Investing for your future or retirement can be a minefield, particularly in uncertain economic times. Leading Wall Street institutions have suggested that gold may currently be trading below its long-term value due to a variety of economic and political factors. At the same time, many of the traditional drivers of gold demand remain firmly in place. Ongoing geopolitical tensions continue to create uncertainty across the globe, from conflict in the Middle East and concerns surrounding the Strait of Hormuz to the continuing war in Ukraine and wider tensions across Asia and the Americas. Historically, periods of heightened global uncertainty have increased demand for safe- haven assets such as gold.

Inflation and rising levels of national debt also remain major concerns for governments and investors alike. Across many western economies, the cost of servicing debt has increased significantly, while concerns over future purchasing power, energy security and fiscal deficits continue to weigh on long-term economic outlooks. In response, central banks around the world have continued to diversify reserves, with many increasing their holdings of precious metals as part of a broader strategy to protect against economic uncertainty.

Many major financial institutions remain bullish on gold. Some of Wall Street’s largest banks have forecast significant price growth over the coming years, citing continued central bank buying, geopolitical instability and fiscal pressures as key drivers. JP Morgan, for example, has suggested that gold could average around $6,000 per ounce by late 2026, with the potential to reach $6,300 per ounce beyond that.

Deutsche Bank has also maintained a positive outlook, describing the current market as being within what it refers to as a structural ‘explosive phase’. Analysts Michael Hsueh and Bryant Xu note that since 1975 gold has only entered similar phases on a handful of occasions. According to their analysis, the current phase began in August 2024 and continues today.

These forecasts come at an interesting time. Gold is currently trading below its record highs, leading many analysts to describe the recent pullback as a buying opportunity within a broader long-term bull market. Investor demand remains strong in many parts of the world. In Russia, for example, gold trading volumes have increased significantly compared with previous years, reflecting growing interest in precious metals as a store of wealth. The Moscow Exchange reported gold trading volumes of 42.6 tonnes in March 2026, more than three times higher than the same period a year earlier.

Of course, nobody can predict the future with certainty, and all investments carry an element of risk. However, based on current economic conditions and market forecasts, a bold investment in gold may prove to be a sensible long-term decision for many investors.

Gold bullion coins are particularly attractive because qualifying investment coins are classed as investment gold and are therefore zero-rated for VAT. To qualify, coins must be minted after 1800, have a purity of at least 90 per cent, and have been legal tender in their country of origin. Many qualifying gold coins are also exempt from capital gains tax (CGT), making them an efficient way to invest in physical precious metals.

For investors looking to diversify their portfolio or build long-term financial security, gold coins can offer both tangible value and potential tax advantages.

For more information about buying gold bullion coins, please call into the store. We are open Tuesday to Saturday, from 9am until 4.30pm.

Another unique object came our way recently, this time in the form of a very rare silver church communion chalice or goblet. Initially it looks like any other ordinary chalice or wine goblet but on closer inspection the primary indication of the age of the object is given away by the blue tint of the silver. Immediately I realised this is certainly not any ordinary chalice.

Having made a very quick initial inspection of the silver chalice I could immediately make an educated assessment of the age and period of it – I was hoping it was from the Elizabethan period 1558 to 1603. During this initial glance I noticed the hallmarks. I asked the potential seller if he would kindly leave the chalice with me while I conducted a more defined inspection.

The extra time gave me the opportunity to do a bit more research into the chalice. Following a confirmatory check with the Jackson’s Hallmarking guide book, and some research online, I then went in search of confirmatory trade expertise of my initial assessment. Several of our trade contacts in both Birmingham’s Jewellery Quarter and London’s Silver Vaults, (whom I consult with regularly as I deem them true silver experts) confirmed to me that the chalice hallmarks were indeed genuine. I now had in my hands a period Elizabethan church chalice.

The hallmarks however brought about another question? How was the object obtained? Knowing all chalices of the Elizabethan period bearing the Norwich Assay office hallmark were all accounted for and documented in the Norfolk Records Office (NRO) and in particular by Colin Ticktum’s Norwich Silver reference book. When the owner returned I asked him the question and he explained it was purchased through an auction house in 2011, and all salient provenance and documentation was accompanied with the silver chalice. I was very intrigued, and very eager to say the least, to obtain such a rare object for our window display.

