The Birmingham family firm sitting on a gold mine in Africa

 
 
Betts & Sons was founded in 1760 in Birmingham. Right: Building Hummingbird's camp in Dugbe
 Betts & Sons was founded in 1760 in Birmingham. Right: Building Hummingbird’s camp in Dugbe
The discovery of 3.8 million ounces of gold in the West African jungle has taken the story of a 252-year-old Jewellery Quarter business full circle. Graeme Brown speaks to the chief executive of Hummingbird Resources about a fortune waiting to happen.

 
Mining companies laughed at Dan Betts when he suggested looking for gold in Liberia – but five years later his company is sitting on 3.8 million ounces of the stuff.
The “hare-brained venture” in the jungle of West Africa, as Hummingbird Resources chief executive Mr Betts puts it, has resulted in a haul worth about $6 billion, or £3.7 billion – and this is the tip of the iceberg, he claims.

The discovery adds a new twist to the story of the Betts family, which has been trading gold bullion in the Jewellery Quarter since 1760 through Betts Metals.

Dan Betts and Alexander Betts

The next step is getting it out of the ground – and it costs in the region of £200 million to build a mine of this scale – but Mr Betts said it was important to strike a balance between chasing revenue in the short term and ensuring the potential of the site is maximised.

“We have only explored about one per cent of our land holding,” he explained.

“The message we have given to the city and the world is we are in a totally new province and we have proven that there is gold, and so we would like to raise some money and continue exploring.

“That is still the message but now we have a potential mine on our hands too.

“During 2011 we discovered three million ounces of gold, which is the biggest discovery in Africa in years and we are saying this is just tip of the iceberg.”

 

Hummingbird Resources was founded by Mr Betts, a former management consultant, and his father, Stephen Betts, as a result of contacts they had in Liberia.

Stephen Betts, the latest in the family line at the helm of Betts Metals, had dealt with the Minister for Land and Mines in Liberia, and was offered some options on exploration licences covering about 7,000 sq km – about 173,000 acres – in eastern Liberia.

Dan Betts had planned to sell them to mining companies, but with Liberia emerging from a second civil war in 15 years there were few takers. He explained: “I intended to sell the options to mining companies – but they all laughed at us.

“They said the country had just come out of civil war and nobody knows if there is anything there.

“So we spend five years doing the hard work and putting the infrastructure in place to operate there and started sampling vast swathes of virgin jungle to find gold.”

He added: “At the start, when you are offering to pay for the right to search around in a jungle to find gold, they are more than happy with you.

“That costs about half a million dollars a year and then when you have to get an exploring licence and agree a mineral development agreement, which covers all of the tax treatment and things like that.

“Now we are looking to invest £200 million to create 1,000 jobs.”

At the end of a year that has seen more than three million ounces of gold discovered, Mr Betts is now starting the process of getting it out of the ground.

He said it would require a large-scale multi-pit – a minimum of two pits, but could be many more, which would all supply ore to a plant that will be built on site to process in the region of six and eight million tonnes a year.

In terms of the cost, Mr Betts admitted it was a case of “how long is a piece of string?” – but estimated between £185 million and £216 million. It will take about 18 months for pre-feasibility and feasibility studies to take place, before work can start to build the mine.

He said: “We have enough prospects to keep us going for 20 years but at some point you have to hold these ounces to account and prove they are real. Exploration is expensive – mining is where you make money.

“It is a balance of deciding when enough is enough. Now we have found 3.8 million ounces we have enough to build a mine so we are in the process of raising finance to start proving this through a series of feasability studies, before actually building the gold mine.

“And at the same time there are another x number of million ounces so we have to keep exploring.”

He added: “I have got no ambition whatsoever to get out.

“By skill, hard work or just blind luck we have found gold that will be recognised around the world and put Liberia on the map in terms of gold.

“I am going to build the mine by whatever means necessary.

“I don’t believe something of this size can be ignored by major mining companies forever but if we can raise the money then we can do it ourselves.”

Mr Betts said even without starting the process of mining he has enough funding in place to continue discovery work “all guns blazing” for 12 months.

He said he has several options in terms of funding – returning to shareholders, approaching mining companies or going to the institutions that specialise in development funding in developing markets.

