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Today we've come to a corner of West Sussex which is crammed | 0:00:02 | 0:00:04 | |
with great houses - Arundel Castle, Uppark, Petworth, Goodwood. | 0:00:04 | 0:00:09 | |
But you know, aristocratic grandeur isn't everything. | 0:00:09 | 0:00:13 | |
This simple 17th-century cottage was originally built on wasteland | 0:00:13 | 0:00:17 | |
and would have belonged to a poor, landless labourer. | 0:00:17 | 0:00:21 | |
Once they were commonplace, now it's a rarity. | 0:00:21 | 0:00:24 | |
But it's just one of a collection of buildings that make up | 0:00:24 | 0:00:27 | |
the beautiful Weald and Downland Open Air Museum. | 0:00:27 | 0:00:30 | |
And we've returned with the Antiques Roadshow for a second visit. | 0:00:30 | 0:00:34 | |
All too often it's the ordinary things from the past | 0:01:26 | 0:01:30 | |
that get discarded or thrown away, | 0:01:30 | 0:01:32 | |
and not just the small things, either. | 0:01:32 | 0:01:34 | |
Here at the Weald and Downland Museum near Chichester | 0:01:34 | 0:01:37 | |
is a collection of buildings | 0:01:37 | 0:01:39 | |
that were almost destroyed | 0:01:39 | 0:01:40 | |
until they were dismantled and brought here piece by piece. | 0:01:40 | 0:01:44 | |
And just like some of the smaller or more humble objects | 0:01:44 | 0:01:48 | |
that we see on the Roadshow, | 0:01:48 | 0:01:49 | |
each of these simple buildings has a story to tell. | 0:01:49 | 0:01:53 | |
As this 15th-century building was dismantled and brought here, | 0:01:57 | 0:02:01 | |
it began to reveal secrets about itself. | 0:02:01 | 0:02:03 | |
Once the more modern additions of a floor and walls had been stripped away, | 0:02:03 | 0:02:08 | |
soot on the beams up there revealed that there must have once been an open hearth here, | 0:02:08 | 0:02:14 | |
with the smoke going straight up to the ceiling. | 0:02:14 | 0:02:18 | |
And above that central hall, where the bedroom is, | 0:02:20 | 0:02:23 | |
the beams reveal more about how life was once lived here. | 0:02:23 | 0:02:26 | |
This groove next to the window shows that there must once have been... | 0:02:26 | 0:02:31 | |
a shutter. | 0:02:31 | 0:02:33 | |
And I couldn't resist showing you this... | 0:02:37 | 0:02:40 | |
Tada! A loo. | 0:02:40 | 0:02:42 | |
And you would place your bottom on the hole - rather draughty - | 0:02:42 | 0:02:47 | |
and then what fell to the ground below would be mixed with the ashes from the fire | 0:02:47 | 0:02:51 | |
and spread as fertiliser on the land. You see - nothing was wasted. | 0:02:51 | 0:02:57 | |
These more ordinary homes reveal so much about the way our forbears lived, | 0:02:57 | 0:03:02 | |
what they valued and what they believed. | 0:03:02 | 0:03:05 | |
A fitting backdrop for our specialists | 0:03:07 | 0:03:10 | |
as they greet the visitors to the Weald and Downland Open Air Museum. | 0:03:10 | 0:03:14 | |
So are you all sisters, or not? | 0:03:17 | 0:03:19 | |
-We are. -Yes. -We're sisters. | 0:03:19 | 0:03:20 | |
And which of you owns the clock? | 0:03:20 | 0:03:22 | |
I own the clock. | 0:03:22 | 0:03:23 | |
I inherited the clock 20 years ago from my grandmother. She... | 0:03:23 | 0:03:30 | |
And do you like it? | 0:03:30 | 0:03:32 | |
