effortlessly connect through all of my devices and print! The quality of the print was crisp, high quality and each page was ready lickety-split. The only con I could possibly note is that it isn't the most quiet printer I've ever used. If you need something whisper quiet, you may need to look at something else or move the printer to a more appropriate location.
Once set up, I created an account and signed up for the subscription-based ink refills, which I think is a really ingenious idea. I actually chatted in with an HP representative regarding this (they were easy to get a hold of) to further clarify how it works. In a nutshell, you decide how many pages you anticipate printing in a month and you pay for that amount if ink. There is a sensor chip in the ink cartridge that lets HP know when youre about to run out of ink and they'll send you more...regardless if where you're at in your subscription. So, if I didnt quite use my 100 pages worth of ink, it wont bill my next month or send ink until I'm ready. This works out to be one heck of a deal. All told, 100 pages will only cost 7.99 rather than my usual 30 (or 60 if you count both ink and color).
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Reviewed in the United States on May 31, 2026
★★★★★ 5
Incredible image quality even when enlarged to full capacity
The quality and reliability of HP OfficeJet printers is unmatched, from my experience. I use this printer for regular everyday things like return labels and printing out documents but my favorite thing to use it for are art and design projects. I am able to copy an image and enlarge it up to 400%, or minimize its size to 25% which is an incredible range and perfect for design and art projects. As long as the ink cartridges are all at full capacity my images always come out flawless, even when I enlarge them huge. As long as I send an image in the right format or copy from a hard copy image it is always clear and crisp, not pixalized. Our craft room/office is in the basement and I am easily able to print from my kitchen or bedroom from my phone or laptop which is very convenient. The array of functions, the quality of the image, and the bright beautiful rich colors this printer is able to produce is really great if you plan to use it for design or art. I have never had a paper jam, which is very impressive considering I am always changing to photo paper as well as multiple different sized paper. I just received this printer but the HP printer I was using before still works like a charm and is close to 20 years old, if you are using this for your home I can't imagine having to replace it. My absolute favorite part is a 4 pack of extra large ink is $47.99 which is almost half of what my other printers ink cost. The wide format and large paper size I am able to print on has made our art projects really beautiful and uniform, rather than having to try to hide the seams of multiple pages taped together. Incredible product.
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Reviewed in the United States on May 22, 2026
★★★★★ 1
Pray you don't need HP Support to set up printer
HP Support is the absolute worst.
If you have any setup issues with your HP printer, you're on your own. Their support is practically useless.
I’ve been on a two-hour call trying to get wireless printing working. I’ve been transferred to three different people, and none of them knew how to help. Now I’m stuck on indefinite hold (over 30 minutes and counting) with no resolution in sight.
I can print fine with a USB cable, but it simply will not print wirelessly no matter what we try.
Extremely disappointed and frustrated with HP right now.
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