Tissir Jewellery

16/01/2026

Timorese Silver Ear Ornaments

Early 20th century, Indonesia. Cast silver triangular forms decorated with spirals and granulation suggestive of aquatic plant life. These ornaments would have been part of Timorese ritual marriage exchange. Delicately wrought and in fine condition.

16/01/2026

Yao Silver Ear Ornaments

A large pair of silver ear ornaments from the Yao people of southern China\northern Thailand, dating from the turn of the 20th century. Such heavy ornaments were likely worn near the ears fastened to a headdress. Adorned with a fish motif linked to fertility and prosperity, these were worn at weddings or similar rituals. In excellent condition.

03/06/2025

A rare and striking bracelet from the remote oasis of Figuig, in eastern Morocco.
This exceptional piece exemplifies the distinctive enameling technique specific to the region, characterized by a paste-like, opaque application of classical green and orange tones. The enamel, applied with deliberate imperfection, reflects an ancient and now-vanished local craft tradition. Bold silver granules punctuate the enamel surfaces—a decorative motif found on similar bracelets from the Algerian side of the border, where, interestingly, enamel is typically absent.

Adornments from Figuig are exceedingly scarce in both public and private collections, having long remained overlooked by collectors and researchers until their recent rediscovery. Comparable items—such as pendants, amulet holders, and silver beads—are now documented and confidently attributed to the oasis, reinforcing its unique material culture.

This bracelet stands as a rare testimony to a lost enameling tradition, shaped by the intense historical exchange between this Saharan crossroads, the refined urban centers of northern Morocco, and the cultural legacy of medieval al-Andalus.

01/06/2025

Decorated Box with Silver Inlay and Polychrome Interior
Northwestern Morocco, likely Meknes | 19th century
Iron base with silver inlay (damascening), traces of gold (possibly Koftgari); interior: polychrome painted wood in “zouaq” technique.
This exceptionally rare box showcases intricate silver inlay on an iron base, with subtle traces of gold suggesting the use of Koftgari, a delicate surface decoration technique. The interior is fully lined with elaborately painted wood in the traditional zouaq style—characterized by vibrant, geometric and floral Andalusian-Moroccan patterns reminiscent of mosaic work.
Such boxes are extremely uncommon, even in national museums or former colonial collections, making this a particularly significant example of Moroccan decorative arts.

31/05/2025

Boghdad pendants are a distinctive form of adornment widely recognized in North West Africa, particularly among the people of South Morocco and Mauritania. However, their usage extends far beyond these regions, reaching into parts of Senegal, Mali, and other areas in West Africa.

The origins of Boghdad pendants are shrouded in mystery, but they are believed to date back to the medieval African kingdoms, such as the Kingdom of Ghana. This ancient kingdom was renowned for its gold production, which played a significant role in the trans-Saharan trade network. The pendants may have been created during these prosperous times, reflecting the wealth and cultural richness of the region.

Historically, Boghdad pendants have been crafted from a variety of materials, ranging from precious metals like gold and silver to more humble materials such as copper and aluminum. The artisans employed intricate techniques such as granulation, casting, and chiseling to create these ornaments, often incorporating enamel or glass inserts for added decoration. The pendants vary in size, with some being very small, while others, especially in parts of West Africa, are made in large, bold shapes.

The slightly anthropomorphic shape of these pendants hints at possible connections to ancient fertility cults, particularly those revolving around mother goddesses, symbolizing life, fertility, and protection. Today, Boghdad pendants are cherished not only for their beauty but also for their deep historical and cultural significance. They continue to be worn as a link to the past, a reminder of the ancient civilizations and traditions that have shaped the region.

29/05/2025

rare and antique Tiznit berber women Jewish silver with enamel bangle

19/05/2025

16/05/2025

Bracelet hdida

Gilded silver filigree enameled woman’s wedding bracelet made of 2 hinged hives pin and decorated with floral pattern and bejeweled with faceted glas colored stones early 20th century from Tunisia probably djerba and worn by Berber people

16/05/2025

Pendant worn on the temples Tuareg from Hoggar, Algeria .
The shape and decoration of the large pectoral necklaces worn by Tuareg women of the Hoggar should be viewed in relation to the fibulas of Tuat and those of nomadic populations further north, close to Figuig. The inverted triangle in relief set on a small amulet box (thérot) cloquently shows the fact that fertility is the principal preoccupation of Saharan populations. This almost becomes an obsession, expressed by the multiplication of triangles in the decoration of the large pectoral and on temporals formed of superimposed triangles. Unlike the
Hoggar temporals in the Neuchâtel Museum collection, each temporal in the pairs in our collection is surmounted by a ‘head’ in very elaborate form with raised ‘arms’ in the form of loops. A difference in the welding and the technique used for decorating this ‘head’ could suggest that it is a fanciful blend. However, the temporals at the Bardo Museum in Tunis are also surmounted by a head of the same shape. This type of grouping suggests precise intention.

15/05/2025

The shape and decoration of the large pectoral necklaces worn by Tuareg women of the Hoggar should be viewed in relation to the fibulas of Tuat and those of nomadic populations further north, close to Figuig. The inverted triangle in relief set on a small amulet box (thérot) cloquently shows the fact that fertility is the principal preoccupation of Saharan populations. This almost becomes an obsession, expressed by the multiplication of triangles in the decoration of the large pectoral and on temporals formed of superimposed triangles. Unlike the
Hoggar temporals in the Neuchâtel Museum collection, each temporal in the pairs in our collection is surmounted by a ‘head’ in very elaborate form with raised ‘arms’ in the form of loops. A difference in the welding and the technique used for decorating this ‘head’ could suggest that it is a fanciful blend. However, the temporals at the Bardo Museum in Tunis are also surmounted by a head of the same shape. This type of grouping suggests precise intention.