The chalice itself is hand engraved in a very old font or text. Inscribed throughout the principle middle section of the chalice’s circumference is the dedication ‘For the Tovne of Antyngham’. Weighing 223.8 grams and measuring 15.5cm high, the chalice bears the silver hallmark of the lion surmounted by the castle revealing that it was assayed through the Norwich assay office, thus making it a very rare object.

Our chalice is dated between 1565 to 1569. It also has the marks of the sun in its splendour enhancing the provenance of the maker’s stamp or mark of Peter Peterson I who was commissioned to make a few chalices for various Norfolk churches. The records of both the NRO and the Tickcum reference book confirm that the chalice was located at the St Mary’s Church in Antingham.

St Mary’s Church is a ‘doublet church’ which is when two churches share the same churchyard – an interesting fact, but not unique or unusual for a medieval churchyard – these being the two churches of St Mary’s and St Margeret’s. It is believed the original church dates back to the 12th century.
We specialise in many unique silver items and if anyone requires a valuation or wants to sell any silver object, we are here to assist you. Simply drop by the store Tuesday to Saturday for a free valuation.

We recently received a call from one of the country’s leading silversmiths located in Birmingham’s Jewellery Quarter. We have known each other for decades and he tends to pull the odd item of interest out for us to have first refusal on. On this occasion he offered me another horse racing trophy for our window display, but it had seen better days. The gold gilding had almost entirely disappeared and rubbed off; the main component of the trophy was battered to say the least, containing many dents and large scratches. It was just about attached to the stem, albeit by a very crude lead solder. The right-hand handle was detached at the bottom of the trophy, and it was all a bit wonky to look at, clearly having seen a long and eventful life both on display and in storage.

However, knowing our silversmith can work his magic on all silver items, I purchased this gem of a trophy and asked if he could restore it back to its former glory. The usual answer was conveyed back to me: ‘I’ll try my best.’ True to form, he took great care in carefully removing the dents, repairing the solder, rebuilding the handle and sympathetically regilding the piece so that its age and character remained, but its beauty was once again revealed.

The trophy itself was not immediately recognisable to me, but the race has great history. The Jockey Club Gold Cup originated in Newmarket in 1873; for a period the race switched to feature in the Cambridge meetings before being held on Champions Day at Ascot. The race was then upgraded to the prestigious Group one status in 2025, cementing its position as one of the most important races in the calendar.

Our trophy has great notoriety from when the race was run at Newmarket. It was won outright by a famous horse of the era, St Gatien. The horse was bred by Major Francis Brace and stabled at Exeter House in Newmarket. He was originally trained by Robert Sherwood; however, in 1883 Brace sold St Gatien for £1,400 to Jack Hammond, a former stable boy who had made his fortune as a professional gambler. St Gatien was entered for the 1884 Epsom Derby, resulting in a dead heat with Harvester. That year he also won the first of his Jockey Club Gold Cups. In 1885, St Gatien was transferred to the stable of James Waugh. St Gatien was the first horse to win the cup three times in succession, from 1884 to 1886. In doing so he retained the coveted trophy.

St Gatien had a very impressive record for the era, winning the Epsom Derby, Ascot Gold Vase and Cesarewitch Handicap, as well as the Jockey Club Gold Cup in 1884. He then won the Jockey Club Gold Cup and Ascot Gold Cup in 1885 and retained the trophy again in 1886, as well as winning the Rous Memorial Stakes that year. The restored trophy, now back to its former splendour, forms a real talking point as part of our window display at our London Street store, often stopping racing enthusiasts and collectors in their tracks as they pass by. It serves as a tangible link between Newmarket’s rich racing heritage and the thriving interest in historic sporting artefacts today.

With sporting memorabilia in great demand, we would be very interested to appraise and value any such items readers may want to sell. Whether it be trophies, medals, race cards, programmes or other racing curiosities, we are always delighted to see pieces with a story to tell. For further information on our free appraisal and valuation service, please drop by the store and speak to James at any time, Tuesday to Saturday from 9am until 4.30pm.

The decade described as the roaring twenties is the ultimate era for sophisticated glamour, luxury and pleasure. The Art Deco era was born in the middle of the decade, circa 1926 at the Paris exhibition, and quickly began to influence architecture, interiors, fashion and, of course, fine jewellery design. Geometric shapes, symmetrical lines and opulent materials paved the way for pieces that felt thoroughly modern yet unmistakably luxurious. It is often referred to as the golden age of jewellery, when platinum emerged and precious gemstones were used in glorious abundance.