Um, can I be honest? | 0:03:32 | 0:03:34 | |
Yes. Of course. | 0:03:34 | 0:03:35 | |
To my shame, I didn't really like it. | 0:03:35 | 0:03:40 | |
So what did you do with it, if you hated it so much? | 0:03:40 | 0:03:42 | |
I decided not to have it in my '70s bungalow | 0:03:42 | 0:03:47 | |
and kept it in my garage, to keep the door open. | 0:03:47 | 0:03:50 | |
HE LAUGHS | 0:03:51 | 0:03:54 | |
It's a very heavy doorstop. It must have been a massive door. | 0:03:54 | 0:03:58 | |
It was, yes! | 0:03:58 | 0:04:01 | |
And it clearly isn't there any more, so what happened since then? | 0:04:01 | 0:04:06 | |
Well, I appreciated that it was a bit too good to be a doorstop | 0:04:06 | 0:04:10 | |
and I decided to give it to my sister, Jacqui, | 0:04:10 | 0:04:14 | |
to take care of for the last few years. | 0:04:14 | 0:04:17 | |
And do you love it or hate it? | 0:04:17 | 0:04:19 | |
-Well, I wouldn't say hate, but not far off. -Don't tell Mum! | 0:04:19 | 0:04:23 | |
So hang on, ladies, none of you love | 0:04:23 | 0:04:26 | |
it at all, do you? It's a real shame. | 0:04:26 | 0:04:29 | |
Do you not think it's a thing of beauty? | 0:04:29 | 0:04:31 | |
I decided to look into it a little more, and as soon as I looked | 0:04:31 | 0:04:35 | |
into it a little more, I started to appreciate it more. | 0:04:35 | 0:04:38 | |
Did you come up with any date from your research? | 0:04:38 | 0:04:40 | |
Or shall I tell you all about it? | 0:04:40 | 0:04:42 | |
Well, I know it's French Empire, but I don't quite know what that meant. | 0:04:42 | 0:04:47 | |
You're absolutely right, it is French Empire through and through. | 0:04:47 | 0:04:52 | |
Dating from the early part of the 19th century. | 0:04:52 | 0:04:56 | |
Now, the casting is after a design | 0:04:56 | 0:05:01 | |
by a French sculptor called Claude Michallon. | 0:05:01 | 0:05:05 | |
He actually died in 1799, but this particular theme - | 0:05:05 | 0:05:11 | |
which is a very romantic theme - was very popular throughout the latter years | 0:05:11 | 0:05:16 | |
of the 18th century and particularly the early years of the 19th century. | 0:05:16 | 0:05:21 | |
Wonderful quality. | 0:05:21 | 0:05:23 | |
Bronze? | 0:05:23 | 0:05:24 | |
Oh, it's all bronze. | 0:05:24 | 0:05:26 | |
Ormolu literally means gilt bronze, | 0:05:26 | 0:05:29 | |
and the figures themselves are solid bronze. | 0:05:29 | 0:05:32 | |
The patination's not brilliant - it could do with quite a decent restoration, to be honest, | 0:05:32 | 0:05:37 | |
but the figures are beautifully cast. | 0:05:37 | 0:05:41 | |
The wonderful casting around the dial bezel is lovely, and running down here... | 0:05:41 | 0:05:48 | |
I mean, just look at the casting of this frieze along the base. | 0:05:48 | 0:05:52 | |
The feet... we've got little rams' masks | 0:05:52 | 0:05:55 | |
and claw feet, everything you'd want. | 0:05:55 | 0:05:59 | |
So none of you really love it, and I actually find that rather sad. | 0:05:59 | 0:06:02 | |
So I hope that when I quote you a figure, | 0:06:02 | 0:06:05 | |
-it might become even more appealing. -OK. | 0:06:05 | 0:06:09 | |
Well, it's going to make... | 0:06:09 | 0:06:13 | |
£9,000 to £12,000 at auction. | 0:06:13 | 0:06:16 | |
Wow! | 0:06:16 | 0:06:17 | |