“If we were to approach a mining company that could help with credibility or if we got somebody of the stature of say the African Development Bank on board it would help with any possible political issues,” he said.

Despite the fears of larger mining companies over Liberia, which was ravaged by civil war from 1989 to 1996 and then 1999 to 2003, Mr Betts said he had come across few political problems.

Political stability in Liberia has helped to provide a firm footing for work to take place after president Ellen Johnson Sirleaf was elected for a second term last year.

The wider problem is the lack of skills and education as a result the wars. Latest figures, from 2003, show Liberia has an unemployment rate of 85 per cent.

But Mr Betts said he had nothing but positive things to say about his experiences in West Africa, and he believed now was the time to invest.

“I have a different view about African political risk,” he said. “Most people say it is a disaster and we shouldn’t go anywhere near it but I would say that is why we should.

“They really need us now – the skills and investment and revenue – if they had got all of that then they wouldn’t need us. I have had nothing but positive experiences in Liberia.”

With education levels in the country impeded by years of civil war, Mr Betts admitted he had to rely on expats to carry out the major roles.

However, the firm sponsors 20 people a year to get a university education and Mr Betts said he was pleased that the business would help to create jobs for up to 1,000 Liberians.

Closer to home, Mr Betts admits he enjoys the novelty of a Jewellery Quarter business making waves in the global gold-mining sector.

He said: “From the Birmingham perspective I think it is awesome that a business has come out of the Jewellery Quarter and found gold itself.

“Exploration is a worldwide business and there are billions of dollars spent around the world exploring. The big centres are in Toronto, New York, London and Australia and little old Hummingbird has made one of the biggest finds in the world from the Jewellery Quarter – I think that is quite cool.

“Personally, it has been a monumental gamble,” he added.

“I have put five years of my life into a hare-brained venture, and it has been a 100 per cent gamble. I didn’t pay myself for the first three years.

“But I am very aware that I was very privileged to have a back-up plan and the family business hasn’t been put at risk.

“My dad and the family have invested hundreds of thousands of pounds and if it all went wrong it wouldn’t bring the house down but it does weigh heavily on my shoulders that friends and family have invested in my venture.”
Courtesy of Birmingham Post

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What to see at Jewellery Show London 2013

The Jewellery Show London opens at Somerset House tomorrow, promising a show that will be bigger and better than its debut event in 2012.

More than 140 jewellery and watch brands are set to appear at the show with brand new collections, while a number of seminars and trend-led catwalk shows will take place over the two days.

 
The catwalk shows will take place four times a day at 11am, 1pm, 3pm and 4pm featuring jewellery from brands including Amrapali Jewels, Lalique, Fei Liu, Tomasz Donocik, Fope and Hulchi Belluni. 
 
The Jewellery Show London catwalk will take place four times a day. (ITP)
The daily seminars will be feature viewpoints from more than 40 industry members, covering topics such as business development, sales and marketing, jewellery trends, designs and innovative technologies.
 
Highlights will include an overview of the jewellery industry led by Michael Allchin of the Birmingham Assay Office who will ask “Where is the market headed?”, taking a closer look at the latest trade figures and the new opportunities for retailers over the coming year.
 
Juliet Hutton-Squire of jewellery of jewellery trend analysis and market intelligence agency Adorn Insight will host a seminar focused on the relevance of trends to a commercial business and their impact on decision making with a view to growth. The seminar will include interviews with a panel of industry movers and shakers about the relevance of trends to a commercial business.
 
This year’s Jewellery Show London will also feature a new loose gems and diamond area with diamonds exhibitors including Windiam, Nasielski Diamonds, Arcadia Diamonds, HRA Group, Henig Diamonds, Blooming Star and Divine Gems.
 
The loose gems area has expanded to feature stones from companies including RM Shah, Antwerp Coloured Gems, Marcia Lanyon and Prabhu. In addition loose gems exhibitor Di Perle will have its own showroom at the event.
 
A number of brands will also unveil brand new collections or will be exhibiting for the first time. LA-based jewellery brand Mantis 7 will be exhibiting at the show this season with edgy designs featuring multi-coloured diamonds, sapphires, rose gold and baroque pearls.
 