Our latest addition is a spectacular creation from that very era. It comes in the form of a rather decadent bracelet, showcasing a bold geometrical design, perfect symmetry and exquisite detailing that utilises the natural sparkle of both diamonds and sapphires to dramatic effect. Every link has been carefully considered so that light is captured and reflected from every angle, creating a constant play of brilliance around the wrist. This wonderful bracelet was originally retailed through the Bond Street store of Hunt and Roskell, one of the most highly regarded jewellers and silversmiths of their day, which only adds to its desirability for collectors and connoisseurs.

Hunt and Roskell was a renowned jewellery and silver house on Bond Street in London, and for many years proudly held the Royal Warrant of Queen Victoria. The firm was the successor to the celebrated silversmith Paul Storr, who had left Rundell, Bridge and Rundell to set up his own workshop on Harrison Street near Clerkenwell in 1819. A couple of years later he went into partnership with John Mortimer and began trading from 13 New Bond
Street as Storr and Mortimer. The firm was increasingly successful, and, in 1838, it moved to impressive new premises at 156 New Bond Street, settling in just prior to the retirement of Paul Storr at the end of December that same year.

This prompted a name change to Mortimer and Hunt, which the business operated under from 1839 until 1843 when John Mortimer retired and the name changed once again, this time to Hunt and Roskell. The company continued to build a reputation for exceptional craftsmanship, royal patronage and refined taste, remaining a leading name in London jewellery until it was eventually purchased by Hancock’s in the 1960s.

The Art Deco bracelet epitomises the outstanding craftsmanship of the age. Its articulated construction allows the bracelet to effortlessly contour the wrist, enabling the diamonds to catch and reflect the light with every movement of the arm. The coruscating, glistening jewel truly embodies luxury and quality. Set with approximately four and a half carats of natural European-cut diamonds, combined with a striking, sapphire-set symmetrical design and all mounted in 950 platinum, it is a piece intended to impress from every angle.

In its day the bracelet would have been marketed to the very wealthy elite, reflected in its original enormous price tag, and it would almost certainly have been worn for grand soirées, dinners and society occasions. Having handled many items of jewellery from such distinguished jewellers of the period, we feel this ranks amongst the finest to date and stands as a museum-worthy example of its kind.

Here at Juels’ Limited we are always actively seeking to purchase important items of period jewellery for our principal window display. If you have any pieces of jewellery you may wish to sell, have valued or appraised, we would be delighted to see you. Simply drop by our store and ask for James; we are open Tuesday to Saturday from 9am until 4.30pm and no appointment is required. Whether it is a single treasured item or a collection, we offer friendly, expert advice in complete confidence and look forward to helping you uncover the true potential of your jewellery.

Karl gifted his first imperial egg to Emperor Alexander III’s wife Maria Feodorovna to celebrate the Orthodox Easter in 1885. So delighted by The Hen Egg she had the emperor patronise the firm and awarded it with the title of Supplier to the Imperial Court on May 1, 1885.

Following the outbreak of the First World War in 1914, the firm submitted proposals for wartime production which continued until the October Revolution in 1917. Karl escaped Russia in 1918 and passed away at the Hotel Bellevue in Lausanne, Switzerland, on September 24, 1920.

Recently a small silver ornamental object d’art came into our possession in the shape of an exquisitely formed sculptured pig. Showing all the attributes of the expert craftsmanship synonymous of the Fabergé era, this little pig has quality exuding from every angle. They are often referred to as a table ornament or a paperweight, being in the form of a beast couchant or lying down. The silversmith then accentuates the
eyes by inlaying them with fine old cut rubies. Extremely tactile our little pig is a delight to own. It is currently displayed as part of our main window decoration.

As always here at Juels’ Limited we are forever on a quest to seek extraordinary objects of jewellery and objects d’art. Our diamond and antique jewellery selection is becoming a destination for our customers who want that extra ordinary vintage or one-off bespoke item that may separate them from the masses. So, if you are looking for that quality item from a bygone era or wish to sell such an item, please seek out James in store Tuesday to Saturday between 9am and 4.30pm.

We have recently had the great opportunity to add to our collection with the Royal Hunt Cup. The Royal Hunt Cup is currently held on the second day of the five day Royal Ascot meeting.