Wow! | 0:06:17 | 0:06:19 | |
And in cracking good condition, in retail condition, | 0:06:19 | 0:06:23 | |
you're not going to buy it for less than £20,000. | 0:06:23 | 0:06:26 | |
No way! | 0:06:26 | 0:06:28 | |
-Wow. -So from garage doorstop to 20,000 - | 0:06:28 | 0:06:31 | |
it's sort of a useful climb, isn't it? | 0:06:31 | 0:06:34 | |
Yes, my friend, Neil, used to lean his skateboard up against it, | 0:06:34 | 0:06:38 | |
-so we shall stop doing things like that. -Stop him doing that. | 0:06:38 | 0:06:41 | |
When I see pen and ink drawings like this, | 0:06:43 | 0:06:46 | |
with cats with mad staring eyes out at me, | 0:06:46 | 0:06:48 | |
it always means one thing - the wonderful Louis Wain. | 0:06:48 | 0:06:53 | |
And I see at the bottom of this drawing, | 0:06:53 | 0:06:56 | |
we've got... Is it "The Harrogate Cure"? | 0:06:56 | 0:06:58 | |
That's right, yes, exactly. | 0:06:58 | 0:07:00 | |
And what has the Harrogate Cure got to do with this? | 0:07:00 | 0:07:03 | |
Because my wife's aunt | 0:07:03 | 0:07:07 | |
was a physiotherapist in Harrogate, | 0:07:07 | 0:07:11 | |
at the baths, | 0:07:11 | 0:07:13 | |
and she - in the end - was allowed to take this away | 0:07:13 | 0:07:17 | |
when they closed the medical side of the baths down. | 0:07:17 | 0:07:20 | |
And so did Louis Wain go up there to take the cure, do we think? | 0:07:20 | 0:07:23 | |
Oh, yes, almost certainly he did, and these are caricatures | 0:07:23 | 0:07:26 | |
of the people that he would have seen at the time. | 0:07:26 | 0:07:31 | |
And poor Louis Wain needed to take the cure quite often. | 0:07:31 | 0:07:34 | |
Oh, he did, yes. | 0:07:34 | 0:07:35 | |
The poor man went slightly mad at the end, | 0:07:35 | 0:07:37 | |
-although he was cared for. -Absolutely, yes. | 0:07:37 | 0:07:40 | |
-And he is the most wonderful artist. -Yes. | 0:07:40 | 0:07:41 | |
There are many, many fakes of these. And I always say to people who say, | 0:07:41 | 0:07:45 | |
"How do you know a right one from a wrong one?" | 0:07:45 | 0:07:47 | |
I say, "Just look at the eyes - if they're mad | 0:07:47 | 0:07:49 | |
"and they're staring out at you, they're right." | 0:07:49 | 0:07:52 | |
I see that the violin's been repainted. | 0:07:52 | 0:07:55 | |
Yes. Obviously, somebody told him that he'd got it the wrong way round. | 0:07:55 | 0:07:59 | |
Well, it's a wonderful palm court orchestra, isn't it? | 0:07:59 | 0:08:02 | |
Yes, absolutely, from Harrogate. | 0:08:02 | 0:08:04 | |
-You've brought this, but you've also brought this one. -Yes. | 0:08:04 | 0:08:08 | |
Does this belong to the same aunt, or not? | 0:08:08 | 0:08:10 | |
No, it's an entirely separate person. | 0:08:10 | 0:08:12 | |
This was a person we affectionately called "Auntie Doddles"... | 0:08:12 | 0:08:15 | |
Yes. | 0:08:15 | 0:08:17 | |
-..whose real name was Winifred Dodd. -Aha. | 0:08:17 | 0:08:20 | |
And she was a fairly important person in the Savage Club. | 0:08:20 | 0:08:25 | |
-Which, as we know, the Savage Club - wonderful sketching club. -Absolutely. | 0:08:25 | 0:08:28 | |
EH Shepard was a member of the Savage Club. | 0:08:28 | 0:08:33 | |
Well, I think this is...fabuloso, absolutely amazing. | 0:08:33 | 0:08:37 | |
We've got Ernest Howard Shepard, | 0:08:37 | 0:08:40 | |
