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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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4.1 ★★★★★
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Product Reviews
★★★★★ 5
Perfect! Read this for large size
Special Size Type: Standard, Size: Large, Color: (New) Rinse
Man, let me tell you when I say I've never been so nervous about an amazon order before. I've wanted one of these for a long time but the reviews had me a little shook.
I'm 6' tall and 210lbs. I'm definitely not fat but I do have a bit of a beer belly, the rest of me is pretty lean and muscular. I measured my chest at 44" while wearing a light hoodie. The size chart said I should be a large and so that's what I ordered. It fits perfectly, I can honestly say an XL would probably be too big. The large is not too tight, not too loose. I have plenty of room in my shoulders, and I can wear a flannel shirt and hoodie under it and button it closed comfortably. The arms are the perfect length for me as well, falling just past the wrist.
I read a few reviews about the quality of the denim, I got the rinse color (dark wash) and it feels plenty high quality to me. No issues that I can see with the pockets, buttons, or stitching anywhere. I did however get a blank red tag on the front pocket which concerned me, I looked that up and apparently Levi manufacturers 10% of their products with blank red tags instead of saying "Levi" and supposedly that makes them more valuable because of the rarity? Whatever, I don't care about that as long as it's not a knockoff. I plan to wear this for a long time so the resell value is of little importance to me anyways. Even if it was a knockoff, I'd probably keep it anyways because of how good it looks.
Overall I'm pretty happy with this purchase and would recommend.
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Reviewed in the United States on April 20, 2026
★★★★★ 5
“This Jacket Changed My Life, My Posture, and Possibly My Destiny.”
Special Size Type: Standard, Size: X-Large, Color: Colusa/Stretch
“This Jacket Changed My Life, My Posture, and Possibly My Destiny.”
I bought this Levi’s Men’s Trucker Jacket on Black Friday for 50% off, and honestly, I think the universe has been waiting for this moment. The second I slipped it on, I felt the air shift — like somewhere, a tumbleweed rolled across a Walmart parking lot in respect.
This jacket didn’t just fit.
It claimed me.
Suddenly, I walked differently.
Not better — just with more narrative significance.
Like I was the mysterious side character in a Netflix show who only appears to give life-changing advice next to a jukebox.
People look at me now like I’ve been to places.
Seen things.
Done questionable but noble acts on the open road.
What This Jacket Made Me Believe About Myself:
That I could fix a motorcycle using only pliers and emotional willpower
That I should own sunglasses even indoors
That I absolutely should lean against things while staring into the distance
That I have opinions about blues music
That someone, somewhere, owes me money
My confidence skyrocketed.
My responsibilities?
Stayed exactly the same — but I now ignore them with swagger.
The Black Friday Factor
Getting it 50% off activated a new primal ego inside me.
Every time someone compliments it, I immediately shout:
“THANKS — GOT IT HALF OFF!”
Even when they weren’t complimenting it.
Even when they weren’t talking to me.
Even when I was alone.
Durability
This thing could survive:
A bar fight
A mild tornado
Being run over by a shopping cart stampede
The emotional collapse of a man who just realized he peaked in high school
It’s rugged.
It’s iconic.
It smells faintly of “I could do better, but I won’t.”
Side Effects (documented):
Strangers nod at me
Kids think I know how to play guitar
I feel obligated to say things like “Let’s ride” even when entering a minivan
My reflection winked at me once
Final Verdict
This isn’t just a jacket.
It’s a lifestyle upgrade.
A fabric-based personality transplant.
A denim prophecy fulfilled.
Five stars.
If Levi’s ever discontinues this jacket, I will chain myself to their headquarters and demand justice.
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Reviewed in the United States on December 8, 2025
★★★★★ 4
Vintage 60's cool, but sizing is a difficult decision
I can't believe I haven't owned one of these for the last 40 years or so. To put one on after all these years takes one right back to the questionable days of one's youth when you wore these bare chested underneath while tooling around on your Kawasaki 500 triple. Well it will take you back if you haven't let yourself go too far!
I received both a large and a medium in black (love the free returns on clothing, I always order two sizes so I get the right fit). They are both made in Mexico and look very neat and well made, the denim is on the thin side but OK for warm weather. Nowhere is there any tag saying shrink to fit or shrinks two sizes. The tag says machine wash cold, tumble dry medium.
The large is quite large on me (I'm 5'9" 168 lbs trim and athletic build, more often than not I wear large in T shirts and jackets), the sleeves are way too long and loose, body too long and loose. Would have to shrink drastically to fit me, I really doubt it would shrink anywhere near that much. This type jacket is just all wrong if it's too loose fitting, witness the BLACK color one in the model photos, just not too cool.
The medium fits much much smaller but IMHO perfect for this style jacket, a classic fit like Steve McQueen or Robert Plant would have sported, high waist and tight shoulders with sleeves rolled back a little. If you look at the model in the 'HARRINGTON' color you have the idea. It will be totally bitchen on today's big black BMW oilhead. This is the youthful fit I was looking for but any shrinkage would be too much. I am conflicted because I would like to wash this jacket and break it in, put a little wear and tear on it. But I wouldn't dare dry it with heat. I might try washing it in cold water and then line dry or I may just dry clean it. I am tempted to go out and drag it up and down the gravel driveway and run it over with my truck a few times till it acquires some of the same attitude it inspires in me. All I need now is a Psychedelic soundtrack and I'm all set to relive the glory days, better than the first time around.
A little research on the Levi's website reveals they have a regular fit and a slim fit in addition to this relaxed fit which is the only one available on Amazon. I find that this relaxed version works well in the medium size anyway, it seems to be relaxed only in the body, not so much in shoulders or sleeves.
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Reviewed in the United States on January 3, 2015
★★★★★ 5
Fit True to Size
Special Size Type: Standard, Size: Medium, Color: (New) in the Sandbox
Good quality you'd expect from Levis. Fit on the very slightly snug size of true to size. Very nice jacket.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 31, 2026
★★★★★ 5
Large fits well, comfortable, though a bit more flex to it than expected
Special Size Type: Standard, Size: Large, Color: Colusa/Stretch
Very nice, though it is stretchier than expected. I purchased a large. The fit is good for me at 5'11" / 200lb, average build. My shoulders are a bit broader than most and the fit is maybe just a weeeeee bit tight, under the arm when reaching for something. The arm length and overall length are both great. This will be a mid-season jacket so I do not plan to wear a hoody or other bulky item under it. It would work, but I think a bit too snug for me. I reccomend washing it immeidately then taking a hot iron with steam to the pockets and collar which I feared were trying to start and curl up. They need to be trained early! I am more pleased than expected.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 30, 2025