First presented in 1977, it is one of three perpetual trophies at the meeting, along with the Gold Cup and the Queen’s Vase, which can be kept permanently by the winning owners. The Royal Hunt Cup is a handicapped flat horse race, established in 1843 and it was originally contested on a right-handed course and run over seven furlongs and 166 yards.

The inaugural running was won by Knight of the Whistle. It now forms part of the prestigious royal meeting at Ascot each June, regarded as the principle British flat racing event of the season. The distance raced has been over a mile (1,609 metres) since 1956.

Our trophy was commissioned by Asprey’s of London for Her Majesty’s silver jubilee event in 1977 and was cast from the same design of the previous year. Made entirely of fully hallmarked 925 sterling silver it is in the form of a symmetrical lidded vase and is hand engraved with the wording ‘The Royal Hunt Cup 1977’ on the obverse and the Royal Crest of Her Majesty Queen Elizabeth II on the reverse.

The race in 1977 was won by Mr Hussar ridden by Willie Carson, trained by John Sutclife (junior) a prolific trainer in his own right, a prolific winner including many acclaimed group one races. He located his stables out of his yard in Epsom, with a very successful combination with Robert Sangster and the great jockey Lester Piggott. John (junior) followed in his father’s footsteps as trainer, John (senior) won the Grand National with Specify in 1971. John Sutclife (junior) was the best man at Lester Piggott’s wedding.

Utilising our strong connection with some of the country’s finest jewellery cratsman, we sent the trophy of to Birmingham’s Jewellery Quarter in Hockley, where the trophy required a severe restoration including resecuring the base, removing several dents, refitting the lid a full overhaul and polish and finally gold guilting.

Not a cheap fix but the results are amazing and we are very privileged to add this to our growing collection. We are the region’s premier gold and silver dealers. If anyone wants to take advantage of the unprecedented high prices we are currently experiencing, we are here to purchase all gold and silver you may want appraising or wish to sell.

I was contacted recently via one of our London trade associates enquiring if we would be interested in purchasing a diamond necklace with a rather unique history. The necklace in question started life in the procession of a very wealthy Russian family forming part of their own personal collection. The family had connections with the Golden Triangle area of St Petersburg, having once lived in one of the most prestigious buildings on Inzhenernaya Street. Following the death of Tsar Alexander III in 1894, who was affectionately called ‘the peacemaker’ he was preceded on the throne by his son Nicholas II and on the grand occasion of the Tsar’s coronation the tiara was worn by the family’s principal female. The family referred to the tiara as ‘the mir’ meaning peace in Russian, in memory of Tsar Alexander.

Following the Russian Bolshevik revolution in 1917 led by the far-left party under Vladimir Lenin, the family escaped to Paris. Some time after that the tiara was remodelled into a necklace. The family then relocated to the United States on the outbreak of the Second World War. The necklace was still referred to as ‘the mir’, but was now comprised of old cut diamonds set in platinum. The various sized graduated old cut diamonds total in excess of 35cts of diamond weight. All are unilaterally graded as Colour F and Clarity VSI1 with excellent cut, polish and symmetry grading. The individual diamonds are then graduated and set in traditional claw collets all linkage joined by 950 platinum connection ribbons to a length of 18in.

The 35ct diamond necklace was sold via commission from a prestigious American jeweller to a Hollywood leading lady in the 1970s. The mir necklace adorned her neck on many of the most esteemed red carpet Hollywood occasions and social events. Hanging majestically around the neckline it contours and highlights the feminine beauty of the wearer. Once worn at a prestigious annual calander event in Cannes, a luxury lifestyle magazine described the necklace as ‘Mystérieusement belle et élégante au-delà de toute croyance’ – ‘Mysteriously beautiful and elegant beyond belief.’

The lady then sold the necklace in a fashionable Californian store after the Millennium and the necklace was then gemmology tested. It was only then discovered to have a unique origin and appears to be from two very different regions. The larger diamonds range from 3.1cts to 1.54cts and originate from the Aikhal diamond mine located in Yakutia, also known as the Sakha Republic in the far northeast of Russia. This now forms part of the state- owned Alrosa mining company.

The lesser diamonds under 1.5cts originated in Botswana. Probably from the Jwaneng diamond mine. This mine is the second largest in the world by volume but in terms of valued yield it is the considered the richest. Hence its nickname as ‘the prince of mines’. It is located in south-central Botswana about 110 miles southwest of the city of Gaborone.

