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Questions, questions, questions. | 0:00:02 | 0:00:04 | |
Every Roadshow echoes with literally thousands of different people | 0:00:04 | 0:00:08 | |
asking our experts questions. "What is it?" | 0:00:08 | 0:00:10 | |
"How was it made?" "What's it worth?" | 0:00:10 | 0:00:12 | |
The question is, which is the most interesting answer? | 0:00:12 | 0:00:16 | |
Luckily, our cameras are there to catch them as they happen. | 0:00:16 | 0:00:19 | |
Welcome to another busy Antiques Roadshow. | 0:00:19 | 0:00:22 | |
People often ask me about the Roadshow. | 0:00:59 | 0:01:01 | |
"Do your experts ever turn up and find nothing interesting?" | 0:01:01 | 0:01:05 | |
Well, thankfully, in over 30 years of touring, the answer is no. | 0:01:05 | 0:01:10 | |
In fact, the reverse is true, that usually there are so many treasures on offer, | 0:01:10 | 0:01:14 | |
we can't fit them all into one programme. | 0:01:14 | 0:01:17 | |
So tonight we're going to bring you some of them, and three magnificent venues for the price of one. | 0:01:17 | 0:01:22 | |
Stand by for a whistle-stop tour of England. | 0:01:22 | 0:01:26 | |
The grand entrance to the British Museum in London recently welcomed | 0:01:26 | 0:01:29 | |
thousands of visitors keen to see our specialists. | 0:01:29 | 0:01:33 | |
And on a sunny day in the Derbyshire Dales, | 0:01:33 | 0:01:36 | |
we found our way to the magnificent Chatsworth House. | 0:01:36 | 0:01:39 | |
Both await us in this episode. | 0:01:39 | 0:01:42 | |
But we start in Cumbria, in equally glorious surroundings. | 0:01:42 | 0:01:48 | |
Six miles from Penrith is our most recent stopping off point, Hutton-in-the-Forest. | 0:01:48 | 0:01:53 | |
It was there that Eric Knowles started our day. | 0:01:56 | 0:01:58 | |
Forgive me, I think you should really be lying on a couch. | 0:01:58 | 0:02:03 | |
I'll tell you why, I'm thinking of myself at the moment | 0:02:03 | 0:02:06 | |
more as a sort of antiques psychiatrist, | 0:02:06 | 0:02:09 | |
in so far as I want you to tell me about your cabinet. | 0:02:09 | 0:02:13 | |
Well, I bought it in a local auction in Carlisle | 0:02:13 | 0:02:17 | |
because I do like art deco. | 0:02:17 | 0:02:19 | |
And I was particularly interested in the beautiful inlay, | 0:02:19 | 0:02:23 | |
and mother of pearl and the lovely floral decoration. | 0:02:23 | 0:02:25 | |
And also it's quite a practical cabinet as well. | 0:02:25 | 0:02:29 | |
I think when it comes to eyes, you've got a very good eye. | 0:02:29 | 0:02:31 | |
And you present me with a classic piece of French art deco. | 0:02:31 | 0:02:36 | |
-Oh, very good. -And, I have to say, it's a bit of a jewel, isn't it? | 0:02:36 | 0:02:40 | |
And as for the legs, just the way that they start here | 0:02:40 | 0:02:44 | |
and they're beautifully reeded. | 0:02:44 | 0:02:46 | |
Then it forms a decorative feature all the way up to this cornice. | 0:02:46 | 0:02:50 | |
And on the top, inset with what appears to be like a marble slab, | 0:02:50 | 0:02:56 | |
-which is quite typical. Because it's practical. -Yes. | 0:02:56 | 0:02:59 | |
But the woods that have been used, | 0:02:59 | 0:03:01 | |
you've got like a burr type yew wood, or walnut, on the top of it. | 0:03:01 | 0:03:05 | |
-Yeah. -And the actual decoration, well, it's pure fantasy. | 0:03:05 | 0:03:09 | |
I love that roundel. | 0:03:09 | 0:03:10 | |
Yes. I love the mother of pearl, the way it shines. It's really nice. | 0:03:10 | 0:03:14 | |
I could imagine, in artificial light, at night, | 0:03:14 | 0:03:17 | |
it's got a magical quality. | 0:03:17 | 0:03:18 | |
-It's lovely. -But it's a bit of theatre, is your cabinet. -Yes. | 0:03:18 | 0:03:21 | |
There's more to this cabinet than meets the eye, isn't there? | 0:03:21 | 0:03:24 | |
-Well, there you are. Ooh, simplicity. -Yes, yes. -Isn't it? | 0:03:24 | 0:03:29 | |
Although it's nice wood as well. | 0:03:29 | 0:03:30 | |
Isn't it? I mean, more exotic woods. | 0:03:30 | 0:03:33 | |
-So, a secretaire. -Yes, yes. | 0:03:33 | 0:03:35 | |
Date-wise, I suppose we're looking at around about 1925. | 0:03:35 | 0:03:41 | |
-Designer, who is it? -I would love to know. | 0:03:41 | 0:03:44 | |
-It's very much in the manner of Louis Sue and Andre Mare. -Right. | 0:03:44 | 0:03:49 | |
And Sue et Mare specialised in exotic inlays. | 0:03:49 | 0:03:53 | |
-Yes. -And they went very heavy with mother of pearl. | 0:03:53 | 0:03:57 | |
-Right. -I don't know for sure. | 0:03:57 | 0:04:00 | |
Dare I ask what you had to pay? And how long ago was it? | 0:04:00 | 0:04:04 | |
-It was two years ago. -Oh, recently? | 0:04:04 | 0:04:06 | |
And I paid £900. | 0:04:06 | 0:04:07 | |
900? Well, let me just say that, you know, | 0:04:07 | 0:04:11 | |
if I went into certain galleries, | 0:04:11 | 0:04:13 | |
I know two or three that specialise in deco furniture. | 0:04:13 | 0:04:17 | |
And I know for a fact that I would not get away with paying | 0:04:17 | 0:04:22 | |
less than £9,000. | 0:04:22 | 0:04:23 | |
Oh, goodness, that's a big difference. | 0:04:23 | 0:04:26 | |
Lovely, that's excellent. | 0:04:26 | 0:04:29 | |
It'll be my pension, then. | 0:04:29 | 0:04:32 | |
If you can associate this piece with Louis Sue and Andre Mare, | 0:04:32 | 0:04:38 | |
then it becomes an important piece of furniture | 0:04:38 | 0:04:41 | |
and the starting price would be £30,000. | 0:04:41 | 0:04:43 | |
Goodness me! | 0:04:43 | 0:04:45 | |
If it does turn out to be Sue et Mare, I'm on 10%. | 0:04:45 | 0:04:48 | |
LAUGHING: I'll send you a cheque. | 0:04:48 | 0:04:51 | |
This is an incredible collection of amateur magazine work, isn't it? | 0:04:57 | 0:05:01 | |
-Yes. -Tell me about it. Where did it come from? | 0:05:01 | 0:05:03 | |
It came from my husband's aunt and she was clearing out the house. | 0:05:03 | 0:05:07 | |
We went to help and she said would I take some rubbish out? And I did. | 0:05:07 | 0:05:11 | |
And I lifted the lid and there in the dustbin were these three books. | 0:05:11 | 0:05:15 | |
And so you pinched them? | 0:05:15 | 0:05:16 | |
I did. I asked permission first. | 0:05:16 | 0:05:18 | |
That sounds fair enough, doesn't it? | 0:05:18 | 0:05:20 | |
I asked if there were any more because there was only three. | 0:05:20 | 0:05:23 | |
Wonderful. "My aunt". | 0:05:23 | 0:05:25 | |
She looks absolutely dreadful, doesn't she? | 0:05:25 | 0:05:27 | |
I know. I know. Very Victorian. | 0:05:27 | 0:05:29 | |
Very Victorian. The whole thing is very Victorian. | 0:05:29 | 0:05:32 | |
This is a magazine, a private magazine. | 0:05:32 | 0:05:34 | |
And, of course, this is the sort of thing | 0:05:34 | 0:05:36 | |
they used to do in the evening. | 0:05:36 | 0:05:38 | |
They didn't watch television sets or anything like that, | 0:05:38 | 0:05:41 | |
they wrote magazines which they passed around the family. | 0:05:41 | 0:05:45 | |
But look, it's just full of all sorts of wonderful illustrations. | 0:05:45 | 0:05:49 | |
Some of them more amateur than others. | 0:05:49 | 0:05:51 | |
This one looks quite good to me, don't you think? | 0:05:51 | 0:05:54 | |
Yes, it has pictures in it. | 0:05:54 | 0:05:55 | |
You have to find pictures, but I've never found them. | 0:05:55 | 0:05:58 | |
-Hidden pictures? -Sort of, yes. | 0:05:58 | 0:06:00 | |