who is the famous artist that illustrated Winnie The Pooh. | 0:08:40 | 0:08:45 | |
In here, we've got Pooh, we've got Piglet, we've got Moley, | 0:08:45 | 0:08:49 | |
we've got Badger and we've got Ratty playing Cowboys and Indians - | 0:08:49 | 0:08:55 | |
-or mostly Indians here. -Yes! -And absolutely charming, | 0:08:55 | 0:08:59 | |
-and he would have probably done this for her, at the Savage Club. -Almost certainly. | 0:08:59 | 0:09:03 | |
-On one of the evenings. -Yes. | 0:09:03 | 0:09:05 | |
Well, I think it's fantastic. | 0:09:05 | 0:09:07 | |
We have these two wonderful drawings from two different artists. | 0:09:07 | 0:09:09 | |
And the first one here - this Louis Wain - | 0:09:09 | 0:09:14 | |
it's a very large drawing by him. | 0:09:14 | 0:09:16 | |
It's not coloured, which will affect the value, but it is wonderful, | 0:09:16 | 0:09:20 | |
and I think that, at auction, would make certainly £4,000 to £6,000. | 0:09:20 | 0:09:25 | |
Good heavens! That's astonishing! | 0:09:25 | 0:09:28 | |
But we come to Auntie Doddles' picture. | 0:09:28 | 0:09:31 | |
Very kind of her to let that come into your family and come down to you. | 0:09:31 | 0:09:35 | |
It is 1966, so it's painted after the original books were illustrated by Shepard, | 0:09:35 | 0:09:39 | |
which is the '20s and '30s, but that would make the minimum - | 0:09:39 | 0:09:42 | |
and I mean the minimum - | 0:09:42 | 0:09:44 | |
of £6,000 to £9,000. | 0:09:44 | 0:09:47 | |
Quite unbelievable. Quite astonishing. | 0:09:48 | 0:09:51 | |
So, a photograph of King Edward VII, | 0:09:53 | 0:09:55 | |
his favourite and most famous racehorse, Persimmon, | 0:09:55 | 0:09:58 | |
-a pair of cufflinks and a letter. -Yes. -Tell me about it all. | 0:09:58 | 0:10:03 | |
My husband's grandfather rode Persimmon | 0:10:03 | 0:10:06 | |
and he won the Derby for Edward VII | 0:10:06 | 0:10:09 | |
and he also rode for Lillie Langtry, and she was so delighted, | 0:10:09 | 0:10:14 | |
she gave him the cufflinks and wrote the letter. | 0:10:14 | 0:10:18 | |
Fantastic. And that's very succinctly put, | 0:10:18 | 0:10:20 | |
but of course the story's much, much wider, | 0:10:20 | 0:10:22 | |
-because it illustrates Edwardian society, doesn't it? -Yes. | 0:10:22 | 0:10:25 | |
And the King's victory at the Derby in 1909 with Persimmon | 0:10:25 | 0:10:29 | |
was something that he felt enormously keenly, | 0:10:29 | 0:10:31 | |
because there was no question of flattery or advancement, | 0:10:31 | 0:10:35 | |
it was simply his horsemanship that took a young foal | 0:10:35 | 0:10:38 | |
and chose it and had it trained and had it ridden, raced at the Derby, | 0:10:38 | 0:10:44 | |
and it won a neck over Leopold de Rothschild's horse who was called St Frusquin, | 0:10:44 | 0:10:49 | |
-and this is the centre of Edwardian society, isn't it? -Yes. | 0:10:49 | 0:10:53 | |
Terribly, terribly exciting. It's a very rich society and also, | 0:10:53 | 0:10:57 | |
owing to Edward VII, | 0:10:57 | 0:10:58 | |
a very democratic one, | 0:10:58 | 0:11:00 | |
because Edward VII liked | 0:11:00 | 0:11:01 | |
-fascinating, rich, colourful people. -Yes. | 0:11:01 | 0:11:05 | |
-And he was also rather keen on young ladies, wasn't he? -Yes. | 0:11:05 | 0:11:08 | |