Italian brand Soha Sardinia will also launch at the show with handmade filigree jewellery with a contemporary twist, while Belgian Jewellery brand Gianfranco Bigli will unveil its latest collection of colourful, modern Jewellery at the show.
 
Emerging British jewellery designer Dominique Lucas, who started her jewellery brand in 2010, will make her show debut.
 
Fine jeweller Fei Liu will bring a collection of bespoke high jewellery pieces to the show alongside Clogau Gold which will exhibit its new 2013 Fairytale campaign.
 
French luxury brand Lalique will use the Jewellery Show London as a platform to unveil its latest collection in the UK for the first time, as will Italian jewellery brand Fope, which will showcase its brand new high-end jewellery line Mia Luce to a wider UK audience for the first time.
 
Courtesy of Professional Jeweller
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All that glitters: Inside Kate’s jewellery box

Undoubtedly the best-known item in Kate’s jewellery collection is her engagement ring. The oval blue sapphire surrounded by 14 diamonds was the ring that Lady Diana Spencer selected herself after Prince Charles proposed in 1981.It was from a selection of rings from the former Crown jewellers Garrard of Mayfair and cost £28,500.

“It’s very special to me. As Kate’s very special to me now, it was right to put the two together,” William said on the day of their engagement announcement. “It was my way of making sure my mother didn’t miss out on today and the excitement, and the fact that we’re going to spend the rest of our lives together”The stunning central stone is a 12-carat oval Ceylon sapphire, one of Princess Diana’s favourite gemstones, and the solitaire diamonds nestled around it are set in 18-carat white gold. 

Courtesy of Hello Photo: © Getty Images
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A real nose for business! Jewellery designer uses PET snout imprints to create precious silver keepsakes for owners

 
 Lisa Morgan, 49, from Biggleswade in Bedfordshire launched Snozzas
 
Her full-time business involves crafting silver jewellery from baby fingerprints
 
Launched sideline pet operation after Hungarian Puli dog Poppy died
 
Wanted something by which to forever remember her new Puli Mabel
 
Pet owners send off for a £10 moulding kit which is then sent to Lisa
 
Snozza silver casting costs £160, bronze £120, paw print charms from £44
 
Lisa Morgan, 49, from Biggleswade in Bedfordshire, created a sideline operation within her main business of crafting jewellery out of babies’ fingerprints: making precious silver keepsakes from the imprints of dog and cat noses.
 
Lisa dreamed up the idea for the pieces – which have been dubbed Snozzas – after her beloved dog, a Hungarian Puli named Poppy, died aged 14, and she had nothing but a grubby collar and tattered lead by which to remember her.
 
Lisa taking an imprint of one of her subject’s noses, later to be made into a silver Snozza for the dog’s owner
 
She decided to take a print of her new Puli Mabel’s nose and cast it in silver, and see if the resulting mould might work as a necklace or charm bracelet.
And Lisa was amazed at the amount of detail captured in the result. The unique Snozzas were such a hit among her friends that she decided to go into business, charging £160 for a silver piece and £120 for a bronze.
 
She said: ‘I had read that each dog’s nose is unique, just like a human’s fingerprint. It’s the bit you have the most relationship with – it’s rubbed up against your hand, it’s shoved in your dinner and so on.’
 
(Pulis, in particular, are so hairy that on Mabel ‘the only bit of her face you can see is her nose’.)
 
I wanted to make sure I had something that would become a precious keepsake to always remind me of Mabel,’ Lisa added.
 
 
 
The unique Snozzas were such a hit among her friends that she decided to go into business, charging £160 for a silver piece and £120 for a bronze
 
‘One day I took some soft putty we use to make imprints of babies’ fingers and pressed it onto Mabel’s nose. I cast the impression in silver and was astounded at the result. The detail was incredible.’
‘So far we have just done dogs and cats but I was asked whether I could take an imprint of a hedgehog’s nose!’
 
Lisa said people love to have keepsakes of their children but so often don’t have anything to remind them of their pets.
 
She said: ‘Taking an imprint is really simple and so quick the animal barely notices.
 
‘So far we have just done dogs and cats but I was asked whether I could take an imprint of a hedgehog’s nose!
 
‘The end result is a really special and totally unique keepsake that is instantly recognisable to the owner.’
 