She looks like a smouldering beauty, doesn't she? | 0:06:00 | 0:06:03 | |
Yes, she does. | 0:06:03 | 0:06:05 | |
It's a wonderful reflection of Victorian society. | 0:06:05 | 0:06:08 | |
And I think, although amateur, I think it is absolutely charming. | 0:06:08 | 0:06:11 | |
And I suppose we have to give it a value. | 0:06:11 | 0:06:14 | |
You got them for nothing and I'm going to say that they're worth | 0:06:14 | 0:06:18 | |
-£1,000 for the three volumes. -Never? | 0:06:18 | 0:06:21 | |
-Yes. -I don't believe you. | 0:06:21 | 0:06:24 | |
All right, don't then. | 0:06:24 | 0:06:26 | |
I had them valued 40 years ago and they said £30 for three. | 0:06:26 | 0:06:30 | |
And I didn't get rid of them because I love them. | 0:06:30 | 0:06:32 | |
And now you've made my day. | 0:06:32 | 0:06:33 | |
This is absolutely tremendous and it's really good stuff. | 0:06:33 | 0:06:36 | |
-Thank you. -As I say, it does reflect Victorian society. -Indeed. | 0:06:36 | 0:06:39 | |
-You've brought in a couple of Wedgwood candlesticks. -Yes. | 0:06:39 | 0:06:43 | |
They say Wedgwood on the bottom. | 0:06:43 | 0:06:44 | |
And they're Jasper, they're blue and white. | 0:06:44 | 0:06:47 | |
-Yes. -Everything about them shouts Wedgwood. | 0:06:47 | 0:06:49 | |
But how much more do you know about them? | 0:06:49 | 0:06:52 | |
Only that they've been in our family for as long as I can remember. | 0:06:52 | 0:06:56 | |
And we've tried to do a bit of research on them, | 0:06:56 | 0:06:58 | |
but not got very far. | 0:06:58 | 0:07:00 | |
So have you an idea of the date and maybe their value? | 0:07:00 | 0:07:03 | |
No idea at all. | 0:07:03 | 0:07:04 | |
Let's start with the mark. They're Wedgwood. | 0:07:04 | 0:07:07 | |
There's the mark on the bottom in block capitals, | 0:07:07 | 0:07:10 | |
-Wedgwood, loud and proud. -Yes. | 0:07:10 | 0:07:11 | |
Absolutely no doubt about it. So the mark | 0:07:11 | 0:07:14 | |
-and the way they're constructed will tell us what date they are. -Right. | 0:07:14 | 0:07:19 | |
Because, like lots of potteries, they kept popular patterns going. | 0:07:19 | 0:07:23 | |
And Jasper, of course, you can still buy today. | 0:07:23 | 0:07:25 | |
So what we need to find out, for your sake, is are they new? | 0:07:25 | 0:07:29 | |
-You know they're not. -Yes. -Or are they very old? | 0:07:29 | 0:07:32 | |
They are actually 18th century. | 0:07:32 | 0:07:33 | |
-Right. -About 1785-1795 in date. | 0:07:33 | 0:07:37 | |
-Really? Yes. -The mark tells us a little bit, | 0:07:37 | 0:07:40 | |
but it's the way they're constructed. | 0:07:40 | 0:07:42 | |
The 18th century ones were all made in small separate moulds, | 0:07:42 | 0:07:45 | |
-assembled by hand and then lots of hand finishing. -Oh, I see. | 0:07:45 | 0:07:49 | |
So if you look, particularly at her toes, | 0:07:49 | 0:07:52 | |
you can see there's actually a bit of extra hand cutting. | 0:07:52 | 0:07:55 | |
And the draperies, when the clay's still wet, | 0:07:55 | 0:07:57 | |
-they finished them off by hand. This has been a piece. -Yes. | 0:07:57 | 0:08:01 | |
This has been a piece. She's been in several pieces. | 0:08:01 | 0:08:04 | |
The plinth's a piece, the base is a piece. | 0:08:04 | 0:08:06 | |
-I see. -So, all put together, whilst wet, using liquid clay. | 0:08:06 | 0:08:10 | |
And, of course, as ceramic technology progressed, | 0:08:10 | 0:08:12 | |
they found ways of making this section together. | 0:08:12 | 0:08:15 | |
And then, eventually, the later ones would be made in almost one piece. | 0:08:15 | 0:08:19 | |
-Yes. -So the mark and the technique shouts 18th century. -Right. | 0:08:19 | 0:08:22 | |
-Would you like to know how much they're worth? -Go on. | 0:08:22 | 0:08:25 | |
-£1,000 to £1,500. -Right. Fine. | 0:08:25 | 0:08:28 | |
You need to find fancy candles to put in them. | 0:08:28 | 0:08:31 | |
I don't think they're ever going to see wax. | 0:08:31 | 0:08:33 | |
-I'm glad to hear it, thanks very much. -Thank you very much. | 0:08:33 | 0:08:37 | |
Well, since we're in Cumbria and near the Lakes, | 0:08:40 | 0:08:43 | |
I was really hoping all day, really hoping, | 0:08:43 | 0:08:46 | |
to see a Wainwright. A Wainwright drawing. | 0:08:46 | 0:08:48 | |
And this one of Scafell, I couldn't ask for a better one. | 0:08:48 | 0:08:52 | |
It's completely wonderful. | 0:08:52 | 0:08:53 | |
Have you walked this? | 0:08:53 | 0:08:55 | |
I have, many years ago. Nothing recently. But yes, I have. | 0:08:55 | 0:08:59 | |
That looks quite precipitous, actually. | 0:08:59 | 0:09:01 | |
It is, it looks worse than it is. | 0:09:01 | 0:09:03 | |
But it is a very... It's a good path walk. | 0:09:03 | 0:09:06 | |
And did you use a Wainwright's Guide on that day? | 0:09:06 | 0:09:09 | |
I did, yes. I always walk in the Lake District with a Wainwright. | 0:09:09 | 0:09:12 | |
And do you use it? Do you use his drawings | 0:09:12 | 0:09:15 | |
in preference to an Ordnance Survey map? | 0:09:15 | 0:09:17 | |
No, I always have an Ordnance Survey map with me when I'm walking. | 0:09:17 | 0:09:20 | |
-I suppose that's safer, isn't it? -Yeah. | 0:09:20 | 0:09:22 | |
Do you know, what I love about these drawings most of all, | 0:09:22 | 0:09:26 | |
in a sense, is that you know exactly where you are at any point. | 0:09:26 | 0:09:29 | |
And he draws them with such clarity that he's understood 3D | 0:09:29 | 0:09:34 | |
and rendered it into 2D in a perfectly articulate way. | 0:09:34 | 0:09:38 | |
And it's his incredibly ordered mind that enabled him to do that, | 0:09:38 | 0:09:42 | |
I think, to put that down in pen and ink. | 0:09:42 | 0:09:44 | |
It's a piece of perfection. | 0:09:44 | 0:09:46 | |
What do you know about him? | 0:09:46 | 0:09:48 | |
He was a keen walker when he started his books, | 0:09:48 | 0:09:52 | |
the pictorial guides to the Lake District. | 0:09:52 | 0:09:55 | |
It was a labour of love for him. And he was a very solitary man as well, | 0:09:55 | 0:09:59 | |
it was quite difficult for him later on, | 0:09:59 | 0:10:01 | |
when the books became so popular. | 0:10:01 | 0:10:02 | |
And, in a way, he's responsible for making walking in the Lake District | 0:10:02 | 0:10:06 | |
as popular as it is today. | 0:10:06 | 0:10:07 | |
He went there for solitude | 0:10:07 | 0:10:09 | |
and he ended up finding it, you know, incredibly busy. | 0:10:09 | 0:10:12 | |
And of course it was partly his fault | 0:10:12 | 0:10:14 | |
that it was so very, very busy. | 0:10:14 | 0:10:16 | |
-Yeah, yeah. -How on earth did you get it? | 0:10:16 | 0:10:19 | |
It was my grandfather's and it came to me after he died. | 0:10:19 | 0:10:22 | |
-He was a fell walker too, I suppose? -He was a very keen fell walker, yes. | 0:10:22 | 0:10:26 | |
He used to walk in the Lake District a lot and there was a competition | 0:10:26 | 0:10:30 | |
with a very famous baked bean manufacturer, | 0:10:30 | 0:10:34 | |
that if you sent off an amount of labels, I can't remember how many, | 0:10:34 | 0:10:39 | |
you'd be put in a prize draw to possibly win a picture. | 0:10:39 | 0:10:43 | |
My grandfather was very keen on Wainwright, | 0:10:43 | 0:10:45 | |
not so keen on beans, didn't like them at all, but... | 0:10:45 | 0:10:48 | |
-He didn't even like them? -No, he didn't like them at all, but being a Northern man, | 0:10:48 | 0:10:52 | |