And so, in a sense, what you've brought before us | 0:11:08 | 0:11:10 | |
today exemplifies all of that. | 0:11:10 | 0:11:13 | |
We see the King here, | 0:11:13 | 0:11:15 | |
not capable of riding a horse at all, because he's rather corpulent - | 0:11:15 | 0:11:18 | |
he also liked food as well and cigars. | 0:11:18 | 0:11:22 | |
And it was a massive victory for the most important person, | 0:11:22 | 0:11:25 | |
arguably, in the world. | 0:11:25 | 0:11:26 | |
So here we see something intimately | 0:11:26 | 0:11:27 | |
associated with him, and intimately associated, | 0:11:27 | 0:11:30 | |
-because there's a letter from Lillie Langtry, isn't there? -There is. | 0:11:30 | 0:11:33 | |
Her initials, LL - Lillie Langtry. | 0:11:33 | 0:11:36 | |
And... "Dear Mr Watts, | 0:11:36 | 0:11:37 | |
"I hope you will accept these links as a souvenir | 0:11:37 | 0:11:39 | |
"of the first time you steered Milford to victory. | 0:11:39 | 0:11:42 | |
"I hope that you will ride him many times | 0:11:42 | 0:11:46 | |
"and that it will always be thus. | 0:11:46 | 0:11:48 | |
"With kindest regards, yours sincerely, Lillie Langtry." | 0:11:48 | 0:11:51 | |
The Jersey Lillie, the great friend of King Edward VII, | 0:11:51 | 0:11:55 | |
and this comes not only from the King's heart vicariously | 0:11:55 | 0:11:59 | |
but also from her heart and her monogram here. | 0:11:59 | 0:12:01 | |
But here we see she wants to give links to him, to commemorate that, | 0:12:01 | 0:12:06 | |
and they're made of enamelled gold and set with diamonds. | 0:12:06 | 0:12:12 | |
-They're the racing colours, too. -Oh, how... That's marvellous. | 0:12:12 | 0:12:15 | |
But on the outside in facsimile of her handwriting, | 0:12:15 | 0:12:17 | |
it says "J Watts..." - Jack Watts - "..from Lillie Langtry". | 0:12:17 | 0:12:22 | |
-Magical stuff, isn't it? -It's a lovely souvenir. | 0:12:22 | 0:12:24 | |
Lovely souvenir and one of the most extraordinary of pieces | 0:12:24 | 0:12:29 | |
to turn up on the show here | 0:12:29 | 0:12:31 | |
and very, very touching for a million different reasons, which | 0:12:31 | 0:12:33 | |
I've just tried to articulate. | 0:12:33 | 0:12:35 | |
And what is fascinating is that the memory of this is very | 0:12:35 | 0:12:39 | |
far from faded away - | 0:12:39 | 0:12:41 | |
people really know about racing, they know about Persimmon | 0:12:41 | 0:12:44 | |
and they know about cufflinks, | 0:12:44 | 0:12:46 | |
and so we need to try to understand what these might be worth. | 0:12:46 | 0:12:51 | |
And with the wind in the right direction and the right horses on | 0:12:51 | 0:12:53 | |
the turf and the right bets being placed, | 0:12:53 | 0:12:55 | |
maybe... | 0:12:55 | 0:12:58 | |
maybe £12,000 to £15,000. | 0:12:58 | 0:13:01 | |
Really? Oh... Oh! | 0:13:01 | 0:13:04 | |
Thank you very much! | 0:13:06 | 0:13:08 | |
It was given to me by the daughter of an old friend of mine | 0:13:12 | 0:13:17 | |
who died three years ago, and I've had it ever since. | 0:13:17 | 0:13:22 | |
And what have you discovered about it in the meantime? | 0:13:22 | 0:13:25 | |
Well, I haven't actually done anything at all, apart from... | 0:13:25 | 0:13:29 | |
I thought it was Japanese, | 0:13:29 | 0:13:30 | |