Once back into the trade circulation the necklace eventually made its way to Hatton Garden in London. We were informed about the necklace from one of our London trade connections and purchased the necklace. It was in need of some minor restoration, which we had done in Birmingham’s Jewellery Quarter and the necklace now finds its way to our very humble Norwich store, forming part of our ever-growing window display here on London Street.

If anyone has any unique or period items of jewellery for sale we are always seeking to add to our collection. Our process cannot be simpler. Drop into store between Tuesday and Saturday from 9am to 4.30pm and we assess the items. Our terms for payment are by bank transfer, cheque or cash or any combination of the three.

One of our very good trade connections recently got in touch and wondered if I would be interested in a rare sword? As I’ve mentioned previously: “You never know what’s turning up next,’ and once I had been given the salient details, I purchased the sword without viewing it. Buying things blind is something I very rarely do, but in this case it was from an extremely well regarded expert in his field. The sword also came with a very interesting history.

Dating back to the late 12th century, knights from around Europe were assembled from a call to arms for the quest of The Third Crusade dating between 1189 and 1192, an attempt led by King Philip II of France, King Richard I of England and emperor Frederick Barbarossa to reconquer the Holy Land following the capture of Jerusalem by the Ayyubid sultan Saladin in 1187. For this reason, the Third Crusade is also known as the Kings’ Crusade.

One element of the gathered forces was the Knights Templar, or the crusader knights as they were known. This sword, used by the Knights of Templar, is in the classic British style, designed as a battle-ready sword, solely made for combat as a double-edged bladed weapon for cutting and slashing with a sharp point for thrusting. From the tip of the blade there was a blood channel (the central ridge) then the main blood channel referred to as the Fuller (this allows the blood to run off the blade, thus enabling it to be removed from the victim rather than the blood causing a vacuum and making the sword very difficult to remove). The Fuller is very plain with no ornamental markings, it has a raised chappe and cross quillons forming the hilt. This made the sword’s silhouette resemble a cross, with a classic grip handle and the pommel.

The Third Crusade was partially successful in recapturing the major trading routes of Acre and Jaffa but failed in its religious quest to recapture the holy city of Jerusalem. Following several battles Saladin forces recaptured Jaffa in 1192. The knights were slaughtered and their swords and shields were kept as spoils of war. These swords remained in Muslim hands passing from generation to generation until a new uprising in the Victorian era from the Mahdist Khalifa ruled state of Sudan.

Following the death of General Gordon at Khartum, an expeditionary force made up of the Anglo-Egyptian alliance was led by Major General Sir Herbert Kitchener and fought at the Battle of Karary, referred to as the Battle of Omdurman. The sword was used by the Dervishes army and following the victory was retaken as a battlefield token and returned to Britain forming part of a major military collection in a stately home. It remained in the private collection until the whole collection was recently sold, and the sword is now in our Norwich store.

If anyone has an item of interest and you are looking for a valuation or to sell, please drop in and see James whenever it is convenient for you to do so, from Tuesday to Saturday from 9am until 4.30pm.

This column is sponsored by Juels’ Limited, London Street, Norwich.

Recently a rather unique item was presented to us for sale, it came in a presentation box with the Papal embossed emblem on the front lid of the green box. Inside was a large modernism designed pectoral cross on a long cross link chain all set in 18ct (750) yellow gold, that is typical for the era. It turned out to have been presented to The Right Reverend Archbishop Dermot Ryan while he was the Archbishop of Dublin and Primate of all Ireland.

Born Dermot Joseph Ryan in 1924, to Andrew Ryan a medical doctor and Therese nee McKenna, in Clondalkin, Dublin. In 1932 he went to Belvedere College, Dublin. In 1942 he entered Holy Cross College, Clonliffe, and graduated with a first in Hebrew and Aramaic in University College Dublin. In 1945, he spent a year in Maynooth before attending the Irish College in Rome gaining his bachelor of divinity or baccalaureate in divinity (BD) in 1948 at the St John Lateran University, Rome, and returned to Clonliffe to complete his formation, where he was ordained a priest on May 28, 1950. Ryan returned to Rome to study at the Pontifical Gregorian University, gaining a licentiate in sacred theology in 1952. In 1954 he was awarded a master of arts (MA) in semitic languages from the National University of Ireland and followed by a licentiate in sacred scripture at the Pontifical Biblical Institute.