To buy a charm first send off for a £10 moulding kit which is then sent back to Lisa to make the piece. Lisa also offers paw print charms from £44.
 
Courtesy of Martha De Lacey of Mail Online

 
     

 

 

 
 
 
 

 

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Queen’s coronation anniversary: 1953

Here are some facts about the Queen’s coronation as she prepares to celebrate 60 years since she was crowned:

The newly-crowned Queen Elizabeth II waving from the balcony of Buckingham Palace.

The newly-crowned Queen Elizabeth II waving from the balcony of Buckingham Palace. Photo: PA
 
 The Queen was only the sixth Queen to have been crowned in Westminster Abbey in her own right.
 The coronation service used for Queen Elizabeth II descends directly from that of King Edgar at Bath in 973.
 
 Coronations are organised by the Earl Marshal, a hereditary position occupied by the Duke of Norfolk.
 
 A total of 8,251 guests attended the ceremony at Westminster Abbey. One hundred and twenty-nine nations and territories were officially represented.
 
 Prince Charles created history when he became the first child to witness his mother’s coronation as Sovereign.
 
 The Queen’s white satin coronation dress was made by Norman Hartnell and embroidered with the emblems of the United Kingdom and the Commonwealth. The embroidery in gold and silver thread and pastel-coloured silks was encrusted with seed pearls and crystals to create a latticework effect.
 
Buckingham Palace housemaids, chefs and gardeners all gathered inside the Grand Hall at the Palace to watch the Queen leave for Westminster Abbey.
 
On her way to the coronation, the Queen wore the George IV State Diadem – the crown she is depicted wearing on stamps. It was made in 1820 for George IV’s coronation.
 
The Queen’s coronation service was taken by the Archbishop of Canterbury, whose duty this has usually been since the Norman Conquest in 1066. For the first time at the 1953 Coronation, a representative of another Church, the Moderator of the Church of Scotland, also took part in the service.
 
 The coronation service has six basic parts – the recognition, the oath, the anointing, the investiture, which includes the crowning, the enthronement and the homage.
 
The anointing has the deepest significance during the ceremony. The exact recipe is secret, but the Anointing Oil is known to contain oils of orange, roses, cinnamon, musk and ambergris. Usually a batch is made to last a few coronations. In May 1941, a bomb hit the Deanery destroying the phial containing the anointing oil so a new batch had to be made.
 
 During the investiture, the Queen put on the newly-made Colobium Sindonis – a loose linen-lawn garment – and then a robe of cloth of gold, the Dalmatic or Supertunica, which was used by George VI. The Lord Great Chamberlain presented the golden spurs, the symbol of chivalry, after which the Archbishop of Canterbury presented a jewelled sword, and then the armills, the golden bracelets of sincerity and wisdom. Finally, the Queen put on a stole and cloth of gold, Robe Royal (Imperial Mantle), and received the orb, the coronation ring, the glove and the sceptre.
 
The St Edward’s Crown, made in 1661, was the crown placed on the Queen’s head during the coronation service. In its current form, it was first used by Charles II but it is thought that the lower part might be from Edward the Confessor’s crown.
 
The orb, also made in 1661, is a globe of gold surrounded by a cross girdled by a band of diamonds, emeralds, rubies, sapphires and pearls with a large amethyst at the summit.
 
The coronation ring, also known as The Wedding Ring of England, was worn by the Queen on the fourth finger of her right hand in accordance with tradition. It was made for the coronation of King William IV in 1831
 
 Queen Victoria did not wear the 1831 ring. Her fingers were so small that the ring could not be reduced far enough in size.
 
The 1953 coronation service was the first service to be televised and for many people it was the first time they had watched an event on television. An estimated 27 million people in Britain watched the ceremony on TV and 11 million listened on the radio.
 
 On the day of the coronation, it was learned that Edmund Hilary and Tenzing Norgay had reached the summit of Mount Everest.
 
Courtesy of The Telegraph
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Lily Cole Goes Wild

LILY COLE has made her first foray into jewellery design, creating a line of pendants, rings and bracelets. The collection, launched today in partnership with stylistpick.com, is made using Amazonian wild rubber.
 