he wasn't going to throw them away, so he ate them | 0:10:52 | 0:10:55 | |
and he entered several times and got nothing | 0:10:55 | 0:11:00 | |
and he was getting more and more frustrated | 0:11:00 | 0:11:02 | |
and in the end he wrote to them and said, | 0:11:02 | 0:11:04 | |
"I've been buying your beans for months and I don't even like them". | 0:11:04 | 0:11:08 | |
He didn't hear anything back, | 0:11:08 | 0:11:10 | |
then a few weeks later this turned up in the post. | 0:11:10 | 0:11:12 | |
What a fantastic story. | 0:11:12 | 0:11:13 | |
He must have been rather bloated with beans by then. | 0:11:13 | 0:11:16 | |
Yes, quite possibly, | 0:11:16 | 0:11:18 | |
although I think he was very happy the picture turned up, | 0:11:18 | 0:11:21 | |
but also very happy that he could stop eating beans. | 0:11:21 | 0:11:24 | |
Well, is it a work of art? Is it a topographical drawing? | 0:11:26 | 0:11:29 | |
I don't know, but they're very, very popular. | 0:11:29 | 0:11:32 | |
Everyone loves Wainwright. | 0:11:32 | 0:11:34 | |
And what that means, that such a good example as this, of Scafell, | 0:11:34 | 0:11:38 | |
-well, between £1,200 and £1,500. -Blimey. | 0:11:38 | 0:11:41 | |
Didn't think it was worth that much. | 0:11:41 | 0:11:44 | |
You're never going to sell it, are you? | 0:11:44 | 0:11:46 | |
No, it'll be going to my son. Get a lot of enjoyment from it. | 0:11:46 | 0:11:49 | |
From the beauties of the Lake District, | 0:11:53 | 0:11:55 | |
we're heading to equally stunning landscapes - | 0:11:55 | 0:11:58 | |
to Derbyshire, where we recently set up camp at Chatsworth. | 0:11:58 | 0:12:01 | |
It was there many hundreds greeted us for another busy Roadshow. | 0:12:04 | 0:12:08 | |
Are you a general clock collector | 0:12:12 | 0:12:13 | |
or just clocks with a nautical flavour? | 0:12:13 | 0:12:15 | |
No, just general really. I like all sorts of clocks. | 0:12:15 | 0:12:18 | |
-Do you have lots at home? -Quite a lot, yeah. | 0:12:18 | 0:12:22 | |
Time fascinates me. | 0:12:22 | 0:12:24 | |
-You picked these two because you thought they were fun? -I did, yeah. | 0:12:24 | 0:12:27 | |
They're both slightly in the rough. Have you...? | 0:12:27 | 0:12:30 | |
-Well, this one was rebuilt by a friend of mine. -Yeah. | 0:12:30 | 0:12:33 | |
He put all this one back together. | 0:12:33 | 0:12:35 | |
I bought that off a chap all in bits in a box, | 0:12:35 | 0:12:38 | |
and I put that one back together. | 0:12:38 | 0:12:41 | |
But I do realise that there are certain things that aren't right. | 0:12:41 | 0:12:45 | |
They're both French. | 0:12:45 | 0:12:46 | |
And this lovely automaton lighthouse is absolutely typical | 0:12:46 | 0:12:52 | |
of the sort of industrial themed clocks and nautical clocks | 0:12:52 | 0:12:56 | |
that the French were making in the latter part of the 19th century. | 0:12:56 | 0:13:00 | |
-Oh, right. -So we've got this wonderful light. | 0:13:00 | 0:13:03 | |
It has a duplex escape wheel down there | 0:13:03 | 0:13:06 | |
and the balance wheel is basically this "lamp" | 0:13:06 | 0:13:10 | |
-in inverted commas, with the glass rods. -Yeah. | 0:13:10 | 0:13:13 | |
-So it's a very visual item, isn't it? -Yes, it is, actually. | 0:13:13 | 0:13:16 | |
It fascinated me when I first saw it. | 0:13:16 | 0:13:19 | |
It's good it's working, because if it doesn't, | 0:13:19 | 0:13:22 | |
they are absolutely fiendish to get back running. | 0:13:22 | 0:13:24 | |
It's a very tricky thing. | 0:13:24 | 0:13:26 | |
Well, I'm glad I didn't have to do it. | 0:13:26 | 0:13:28 | |
So let's go to this one. | 0:13:28 | 0:13:30 | |
Now, do you know what this is meant to represent? | 0:13:30 | 0:13:33 | |
I've always related it to like a diving bell, this sort of thing. | 0:13:33 | 0:13:36 | |
Well, you're much more likely that, | 0:13:36 | 0:13:38 | |
because I think actually it's an early buoy... | 0:13:38 | 0:13:41 | |
This is its counterweight. | 0:13:41 | 0:13:43 | |
It would have sat under the water, you would have seen this bit, | 0:13:43 | 0:13:46 | |
-and that would have been your light on it. -Oh, right. | 0:13:46 | 0:13:49 | |
That would have kept it effectively from toppling over in a heavy sea. | 0:13:49 | 0:13:54 | |
We've got the time piece movement in there | 0:13:54 | 0:13:58 | |
and then going round, 120 degrees, | 0:13:58 | 0:14:00 | |
we've got a rather nice curved thermometer. | 0:14:00 | 0:14:03 | |
-Around again and we have an aneroid barometer. -Yeah. | 0:14:03 | 0:14:08 | |
And then in the top... | 0:14:08 | 0:14:10 | |
..we have a little inset compass. | 0:14:11 | 0:14:13 | |
Now the great thing is this - | 0:14:15 | 0:14:17 | |
"The 1st Admiralty Prize", | 0:14:17 | 0:14:19 | |
and you can see the presentation. | 0:14:19 | 0:14:22 | |
And it's dated 1889. | 0:14:22 | 0:14:24 | |
"HMS Britannia", | 0:14:25 | 0:14:27 | |
-which is the Royal Naval College at Dartmouth. -Yeah. | 0:14:27 | 0:14:31 | |
Two great pieces. | 0:14:31 | 0:14:33 | |
And we're here, obviously, to talk about their value. | 0:14:33 | 0:14:37 | |
This one, once it's had a little bit of re-plating done, | 0:14:37 | 0:14:39 | |
a bit of polishing and lacquering, make it look good, retail condition, | 0:14:39 | 0:14:44 | |
-you're going to see about £3,500. -Oh, right, oh, right. | 0:14:44 | 0:14:47 | |
I didn't think it was worth that much. | 0:14:47 | 0:14:49 | |
And what about the lighthouse? | 0:14:49 | 0:14:50 | |
In a decent shop or, once again, at a top quality antiques fair, | 0:14:50 | 0:14:54 | |
people would be asking towards £5,000 for that. | 0:14:54 | 0:14:57 | |
Ah, right, right. | 0:14:57 | 0:14:59 | |
So from a bag of bones, literally, to a high value object. | 0:14:59 | 0:15:02 | |
Yes, yes. | 0:15:02 | 0:15:03 | |
So it's great to meet a fellow clock enthusiast | 0:15:03 | 0:15:06 | |
and I trust there's lots more at home | 0:15:06 | 0:15:08 | |
-and next time, bring a lot more in. -Will do, yeah. | 0:15:08 | 0:15:11 | |
It's nice to know the value of them. | 0:15:11 | 0:15:13 | |
I get very excited when people bring along | 0:15:18 | 0:15:20 | |
wonderful pieces of jewellery, naturally. | 0:15:20 | 0:15:22 | |
But when there are super boxes like this, it gets even more interesting. | 0:15:22 | 0:15:26 | |
And then if we open them up, we have two gorgeous bracelets in there, | 0:15:26 | 0:15:33 | |
and each of the boxes has the Liberty logo in. | 0:15:33 | 0:15:37 | |
How did you get hold of these? | 0:15:37 | 0:15:39 | |
Well, these were my grandmother's. | 0:15:39 | 0:15:41 | |
They've been handed down two generations. | 0:15:41 | 0:15:43 | |
And do you remember | 0:15:43 | 0:15:44 | |
your grandmother wearing them? | 0:15:44 | 0:15:46 | |
I remember her wearing them, yes. | 0:15:46 | 0:15:48 | |
She wore them often, especially this one. | 0:15:48 | 0:15:50 | |
Well, they are absolutely gorgeous, | 0:15:50 | 0:15:52 | |
and of course Liberty, which is based in London, on Regent Street, | 0:15:52 | 0:15:55 | |
was opened in 1875 by Arthur Lasenby Liberty, | 0:15:55 | 0:15:59 | |
and his whole idea was to get amazing works of art, | 0:15:59 | 0:16:03 | |
be it furniture, paintings, rugs, | 0:16:03 | 0:16:06 | |
bring them into the building and display them in such a way, | 0:16:06 | 0:16:09 | |
which just showed off their best potential. | 0:16:09 | 0:16:11 | |