Dermot Ryan, a native of Dublin was professor of oriental languages at University College Dublin before his appointment by Pope Paul VI as Archbishop of Dublin and Primate of Ireland on December 29, 1971. Maintaining his connection and interest in oriental studies he served as chairman of the trustees of the Chester Beatty Library from 1978 to 1984.

He was ordained a bishop by Pope Paul VI in Rome assisted by cardinals Bernard Alfrink and William Conway (Archbishop of Armagh and Primate of all Ireland), on February 13, 1972. At the time of his appointment, he was seen as a liberal, reformer in the church. As archbishop he gave the people of Dublin a public park on a site earmarked by his predecessors for a proposed cathedral; it was named Archbishop Ryan Park in his honour. The land, at Merrion Square, was a gift from the Archbishop to the city of Dublin in 2010 it was renamed Merrion Square Park by the city council. He also served as pro-prefect of congregation for the Evangelisation of People’s from April 8, 1984 until his death in Rome, following a heart attack at the age of 60.

This completely unique item is very rare – I do not know of another that has come to the open market. Once presented the pectoral cross would have hung below the chest often with a hook to shorten the length of the chain. The open stole would then hang loosely either side of the cross for the archbishop but crossed for the priests. We do have some rare object in relation to the clergy in store and are always looking to add to the collection. So, if anyone or any organisation would like to sell any items we are always here to buy. Simply pop in store and see James for a free valuation on any item.

This column is sponsored by Juels’ Limited, London Street, Norwich.

Over the years we have had some remarkable items of jewellery and precious items by some of the most recognisable brands on the planet. Once again, we have a stunningly beautiful item in the form of an Art Deco brooch with an extremely large sapphire surrounded by marquise cut diamonds.

If you ask most jewellers in the trade what they regard as the golden age for jewellery most would favour the Art Deco period dating between the Paris exhibition of 1925 and the outbreak of the Second World War in 1939 as archetypically defying the era. The period was typically characterised by symmetrical geometric shapes, clean lines, and bold designs. This relatively short epoch in history, epitomised an age of the carefree living, unrivalled opulence, luxury and wealth with style in abundance.

‘The centre stone of the brooch has a rare, extremely large oval cut sapphire cut to exhibit the brilliance of the sapphire’s depth of colour’

This very elaborate brooch epitomises the era – extravagant, decadent, stylish and profoundly expensive when purchased. It was probably commissioned via Carrington’s on Bond Street, London – the then holders of a Royal Warrant from King George V who reigned from May 6, 1910 until his death on January 20, 1936.

The centre stone of the brooch has a rare, extremely large oval cut sapphire cut to exhibit the brilliance of the sapphire’s depth of colour, with the dimensions of 27mm x21mm x 13mm that once subjected the integrity of the gemmology refraction. X-ray’s derived that the sapphire was 65.01ct with its origin being Australia, more specifically the north eastern region of Queensland. Therefore it is most likely from the Anakie Gemfields near the region of the National Park in Blackdown and the water source of the Nogoa River.

Exquisite in colour saturation the sapphire is then surrounded by a double hallo of marquise cut diamonds all matched to 0.33ct for each of the outer diamonds and 0.20ct for the inner halo of diamonds, with a combined total weight of 12.19ct. The diamonds would not have been subjected to the four Cs in that era, but in modern day standards they are graded as Colour F and Clarity VSI 1 with excellent cut, polish and symmetry. The diamonds enhance the sapphire rather than detract from its deep and intense colour.

The entire brooch is then set in 950 platinum. The brooch was then sent to the London Assay office and fully hallmarked with the stamp mark of C&Co in a cartouche representing Carrington’s, the leopards head for the London assay office and the date letter P in a gothic style representing 1930 to 1931. Surprisingly there is no platinum symbol hallmarked, however there is an engraved word, Plat, on the pin bar of the brooch. However once subjected to XRF analysis testing from several surface areas of the brooch, the results prove it was made from 950 platinum with traces of rhodium and copper.

We don’t see such exquisite items every day but there are many still out there. If you wish to sell any items of jewellery especially from the Art Deco period, we would like to purchase them from you. Simply drop by and see James in store, Tuesday to Saturday from 9am until 4.30pm.

This column is sponsored by Juels’ Limited, London Street, Norwich.