The model was approached by Sky Rainforest Rescue last year with the offer of visiting Brazil to experience wild rubber tapping. The idea of creating a fashion collection from the raw material soon followed, something which appealed to Cole’s interest in finding trade as opposed to aid solutions for global climate issues.
 
 
“For me, the collection is a metaphor of what is possible. I hope we can use the material in many other products in the future,” she told us. “Jewellery is also a good way of communicating the value and delicacy of the rainforest it represents. Wearing it against skin can connect us with a place and a dialogue that is seemingly far away.”
 
The 25-year-old was involved with entire design process, from the initial rubber-tapping through to final production. The jewellery’s aesthetic was inspired by an old pendant she owns from Africa, which contained a prayer encased inside metal.
 
“In this instance, the rubber itself became the prayer,” she explained. “I wanted the jewellery to feel valuable but also vulnerable – as a metaphor for the rainforest. I wanted it to be something people would both love and treat delicately. I am more interested in the story behind the objects than the process of design itself, but design is an inherent part of a lot of what I do, and important for communicating ideas.”
 
 
Sky Rainforest Rescue is an initiative helmed by Sky and WWF, with the aim of saving a billion trees in the Amazon rainforest – and of which the model is an ambassador. Cole also enlisted fervent climate campaigner Vivienne Westwood to join the project, who designed a dress using the same wild rubber – which Cole wore to the recent Met Ball.
 
“I am excited to explore the rubber industry as a vehicle for green economics, which, if scaled, I see as offering real hope to the rainforest,” explained Cole. “I like the green economic approach of this specific Sky Rainforest Rescue initiative, and am excited to see what can be done in the future to create long-term structural change.”
 
Courtesy of Sarah Karmali Vogue News .
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June’s Birthstone

June’s Birthstone is the pearl which comes from one of the most humblest life forms, the mollusk. They are formed when an irritant such as a small parasite or fish lodges in the flesh of a mollusk and a protective substance called “nacre” is produced. Over years, layer upon layer of shimmering nacre coats the intruder, creating a lustrous pearl.  Natural pearls are relatively rare, so a process evolved in which a piece of shell or bead was placed inside a mollusk to stimulate the production of nacre.  This results in a cultured pearl, which accounts for about 90 per cent of the pearl industry.

Natural pearls are found in The Persian Gulf, near Japan, the souh pacific and the coasts of Panama, Venezuela, and California. Most of the cultured pearl industry is in Japanese and Australian coastal waters.  These gems come in a variety of colors, from pure white to pink, yellow, gray and black.  They also come in different shapes and sizes. 

Pearls have been a passion and even an obsession of people throughout the ages.  They have been ground up and used in cosmetics and as a medicine to treat heart and stomach conditions.  Some cultures swear by pearls as an aphrodisiac.   These gems have adorned crowns, clothing, and temples, and were said to be a favorite of Cleopatra.   

The Greeks believed that they were the hardened tears of joy that the goddess of love shook from her eyes as she was born from the sea.

They are said to represent loyalty, faithfulness and friendship and to have healing properties relating to the heart, spleen, stomach, intestine and ulcer problems.

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Venessa’s pearls of wisdom

Venessa’s pearls of wisdom

Venessa’s pearls of wisdom
The Twinkle Twinkle bracelet from Venessa Arizaga’s line.
 

Venessa Arizaga, the Parsons-educated jewellery designer, talks to Vogue about her line.

V: When did you decide to become a jewellery designer?

 VA: I started collecting shells and trinkets on a beach in Puerto Rico, trying to unwind from the fashion world, and I wanted to find a way to wear them. I didn’t know how to make jewellery properly at the time and I didn’t like using traditional hardware closures, so it was a process of trial and error. I found the mix of shells, metal and rhinestones so beautiful and from that point on I was hooked!

V: When was your big break?

VA: Before I launched my collection, I wore a personal piece to a Bergdorf Goodman event and Roopal Patel, the senior women’s fashion director at the time, saw it and asked me to come in to show her other pieces.

V: What influences your creative vision?

VA: My mum is Korean and my dad is Puerto Rican. I’ve always found inspiration from both sides of my family. I love the Caribbean with its enchanting colours – you can’t get away from it, it sticks with you!  I also love that the Korean side is spontaneous and bold. The traditional clothing from the past is beautiful and the home décor is bright with amazing geometric shapes. 