Eventually he started to bring in jewellery as well, | 0:16:11 | 0:16:14 | |
and here we've got a beautiful bracelet | 0:16:14 | 0:16:17 | |
with turquoise and delicate silver work, | 0:16:17 | 0:16:20 | |
which you can see in each of the panels, | 0:16:20 | 0:16:23 | |
and these very of the period, where they enclose the turquoise. | 0:16:23 | 0:16:27 | |
And if we look on the clasp, | 0:16:27 | 0:16:29 | |
we actually have Liberty Sterling stamped to the clasp. | 0:16:29 | 0:16:32 | |
It is just such a delicate piece of jewellery. Do you wear it? | 0:16:34 | 0:16:37 | |
Yes, but it's been handed down to my daughter, | 0:16:37 | 0:16:40 | |
so she's very interested in all about it, knowing about it. | 0:16:40 | 0:16:44 | |
But it's a gorgeous piece. It is very pretty. | 0:16:44 | 0:16:46 | |
It's absolutely wonderful. | 0:16:46 | 0:16:48 | |
And the turquoise has all stayed in extremely good condition. | 0:16:48 | 0:16:51 | |
It's all nicely coloured and the intricate detail on the silver | 0:16:51 | 0:16:56 | |
is also very, very beautiful. | 0:16:56 | 0:16:58 | |
Now, slightly later in date, we've got the bracelet over here. | 0:16:58 | 0:17:02 | |
This has got various gemstones set all along it, | 0:17:02 | 0:17:05 | |
including lovely carnelian, sapphire, | 0:17:05 | 0:17:09 | |
lapis lazuli, amongst other gemstones | 0:17:09 | 0:17:12 | |
and I'm sure you can see they're all lovely little scarab beetles. | 0:17:12 | 0:17:15 | |
-Yes, yes. -And the scarab, of course, is associated with Egypt, | 0:17:15 | 0:17:19 | |
and in the '20s, Egypt was just total excitement, | 0:17:19 | 0:17:23 | |
-because Tutankhamen's tombs had been re-excavated. -Yes. | 0:17:23 | 0:17:27 | |
And there were these major images coming back of these tombs. | 0:17:27 | 0:17:32 | |
The Mail actually called the period "Tutankhamen Mania" | 0:17:32 | 0:17:35 | |
because everybody went mad | 0:17:35 | 0:17:37 | |
and there's always been an excitement about Egypt, | 0:17:37 | 0:17:39 | |
and it showed that you were ahead of your times | 0:17:39 | 0:17:42 | |
and you were in the height of fashion. With regard to value, | 0:17:42 | 0:17:45 | |
if these came up at auction, | 0:17:45 | 0:17:46 | |
it's just fabulous that you've got the boxes with them as well. | 0:17:46 | 0:17:50 | |
Each of these on their own, the boxes, | 0:17:50 | 0:17:52 | |
they're each worth about £100-£150. | 0:17:52 | 0:17:56 | |
-Oh, amazing. -Yeah, it is. | 0:17:56 | 0:18:00 | |
But the jewellery, what about that? | 0:18:00 | 0:18:02 | |
Each of these, I think you could expect to get | 0:18:02 | 0:18:05 | |
-about £1,000-£1,500 at auction. -How much?! | 0:18:05 | 0:18:09 | |
-A thousand and... -£1,000-£1,500. | 0:18:11 | 0:18:13 | |
Oh, my goodness, fantastic. | 0:18:13 | 0:18:15 | |
Now, as the Duke of Devonshire, | 0:18:19 | 0:18:21 | |
we should firstly say thanks for allowing us into your splendid home. | 0:18:21 | 0:18:25 | |
It's wonderful you're back, it's great. | 0:18:25 | 0:18:28 | |
-Now, this is your favourite item in the house. -I love it, yes. | 0:18:28 | 0:18:31 | |
I remember it from a long, long time ago, | 0:18:31 | 0:18:33 | |
when I was little and living here, when we moved in in the late' 50s. | 0:18:33 | 0:18:37 | |
-It's always being admired. -Who first had this made? | 0:18:37 | 0:18:42 | |
This was made for a man called Baron Von Knyphausen | 0:18:42 | 0:18:46 | |
in about 1697 in Germany. | 0:18:46 | 0:18:53 | |
It was bought in 1817 | 0:18:53 | 0:18:55 | |
through an agent in Brussels by the sixth Duke. | 0:18:55 | 0:18:57 | |
Now, it's not just an extraordinary eagle or hawk in its own right. | 0:18:57 | 0:19:02 | |
-It's also a drinking vessel. -Yes. If I just take this out... | 0:19:02 | 0:19:06 | |
-Yikes! -So that's the head, that is safe. | 0:19:06 | 0:19:10 | |
And then inside is this drinking vessel. | 0:19:10 | 0:19:12 | |
There's the baron's coat of arms, | 0:19:12 | 0:19:15 | |
and I think it was made as a statement of importance. | 0:19:15 | 0:19:18 | |
It's certainly an incredible sort of power symbol, isn't it? | 0:19:18 | 0:19:23 | |
Yes, it's covered in all these semi-precious stones. | 0:19:23 | 0:19:26 | |
There's garnets and cornelians and amethysts. | 0:19:26 | 0:19:28 | |
-Sapphires here. -Sapphire there. | 0:19:28 | 0:19:30 | |
And emeralds... It is beautiful. Let's put it all together. | 0:19:30 | 0:19:34 | |
What is it about it that you love so much? | 0:19:34 | 0:19:37 | |
I love it because it's flashy and blingy, | 0:19:37 | 0:19:40 | |
and it's really a statement of somebody saying, | 0:19:40 | 0:19:43 | |
"This is a beautiful thing | 0:19:43 | 0:19:45 | |
"which I've made for the best of my abilities." | 0:19:45 | 0:19:48 | |
And considering how old it is, it's rather fascinating. | 0:19:48 | 0:19:53 | |
-Have you ever drunk out of it? -No, I haven't, actually. | 0:19:53 | 0:19:56 | |
You can't put the silver beaker down, actually. | 0:19:57 | 0:20:00 | |
So you'd have to drink it all in one go. | 0:20:00 | 0:20:02 | |
-Sounds like a marvellous excuse. Maybe later. -Maybe later. | 0:20:02 | 0:20:07 | |
Well, when I first saw this, I thought, | 0:20:22 | 0:20:24 | |
"Oh, my goodness, some tatty book", | 0:20:24 | 0:20:26 | |
but it proved absolutely fascinating going through it. | 0:20:26 | 0:20:30 | |
I mean, these are, what are they? They're police records. | 0:20:30 | 0:20:34 | |
Yeah, police mug shots. | 0:20:34 | 0:20:35 | |
Where does it come from? | 0:20:35 | 0:20:36 | |
It was rescued from a skip some 30 years ago, | 0:20:36 | 0:20:39 | |
from a Derby police station that were clearing out. | 0:20:39 | 0:20:41 | |
And in those days I suppose records didn't matter, | 0:20:41 | 0:20:45 | |
and my dad rescued it because he thought... | 0:20:45 | 0:20:47 | |
He was interested in old things. | 0:20:47 | 0:20:49 | |
And your father was...? | 0:20:49 | 0:20:51 | |
He was a policeman. | 0:20:51 | 0:20:52 | |
I'm not sure he's allowed to do that! | 0:20:52 | 0:20:54 | |
But anyway, I'm very glad he did, | 0:20:54 | 0:20:57 | |
because this is rather important, isn't it? | 0:20:57 | 0:21:00 | |
James Brady, here, and Alfred Mason... | 0:21:00 | 0:21:04 | |
-These people were involved in a plot. -They were, yes. | 0:21:04 | 0:21:06 | |
Against Lloyd George. And the date here is, what, 19... | 0:21:06 | 0:21:11 | |
-1917. -1917. | 0:21:11 | 0:21:13 | |
Were they Bolsheviks or German sympathisers or what? | 0:21:13 | 0:21:17 | |
It's alleged that they were Communist sympathisers. | 0:21:17 | 0:21:20 | |
Well, here they are and here are their mug shots, | 0:21:20 | 0:21:22 | |
James Brady, alias The Duke. | 0:21:22 | 0:21:25 | |
It says where he went and all the things that he did. | 0:21:25 | 0:21:28 | |
And here's this other chap, Alfred George Mason. | 0:21:28 | 0:21:32 | |
And then the others, who are rather strange, which are two women. | 0:21:32 | 0:21:37 | |
Yes, they were, I believe, conscientious objectors, | 0:21:37 | 0:21:40 | |
didn't agree with the war. | 0:21:40 | 0:21:41 | |
It was in the middle of the First World War. | 0:21:41 | 0:21:44 | |
And Lloyd George was in charge, as it were, at that stage. | 0:21:44 | 0:21:48 | |
Their plan was to poison him. | 0:21:48 | 0:21:50 | |
-How were they going to do that? -They tried to poison him with a dart | 0:21:50 | 0:21:54 | |
and they tried the poison on dogs to see if it would work, | 0:21:54 | 0:21:57 | |
but I don't think they actually got that far and they got caught before. | 0:21:57 | 0:22:01 | |
How extraordinary, for killing dogs. | 0:22:01 | 0:22:03 | |
It is the most fascinating book, | 0:22:03 | 0:22:05 | |
and it is remarkable for it to have survived. | 0:22:05 | 0:22:08 | |
It's a social document. There's lots of people in here, | 0:22:08 | 0:22:12 | |
but I would say in excess of £1,000. | 0:22:12 | 0:22:15 | |
-Right. -Why not? -Thank you. | 0:22:15 | 0:22:17 | |
And I suppose we should thank your father | 0:22:17 | 0:22:19 | |
for taking it out of a skip. | 0:22:19 | 0:22:20 | |
You know, I just love Japanese pots and Japanese works of art. | 0:22:25 | 0:22:28 | |
Is this a family treasure or what? | 0:22:28 | 0:22:31 | |
It is a family treasure. | 0:22:31 | 0:22:33 | |
The only thing I know about its origins is that it was given | 0:22:33 | 0:22:37 | |
either to my grandmother or my great grandmother | 0:22:37 | 0:22:40 | |
by "a seafaring man" who wasn't her husband. | 0:22:40 | 0:22:43 | |
-Right. -And it has always been called the Japanese vase, | 0:22:43 | 0:22:47 | |
although we didn't know whether it was or not, | 0:22:47 | 0:22:50 | |
and nobody is ever allowed to touch it. | 0:22:50 | 0:22:53 | |
-Oh, really? -Yes. -I should feel as though I'm wearing | 0:22:53 | 0:22:55 | |
-sort of white gloves, then, today. -Yes. | 0:22:55 | 0:22:58 | |
-So do I have your permission to...? -Yes. | 0:22:58 | 0:23:00 | |
Thank you very much. | 0:23:00 | 0:23:01 | |
Well, let's have a look at it, because you're absolutely right, | 0:23:01 | 0:23:05 | |
-it is Japanese. -Well, we've got something right. | 0:23:05 | 0:23:07 | |
Oh, you got it right there. | 0:23:07 | 0:23:09 | |
-But it is a little gem, it is a treasure. -Is it? | 0:23:09 | 0:23:12 | |
Well, you've only got to look at it, the detail on there. | 0:23:12 | 0:23:16 | |
Because this type of pottery is referred to as Satsuma. | 0:23:16 | 0:23:19 | |
But more importantly, this type of quality | 0:23:19 | 0:23:24 | |
you would normally associate with the city of Kyoto. | 0:23:24 | 0:23:27 | |
There were lots of big names who specialised in this particular ware. | 0:23:27 | 0:23:32 | |
One big name is Ryozan, another one is Yabu Meizan, | 0:23:32 | 0:23:36 | |
but my favourite is Kinkozan. | 0:23:36 | 0:23:39 | |
Oh, lovely. | 0:23:39 | 0:23:41 | |
A pot like this I would say is probably about 1910. | 0:23:41 | 0:23:44 | |
Having said that, if anybody says, "How old is it?" | 0:23:44 | 0:23:47 | |
you say, "It's late Meiji period." | 0:23:47 | 0:23:49 | |
Sounds better, doesn't it? | 0:23:49 | 0:23:50 | |
Right, yeah. Oh, it sounds very nice. | 0:23:50 | 0:23:52 | |
It's the detail these people worked to. | 0:23:52 | 0:23:55 | |
I mean, that is just a mass of tiny, tiny butterflies. | 0:23:55 | 0:23:59 | |
Is it really? | 0:23:59 | 0:24:00 | |
-Hang on, how long have you lived with this? -All my life. | 0:24:00 | 0:24:04 | |
-And you've never...? -I was never allowed close to it. | 0:24:04 | 0:24:06 | |
I didn't touch it till I was well into my 20s. | 0:24:06 | 0:24:09 | |
Oh, my goodness me, that's repression! | 0:24:09 | 0:24:12 | |
Goodness me. | 0:24:12 | 0:24:14 | |
No, trust me, they're all there. | 0:24:14 | 0:24:17 | |
-And you've got this wonderful figural decoration as well. -Yes. | 0:24:17 | 0:24:20 | |
And that's where I home in on, | 0:24:20 | 0:24:21 | |
because that tells you whether it's absolutely top, top notch. | 0:24:21 | 0:24:25 | |
And this is very close to perfection. | 0:24:25 | 0:24:30 | |
It is a little miniature masterpiece in every sense of the word | 0:24:30 | 0:24:33 | |
but you want to know who it's by, and there is no mark as such. | 0:24:33 | 0:24:38 | |
There is a very indistinct impressed mark there | 0:24:38 | 0:24:40 | |
which I just simply cannot, cannot, cannot read, | 0:24:40 | 0:24:45 | |
which is a bit of a shame. | 0:24:45 | 0:24:46 | |
Also, what is important from a collector's point of view | 0:24:46 | 0:24:49 | |
is condition, and if we look at this black band here, | 0:24:49 | 0:24:52 | |
-you'll notice it's slightly worn... -Yeah. -..which is a bit of a minus. | 0:24:52 | 0:24:56 | |
So, what price do we put on a pot that has led such a sheltered life? | 0:24:57 | 0:25:03 | |
-No idea. -None whatsoever? -None at all, no. | 0:25:03 | 0:25:06 | |
I'll tell you what it's worth because that'll make me feel wanted. | 0:25:06 | 0:25:09 | |
All right. | 0:25:09 | 0:25:10 | |
Because I think if I wanted to go out and buy another, | 0:25:10 | 0:25:14 | |
I'm not going to get any change whatsoever | 0:25:14 | 0:25:16 | |
out of £1,500. | 0:25:16 | 0:25:18 | |
Wow! | 0:25:18 | 0:25:20 | |
In a round about fashion, you can actually thank your parents | 0:25:20 | 0:25:25 | |
for having that sort of control. | 0:25:25 | 0:25:29 | |
-I still have the same control. -Oh, you do? OK. | 0:25:29 | 0:25:32 | |
My daughter touched it for the first time last night and she's 23. | 0:25:32 | 0:25:37 | |
Poor things. | 0:25:38 | 0:25:39 | |
Thank you very much indeed. | 0:25:39 | 0:25:42 | |
It was given to me by a neighbour who was leaving their home | 0:25:42 | 0:25:48 | |
and taking up another one and they found it under the roof. | 0:25:48 | 0:25:52 | |
Yes. | 0:25:52 | 0:25:53 | |
Rather dirty and filthy and as I was an art student at the time, | 0:25:53 | 0:25:58 | |
they said, "Oh, give it to Dave." | 0:25:58 | 0:25:59 | |
I like the whole composition of the thing, | 0:25:59 | 0:26:02 | |
although I feel that that arm is a little bit... | 0:26:02 | 0:26:04 | |
Yeah, there are little things... | 0:26:04 | 0:26:06 | |
Odd bits about it which don't quite gel. | 0:26:06 | 0:26:09 | |
Well, let's look and see exactly what we're looking at. | 0:26:09 | 0:26:12 | |
We've got Mary, the mother of Christ, who's standing here. | 0:26:12 | 0:26:15 | |
He's a little bit older than the infant Christ | 0:26:15 | 0:26:18 | |
we're used to seeing in traditional representations. | 0:26:18 | 0:26:21 | |
And down here, we've got John the Baptist, | 0:26:21 | 0:26:23 | |
and he's wearing his camel hair shirt, and that's his staff there. | 0:26:23 | 0:26:26 | |
Tied around the staff is a ribbon on which is written | 0:26:26 | 0:26:30 | |
"Ecce" and "Agnus Dei." I am the Lamb of God. | 0:26:30 | 0:26:34 | |
And the Christ child is reaching out to hold it, | 0:26:34 | 0:26:37 | |
as if grasping his destiny, | 0:26:37 | 0:26:39 | |
because this picture looks back as well as forwards. | 0:26:39 | 0:26:42 | |
It looks to Christ's death. | 0:26:42 | 0:26:44 | |
In fact, in the distance you can see one big rock | 0:26:44 | 0:26:47 | |
and they are a hint at Calgary, where he ends up on the cross. | 0:26:47 | 0:26:51 | |
I think it's 17th century | 0:26:51 | 0:26:52 | |
and I also think we're quite east in Europe, | 0:26:52 | 0:26:55 | |
we might be as far as Germany | 0:26:55 | 0:26:56 | |
and perhaps even as far as Czechoslovakia, Bohemia. | 0:26:56 | 0:26:59 | |
-Really? -Yes, it's possible, | 0:26:59 | 0:27:01 | |
because look at the drapery here. That's actually quite Gothic | 0:27:01 | 0:27:04 | |
in the way it's so deeply cut | 0:27:04 | 0:27:06 | |