V: How would you wear your jewellery?

VA: For jewellery, I would recommend anything with pearls. It’s certainly classic, but mixes well with anything from chains and charms to your novelty pieces. My staple uniform year-round is a boyish, fitted jacket, sleek-fitted low-rise pants and a simple cotton tank for evening. I love giving this look a pop of colour and ladylike edge with the pearl trim of the Frosted Pearls necklace. I love to wear the Lavish Life necklace with a toughened up pearl necklace, navy suede Tod’s driving shoes, Isabel Marant khakis and a fun, French stripe boat shirt for a preppy, Parisian-cool look. I love all of my pieces paired with a great leather motorcycle jacket. It’s timeless and cool and you can dress it up or down for any occasion.  

Courtesy of Zara Wong – Vogue Australia

 
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Jewel purpose: when art meets fashion

Jewel purpose: when art meets fashion

 
From galleries to glamour girls, innovative Melbourne-based jeweller Lauren Besser is walking the fine line.
 
 
It’s hard not to view Lauren Besser’s jewellery designs as wearable works of art. Her label Maripossa’s latest collection – hand-woven cobwebs of silver and copper chains, jagged oxidised rings and cuffs, raw crystals and pieces worked in a rich yellow-red gold – appears like a series miniature sculptures hewn from precious metals.
 
“I’m a terrible hoarder … my apartment and studio is full of odd bits and pieces of things like shattered pottery, bits of plants and mesh I’ve found on the street,” says Besser of the random objects and natural elements that inspire her. Each piece is made in limited edition, “with the intention of being the kind of jewellery you would pick up in 10 years’ time and find it to be just as relevant as the day it was purchased.” 
 
While Sydney’s Museum of Contemporary Art and Hobart’s Museum of Old and New Art have been quick to stock Besser’s jewels, her creations are also grabbing the mainstream’s attention, with model Anja Rubik and songstress Rihanna both wearing Maripossa pieces. 
 
Ultimately, whether people categorise her work as fashion or fine art, the designer derives a unique thrill from seeing the results being worn. “I feel a strange personal connection when I see someone I’ve never spoken to wearing a piece I’ve made … Jewellery really is a very personal kind of bodily adornment with a great deal of sentiment attached,” says Besser. 
 
 
Courtesy of Genevra Leek Vogue Australia 
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Plans Submitted for New Birmingham Assay Office

Plans Submitted for New Birmingham Assay Office

 
 

The Birmingham Assay Office is pleased to announce the submission of a planning application for Project Gateway, its scheme to create a new bespoke building in the Jewellery Quarter. The scheme has been 18 months in the design pipeline to ensure that it addresses the needs of the Assay Office as a secure, flexible facility. The proposed new building will allow the business to continue to diversify and widen its range of services and innovative initiatives, as well as providing a new home for the Assay Office’s heritage collection to make it more readily accessible to members of the public.

The 55,000 sq ft building, designed by Glazzard Architects, occupies a landmark position at a key entrance to the Jewellery Quarter at Icknield Street and the designs for the high quality multi-use building have evolved in close co-operation with the planning department and conservation and local interest groups.

Chief Executive of The Birmingham Assay Office, Michael Allchin, says “This project is all about the future of The Assay Office. Our traditional hallmarking work needs a fit-for-purpose 21st Century facility and our other business activities are growing strongly. This move is essential. We need to be able to carry out our work more productively and so need modern and efficient space. Add to that built-in security, reduced operating costs and much better working conditions for all our team, then it becomes the only way forward.”
“We are working closely with the City Council to progress our plans and are looking forward to opening our new building in 2014.”

Mark Wright of Trebor Developments, who are managing the development on behalf of The Birmingham Assay Office, says “This is a huge milestone to achieve in this key project for the City. The project brief has been highly complex to ensure that all of the Assay Office’s requirements can be successfully delivered. Feedback from our consultations has been really encouraging and now that the planning submission has been made and the land contracts signed, we can start to plan the construction phase.”

The Birmingham Assay Office has been located at its current premises in Newhall Street for 135 years and is a key employer in the Jewellery Quarter, with 120 employees based at the facility.

Courtesy of JQ Jewellery Quater Heritage

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