and so carefully and sharply layered. | 0:27:06 | 0:27:09 | |
Yet the face of Mary is very human | 0:27:09 | 0:27:11 | |
and she's what I might call a "bus stop Madonna". | 0:27:11 | 0:27:14 | |
You'd meet her at a bus stop, she's a real person, | 0:27:14 | 0:27:16 | |
and you get a strong sense of the affection between mother and child. | 0:27:16 | 0:27:20 | |
It's very human, the whole grouping, the cascade of figures, | 0:27:20 | 0:27:23 | |
is done in such a way that the two are extremely intimate. | 0:27:23 | 0:27:27 | |
So we're looking at a devotional object. It's quite small, | 0:27:27 | 0:27:30 | |
so it might have been for domestic use. | 0:27:30 | 0:27:32 | |
A privileged person would own this beautiful painting | 0:27:32 | 0:27:35 | |
and keep it almost as a personal chapel, | 0:27:35 | 0:27:37 | |
wouldn't have to go to church with everyone else | 0:27:37 | 0:27:40 | |
because she's got her own little shrine in her house. | 0:27:40 | 0:27:44 | |
We don't know who it's by, but the Old Master market, | 0:27:44 | 0:27:48 | |
that's the category it falls into in the art market, | 0:27:48 | 0:27:50 | |
it doesn't often care about the certainty of a name, | 0:27:50 | 0:27:54 | |
it's more about the quality of the picture. | 0:27:54 | 0:27:56 | |
We can see some very good qualities in this picture. | 0:27:56 | 0:27:59 | |
What it all adds up to is a value of between... | 0:27:59 | 0:28:03 | |
£3,000 and £5,000. | 0:28:03 | 0:28:04 | |
That's a very comfortable figure. | 0:28:04 | 0:28:06 | |
I must remember that expression, "a bus stop Madonna." | 0:28:10 | 0:28:13 | |
It's rather poetic, really. | 0:28:13 | 0:28:15 | |
Our recent visit to the British Museum | 0:28:20 | 0:28:22 | |
found the team hard at work beneath the colonnades | 0:28:22 | 0:28:25 | |
that form the grand entrance. | 0:28:25 | 0:28:27 | |
As museum visitors hurried to see the collection inside, | 0:28:27 | 0:28:30 | |
our experts were busy finding their own selection of treasures. | 0:28:30 | 0:28:33 | |
It's great to welcome you to the Antiques Roadshow | 0:28:36 | 0:28:38 | |
on this sunny day, but I understand today | 0:28:38 | 0:28:41 | |
is an important day for more reason than just you being here. | 0:28:41 | 0:28:45 | |
That's true. My 66th birthday | 0:28:45 | 0:28:48 | |
and retirement from active work. | 0:28:48 | 0:28:52 | |
-Your retirement as well? -Yes. -You've a lot to celebrate. | 0:28:52 | 0:28:55 | |
And I understand this is just a small part of your collection? | 0:28:55 | 0:28:58 | |
Yes. | 0:28:58 | 0:28:59 | |
I have been collecting ever since I got married to my wife about 33 years ago. | 0:28:59 | 0:29:04 | |
So I am a general collector, so I collect everything. | 0:29:04 | 0:29:08 | |
And what's it like to live with him? | 0:29:08 | 0:29:10 | |
Oh, that's a good question. | 0:29:10 | 0:29:13 | |
It's really a hell | 0:29:13 | 0:29:15 | |
because I don't know anything about antiques before I knew him. | 0:29:15 | 0:29:19 | |
When he started collecting... We do worry almost every day | 0:29:19 | 0:29:22 | |
because even a halfpenny... If he had a halfpenny, | 0:29:22 | 0:29:26 | |
he wouldn't mind investing it in the antique, | 0:29:26 | 0:29:31 | |
then later on when you ask for money, | 0:29:31 | 0:29:33 | |
he says, "I have no money." "What happened to your money?" | 0:29:33 | 0:29:36 | |
"I invested it in antiques." | 0:29:36 | 0:29:39 | |
And he's ploughing it into this seeming scrap metal. | 0:29:39 | 0:29:42 | |
Where do you go to find them? | 0:29:42 | 0:29:44 | |
I go to auctions, I go to car boots, I go to junk shops... | 0:29:44 | 0:29:48 | |
-You name it. -That's what objects are for, | 0:29:48 | 0:29:50 | |
to give you a thrill, the thrill of the chase, | 0:29:50 | 0:29:53 | |
and the thrill of possessing. | 0:29:53 | 0:29:55 | |
That's a good one, Keighley. Quite a contemporary artist. | 0:29:55 | 0:29:59 | |
How long have you had that one? | 0:29:59 | 0:30:01 | |
About...17 years now. | 0:30:01 | 0:30:05 | |
Did you pay a lot for it? | 0:30:05 | 0:30:06 | |
Well, I paid... | 0:30:06 | 0:30:07 | |
£500, because that was what he was selling it... I met him in person. | 0:30:07 | 0:30:13 | |
This is from the Amsterdam series in the mid 1980s | 0:30:13 | 0:30:17 | |
and 500 then, would be probably £800 to £1,200 now. | 0:30:17 | 0:30:22 | |
But look at the colour of it, | 0:30:22 | 0:30:23 | |
it's a little upturned Dutch girl's bonnet, | 0:30:23 | 0:30:26 | |
resting on a pair of clogs. | 0:30:26 | 0:30:28 | |
This one is Indian. | 0:30:28 | 0:30:30 | |
Yes. | 0:30:30 | 0:30:31 | |
I think it's maybe cast in the last sort of 50 years | 0:30:31 | 0:30:35 | |
and I'd say in a sale room, that would fetch | 0:30:35 | 0:30:38 | |
between £100 and £150. | 0:30:38 | 0:30:40 | |
You've got this figure here, too. Where did that come from? | 0:30:40 | 0:30:44 | |
Well, this one, I bought it from a junk shop. | 0:30:44 | 0:30:47 | |
Well, your junk shop find is actually quite old. | 0:30:47 | 0:30:51 | |
Made in Italy about, sort of, 1880. | 0:30:51 | 0:30:55 | |
Do you know who it is, in all his glory? | 0:30:55 | 0:30:57 | |
-No. -Narcissus. | 0:30:57 | 0:31:00 | |
He was an ancient Greek hunter who was a very good looking lad, | 0:31:00 | 0:31:04 | |
so good looking that he used to despise other people | 0:31:04 | 0:31:07 | |
and was rather haughty and arrogant. | 0:31:07 | 0:31:09 | |
For a punishment, | 0:31:09 | 0:31:10 | |
the gods made him fall in love with his own reflection, | 0:31:10 | 0:31:13 | |
and he couldn't draw himself away from his own reflection | 0:31:13 | 0:31:16 | |
and he perished and just turned to dust. | 0:31:16 | 0:31:19 | |
So it's quite a nice thing. | 0:31:19 | 0:31:21 | |
It's modelled after an ancient one which was excavated in Pompeii | 0:31:21 | 0:31:25 | |
in, I think, about the 1860s. | 0:31:25 | 0:31:28 | |
It's a very, very popular subject. | 0:31:28 | 0:31:30 | |
He's lost his base and, of course, he's lost his foot. | 0:31:30 | 0:31:34 | |
But what I do love about it is, all this verdigris. | 0:31:34 | 0:31:37 | |
It's been outside, it's probably been in somebody's garden. | 0:31:37 | 0:31:41 | |
Did you give an awful lot for this? | 0:31:41 | 0:31:43 | |
Well, I think £350, something like that. | 0:31:43 | 0:31:46 | |
I think that's probably about enough really. It's probably worth... | 0:31:46 | 0:31:50 | |
I mean, a perfect one with the base, | 0:31:50 | 0:31:52 | |
about £1,000 to £1,500. | 0:31:52 | 0:31:55 | |
So you've not done too badly at that. | 0:31:55 | 0:31:57 | |
So how do you display these? | 0:31:57 | 0:31:59 | |
Are these pride of place in the living room or are they...? | 0:31:59 | 0:32:02 | |
No, I hide them away from my wife. | 0:32:02 | 0:32:06 | |
So you do put your foot down then? | 0:32:06 | 0:32:08 | |
Yes. Hard fast. | 0:32:08 | 0:32:11 | |
I think you get away with a lot. | 0:32:11 | 0:32:13 | |
Look, you're ploughing your money into things | 0:32:13 | 0:32:16 | |
that you enjoy discovering, it gets you out at the weekend, | 0:32:16 | 0:32:19 | |
it gets you out and about into the auctions and there's a thrill, | 0:32:19 | 0:32:23 | |
of going to a sale room, going into a dealer's. | 0:32:23 | 0:32:27 | |
I think you're doing really well. | 0:32:27 | 0:32:28 | |
We've got eight objects, metal objects, from your vast collection. | 0:32:28 | 0:32:33 | |
What's in front of me is worth certainly upwards of £1,500. | 0:32:33 | 0:32:37 | |
Yes, but I thought I would have got more from this. | 0:32:37 | 0:32:41 | |
It means I have to look for a job. | 0:32:41 | 0:32:43 | |
LAUGHTER | 0:32:43 | 0:32:45 | |
To carry on your collecting habit? | 0:32:45 | 0:32:48 | |
We'll find him a job, won't we? We'll find him a job! | 0:32:48 | 0:32:50 | |
Can you tell me, is it family or purchase? | 0:32:56 | 0:32:58 | |
-Family. -And the history? | 0:32:58 | 0:33:00 | |
It was a gift to my father in law | 0:33:00 | 0:33:04 | |
from his senior partner. | 0:33:04 | 0:33:06 | |
When he died, his widow gave it to my father in law. | 0:33:06 | 0:33:09 | |
That's a tremendous gift from the senior partner... | 0:33:09 | 0:33:12 | |
It was very nice, and now my eldest son is the owner of it. | 0:33:12 | 0:33:15 | |
The first thing that caught my eye is its size. | 0:33:15 | 0:33:18 | |
It's somewhat smaller than bracket clocks of this period. | 0:33:18 | 0:33:22 | |
Yeah, shorter. | 0:33:22 | 0:33:23 | |
Yes, indeed. Now, it's signed on the back | 0:33:23 | 0:33:27 | |
by a maker called Daniel Parker in Fleet Street. | 0:33:27 | 0:33:32 | |
Do you know anything about him at all? | 0:33:32 | 0:33:35 | |
No, but Fleet Street is newspapers, not clocks. | 0:33:35 | 0:33:37 | |
That's true. Not even newspapers any more! | 0:33:37 | 0:33:40 | |
It's not that far from the area of Clerkenwell, | 0:33:40 | 0:33:42 | |
where the clock making industry flourished. | 0:33:42 | 0:33:44 | |
-Right. -He started in Derby, he moved to London | 0:33:44 | 0:33:49 | |
and he was mostly working towards the very end of the 17th century, | 0:33:49 | 0:33:53 | |
so we're talking about 1680-1690. | 0:33:53 | 0:33:57 | |
You've got, as you'd expect, | 0:33:57 | 0:33:58 | |
a rather pleasant engraved back plate. | 0:33:58 | 0:34:00 | |
-It's beautiful. -Fortunately, it's got a pendulum lock. | 0:34:00 | 0:34:05 | |
These are very often missing. This is the piece | 0:34:05 | 0:34:07 | |
that locks the pendulum when the clock's transported, | 0:34:07 | 0:34:11 | |
which in those days would have been from room to room | 0:34:11 | 0:34:14 | |
or possibly from house to house. | 0:34:14 | 0:34:16 | |
When a family went from London to a country house, | 0:34:16 | 0:34:18 | |
-they would have taken the clock with them in a box. -Right. | 0:34:18 | 0:34:22 | |
You've got striking, which you can see from the back, | 0:34:22 | 0:34:25 | |
-we have what is known as the locking plate. -Yes. | 0:34:25 | 0:34:28 | |
That's the wheel, the interrupted wheel, | 0:34:28 | 0:34:30 | |
and as it strikes, the detent here will count its way round, | 0:34:30 | 0:34:34 | |
jumping into the hole commensurate with the number. | 0:34:34 | 0:34:37 | |
It's one of the reasons why we have to be slightly careful | 0:34:37 | 0:34:40 | |
-with these clocks, they can get confused. -Oh. | 0:34:40 | 0:34:43 | |
If you whizz the hands round, they can get confused. | 0:34:43 | 0:34:47 | |
It has what is known as a basket top, | 0:34:47 | 0:34:49 | |
which is this repousse engraved piece. | 0:34:49 | 0:34:53 | |
Good size. | 0:34:53 | 0:34:55 | |
Um, minimum, I would say, | 0:34:55 | 0:34:58 | |
£5,000 to £7,000. | 0:34:58 | 0:35:00 | |
But, and it's a big but, with a little bit of tidying up, | 0:35:00 | 0:35:05 | |
I wouldn't expect to walk into a shop and buy it | 0:35:05 | 0:35:08 | |
for, say, less than 15. | 0:35:08 | 0:35:09 | |
-It's a lot of money for a tick tock. -I know. Isn't it? | 0:35:09 | 0:35:12 | |
It's not often I see a piece of silver | 0:35:14 | 0:35:17 | |
that makes my heart skip a beat, | 0:35:17 | 0:35:18 | |
but this is one of the most beautiful pieces | 0:35:18 | 0:35:21 | |
of art nouveau silver I've seen for many a long year. | 0:35:21 | 0:35:25 | |
And if we pick it up and look underneath, | 0:35:25 | 0:35:27 | |
it gets even better | 0:35:27 | 0:35:28 | |
because we see it's got the mark of Liberty & Company. | 0:35:28 | 0:35:31 | |
The date letter "d", which is a little bit worn here, but for 1903, | 0:35:31 | 0:35:36 | |
and then a little patent number, 2028. | 0:35:36 | 0:35:40 | |
It's got a Shakespearian inscription from Romeo and Juliet - | 0:35:40 | 0:35:45 | |
"A rose by any other name would smell as sweet", | 0:35:45 | 0:35:48 | |
but it's got these wonderful enamel, | 0:35:48 | 0:35:52 | |
rather Arthurian plaques set in the side. | 0:35:52 | 0:35:55 | |
I think these might be from The Lady of Shalott. | 0:35:55 | 0:35:59 | |
We've got particularly the lady here, Lady Shalott. | 0:35:59 | 0:36:03 | |
She wasn't meant to look directly at the knight, | 0:36:03 | 0:36:05 | |
she had to look at him through the mirror, | 0:36:05 | 0:36:08 | |
and the story goes in Lady of Shalott | 0:36:08 | 0:36:10 | |
that it cracked from side to side, because she looked at him straight on. | 0:36:10 | 0:36:14 | |
And if we move round, we've got a knight in armour right round here, | 0:36:14 | 0:36:18 | |
so I think that's where it may be taken from. | 0:36:18 | 0:36:20 | |
Now, names like Archibald Knox are always associated with Liberty, | 0:36:20 | 0:36:26 | |
but I don't think this is an Archibald Knox design. | 0:36:26 | 0:36:29 | |
Do you know anything about it, or its history? | 0:36:29 | 0:36:32 | |
I know a little about it | 0:36:32 | 0:36:34 | |
and I'm a collector of things like Archibald Knox | 0:36:34 | 0:36:36 | |
and in searching for that kind of art nouveau silver, I came across | 0:36:36 | 0:36:40 | |
this piece, which is a little less modern than my taste normally, | 0:36:40 | 0:36:44 | |
but I fell in love with it because it is so unique, so beautifully made | 0:36:44 | 0:36:49 | |
and very much appealed to me. | 0:36:49 | 0:36:51 | |
And you've brought along this photograph, | 0:36:51 | 0:36:53 | |
which looks to be the original design of this bowl, | 0:36:53 | 0:36:56 | |
because it's got the same number, 2028, | 0:36:56 | 0:36:58 | |
which is stamped on the bottom. Where is this from? | 0:36:58 | 0:37:02 | |
This is from the Westminster Archive Library. | 0:37:02 | 0:37:05 | |
They have a sketch book of all the Liberty silver from about 1900-1912 | 0:37:05 | 0:37:09 | |
and I was delighted when I found that picture in it of the bowl. | 0:37:09 | 0:37:14 | |
It's a really glorious piece. Can I ask what you paid for it? | 0:37:14 | 0:37:17 | |
Around £5,000. Not cheap. | 0:37:17 | 0:37:20 | |
I'm not surprised, | 0:37:20 | 0:37:21 | |
but I actually think it's worth a bit more than that | 0:37:21 | 0:37:24 | |
because I think it's such a pretty piece. | 0:37:24 | 0:37:27 | |
I think it was probably designed by Oliver Baker. | 0:37:27 | 0:37:30 | |
It's got very much his mark of influence over it. | 0:37:30 | 0:37:35 | |
Liberty - great name, it's stylish, it's pretty, it's a rose bowl, | 0:37:35 | 0:37:39 | |
hence the Shakespearian inscription. It's got everything going for it, | 0:37:39 | 0:37:43 | |
so I would say maybe... | 0:37:43 | 0:37:46 | |
-£6,000, £7,000, even £8,000. -Thank you. | 0:37:46 | 0:37:49 | |
I think you've bought a great object. | 0:37:49 | 0:37:53 | |
Well, I have never seen so many Russian Easter eggs | 0:37:55 | 0:37:59 | |
blazing away in the autumn sunshine here. | 0:37:59 | 0:38:01 | |
Why did you bring them? What was the story? | 0:38:01 | 0:38:04 | |
Well, I was watching the Antiques Roadshow a few months ago | 0:38:04 | 0:38:07 | |
and somebody produced a Faberge cigarette case. | 0:38:07 | 0:38:10 | |
Well, it was found by my grandfather | 0:38:12 | 0:38:15 | |
in the hunting fields in the early '20s. | 0:38:15 | 0:38:17 | |
He advertised it in Fox and Hound, Tatler, Country Life, | 0:38:17 | 0:38:20 | |
and nobody claimed it. | 0:38:20 | 0:38:22 | |
This is a Russian cigarette case. Did you know that? | 0:38:22 | 0:38:25 | |
I knew it was Russian, I've done a bit of history | 0:38:25 | 0:38:27 | |
on the hallmarks, but beyond that, I don't know. | 0:38:27 | 0:38:30 | |
And the little ruby thumb push to open it with, a cabochon ruby, | 0:38:30 | 0:38:33 | |
that's quite a hint of what lies within. | 0:38:33 | 0:38:35 | |
And here are endless signatures written in Cyrillic. | 0:38:35 | 0:38:39 | |
But possibly the most interesting thing is the maker's mark here. | 0:38:39 | 0:38:42 | |
It comes from the Moscow branch of Faberge | 0:38:42 | 0:38:45 | |
-that made the Imperial Easter eggs for Nicholas and Alexandra. -Amazing. | 0:38:45 | 0:38:49 | |
And when the case was opened by the expert... | 0:38:49 | 0:38:53 | |
-That was me! -..I saw my grandfather's... Yes! | 0:38:53 | 0:38:56 | |
It was my grandfather's signature that jumped out at me, | 0:38:56 | 0:38:59 | |
one George Bray, | 0:38:59 | 0:39:01 | |
and he had given his wife such a necklace. | 0:39:01 | 0:39:06 | |
These were presents at Easter time. | 0:39:06 | 0:39:08 | |
-Didn't they get certain eggs? -They did. | 0:39:08 | 0:39:10 | |
He was very devoted to his wife. | 0:39:10 | 0:39:12 | |
-They were in Russia, but British people living in Russia. -Yes. | 0:39:12 | 0:39:15 | |
And you're right to say these are Easter eggs | 0:39:15 | 0:39:18 | |
and they've been collected, | 0:39:18 | 0:39:19 | |
and in a way these are British people following a very Russian tradition, | 0:39:19 | 0:39:23 | |
which is an Orthodox tradition where Easter is the major religious festival. | 0:39:23 | 0:39:27 | |
And on Easter morning, you get up and give a single Easter egg | 0:39:27 | 0:39:31 | |
to your beloved with the blessing, "Christ is risen" | 0:39:31 | 0:39:34 | |
"Khristos voskrese." | 0:39:34 | 0:39:36 | |
And she or he would answer, "God bless you" | 0:39:36 | 0:39:39 | |
and that would be that part of the ceremony over. | 0:39:39 | 0:39:42 | |
It was the highest religious festival in Russia | 0:39:42 | 0:39:44 | |
and took precedence over Christmas | 0:39:44 | 0:39:47 | |
and it was a pattern also to be given jewelled Easter eggs | 0:39:47 | 0:39:51 | |
of this quality to make necklaces, just as you see them here. | 0:39:51 | 0:39:54 | |
In a way, I couldn't ask for them to be more typical. | 0:39:54 | 0:39:57 | |
As soon as I'm shown something like this, | 0:39:57 | 0:39:59 | |
I think, well, I'm going to look for a Faberge one. | 0:39:59 | 0:40:02 | |
The problem with these is when they were put onto the necklace, | 0:40:02 | 0:40:05 | |
the gold loop was taken away to solder them on more often than not, | 0:40:05 | 0:40:09 | |
and with it goes the Faberge signature, | 0:40:09 | 0:40:11 | |
so it's a pattern more often than not in the necklace. | 0:40:11 | 0:40:15 | |
We can't read Faberge's signature. | 0:40:15 | 0:40:16 | |
But this one, subliminally, I believe, is by Faberge. | 0:40:16 | 0:40:20 | |
It has the red cross on it in enamelled gold. | 0:40:20 | 0:40:23 | |
The Tzarina was patroness of the Red Cross | 0:40:23 | 0:40:25 | |
and the Russians were losing millions of people on the front | 0:40:25 | 0:40:28 | |
in the 1914-18 War | 0:40:28 | 0:40:30 | |
and the Red Cross was enormously important to them | 0:40:30 | 0:40:33 | |
and it's not a surprise to see it here. | 0:40:33 | 0:40:35 | |
We have to think a little bit about value | 0:40:35 | 0:40:38 | |
and it's quite easy really | 0:40:38 | 0:40:39 | |
because there is precedent for these things to be sold. | 0:40:39 | 0:40:42 | |
But this is an unusually full one | 0:40:42 | 0:40:44 | |
and by the time you've added it all up, | 0:40:44 | 0:40:47 | |
it's nudging £10,000 for this necklace here. | 0:40:47 | 0:40:50 | |
And then this necklace here, just a little fewer eggs, | 0:40:50 | 0:40:54 | |
but doesn't really matter, | 0:40:54 | 0:40:55 | |
maybe £7,000 would do it. | 0:40:55 | 0:40:58 | |
But very strangely, this one here, | 0:40:58 | 0:41:00 | |
which is in perfect condition, is the one that I'm most interested in. | 0:41:00 | 0:41:04 | |
It has a curious red stone at the bottom | 0:41:04 | 0:41:07 | |
and it is also in the colours of Holy Russia, | 0:41:07 | 0:41:10 | |
and Holy Russia and Easter, and so it's a patriotic object. | 0:41:10 | 0:41:14 | |
More than that, the stone underneath is called purpurine. | 0:41:14 | 0:41:17 | |
In nature, hard stones arrange themselves | 0:41:17 | 0:41:19 | |
in all kinds of different colours | 0:41:19 | 0:41:21 | |
and what it lacks really in nature is a brilliant coloured red, | 0:41:21 | 0:41:25 | |
which was invented by the Romans to fill that gap | 0:41:25 | 0:41:29 | |
and Faberge revived it and I can tell you with absolute certainty | 0:41:29 | 0:41:33 | |
that that is a Faberge Easter egg. | 0:41:33 | 0:41:35 | |
Who does that belong to? | 0:41:35 | 0:41:37 | |
Anna. | 0:41:37 | 0:41:39 | |
It's probably about three times the size | 0:41:39 | 0:41:41 | |
of any Faberge pendant Easter egg I've ever seen. | 0:41:41 | 0:41:44 | |
It's also in pristine condition. | 0:41:44 | 0:41:47 | |
-Have you worn it? -No. -Not once? | 0:41:47 | 0:41:50 | |
Very tempting, isn't it? It's in pristine condition, | 0:41:50 | 0:41:54 | |
you can't ask for it to be anything more exciting from Faberge | 0:41:54 | 0:41:57 | |
because Easter eggs have an echo of the Imperial Easter eggs | 0:41:57 | 0:42:01 | |
made by Faberge for the Imperial Court | 0:42:01 | 0:42:03 | |
and this object here in front of us | 0:42:03 | 0:42:06 | |
-should be insured for close to £30,000. -My gosh! | 0:42:06 | 0:42:11 | |
My goodness! Right. | 0:42:13 | 0:42:16 | |
Does it change your perception of it at all? | 0:42:16 | 0:42:20 | |
Yes! | 0:42:20 | 0:42:21 | |
A little bit. Brilliant. Well kept. | 0:42:21 | 0:42:24 | |
Absolutely. Marvellous. Well, how brilliant. What a lovely story. | 0:42:24 | 0:42:28 | |
and wrought by the Antiques Roadshow because without the Antiques Roadshow, | 0:42:28 | 0:42:31 | |
no you, no necklaces and no egg. | 0:42:31 | 0:42:34 | |
We only brought that one as an afterthought because we weren't sure about that one! | 0:42:34 | 0:42:38 | |
Do you know, I couldn't be more thrilled for those three. | 0:42:38 | 0:42:42 | |
How amazing was that? They come along thinking they're going to talk about their grandfather | 0:42:42 | 0:42:47 | |
and it turns out that they own some incredibly precious Faberge. | 0:42:47 | 0:42:51 | |
Dreams really do come true on the Antiques Roadshow. | 0:42:51 | 0:42:54 | |
We've thoroughly enjoyed it. I hope you have as well. | 0:42:54 | 0:42:57 | |
Until next time, bye-bye. | 0:42:57 | 0:42:59 | |
Subtitles by Red Bee Media Ltd | 0:43:06 | 0:43:09 | |
E-mail [email protected] | 0:43:09 | 0:43:12 |