because these waves were very similar | 0:13:30 | 0:13:34 | |
to the waves in a Japanese woodcut picture. | 0:13:34 | 0:13:38 | |
-Yes, the famous... -18th-century one. | 0:13:38 | 0:13:40 | |
The famous Hokusai breaking waves and Mount Fuji. | 0:13:40 | 0:13:42 | |
-Yes, yes, yeah. -You're absolutely right. | 0:13:42 | 0:13:44 | |
This is a very, very typical way of rendering waves. | 0:13:44 | 0:13:47 | |
It's almost like a hand comes off the top of the spume, | 0:13:47 | 0:13:51 | |
and these little flecks. | 0:13:51 | 0:13:53 | |
In this case, you've got a ground of silver | 0:13:53 | 0:13:57 | |
and then the whole design has been worked in repousse - in other words, | 0:13:57 | 0:14:01 | |
from the inside, pushing it out to the design | 0:14:01 | 0:14:03 | |
that's been scratched on the surface. | 0:14:03 | 0:14:05 | |
And then to give you that extra dramatic effect, | 0:14:05 | 0:14:09 | |
you've got the spume - these little flecks of water - | 0:14:09 | 0:14:13 | |
and the effect is absolutely amazing. | 0:14:13 | 0:14:17 | |
But what is even more amazing, | 0:14:17 | 0:14:18 | |
or what you would least expect to find in the ocean, | 0:14:18 | 0:14:22 | |
-is a tiger. -Yeah. | 0:14:22 | 0:14:25 | |
And rather a spectacular tiger, if you look really closely at it. | 0:14:25 | 0:14:29 | |
-Yes, it's got jewelled eyes. -He's got jewelled eyes. | 0:14:29 | 0:14:32 | |
That looks like some sort of mother-of-pearl or shell. | 0:14:32 | 0:14:35 | |
And his stripes, against this coppery fur, | 0:14:35 | 0:14:39 | |
beautifully fur incised... | 0:14:39 | 0:14:42 | |
Look at that, the little flecks of gold | 0:14:42 | 0:14:45 | |
and then a little bit of wave, and there, his hindquarters, | 0:14:45 | 0:14:49 | |
-and then his tail coming out here. -Yeah. | 0:14:49 | 0:14:52 | |
And as we rotate it, we see the mark of the maker - | 0:14:53 | 0:14:57 | |
sadly, I don't recognise that maker's mark. | 0:14:57 | 0:15:00 | |
We can - I'm afraid - not tell you who that is at the moment. | 0:15:00 | 0:15:03 | |
Looking round, we have a whole family of tigers! | 0:15:03 | 0:15:06 | |
Here we have Daddy tiger with the thick-set eyebrows, | 0:15:06 | 0:15:09 | |
and is that a baby? | 0:15:09 | 0:15:11 | |
A gold tiger with bronze stripes. | 0:15:11 | 0:15:15 | |
And gold teeth. | 0:15:15 | 0:15:16 | |
Fantastic detail, and then above it all... Where there's a tiger, | 0:15:16 | 0:15:21 | |
there's going to be a dragon. | 0:15:21 | 0:15:23 | |
There is the dragon, and sadly we've only got one of his whiskers. | 0:15:23 | 0:15:28 | |
Yes, I know and I know where the other one went. | 0:15:28 | 0:15:30 | |
Where did it go? | 0:15:30 | 0:15:32 | |
Well, I found it and I didn't know what it was, | 0:15:32 | 0:15:35 | |
and it was while my friend was still alive, | 0:15:35 | 0:15:38 | |
and I put it into a box. | 0:15:38 | 0:15:40 | |
I thought it was a piece off of a brooch or something. | 0:15:40 | 0:15:43 | |
-Yeah. -It looked like that, but since then I've realised | 0:15:43 | 0:15:46 | |
that that's what it was, but of course I haven't got it. | 0:15:46 | 0:15:49 | |
-And you don't know where the box is? -No. -What a shame. It must turn up. | 0:15:49 | 0:15:53 | |
And the whole thing is presented on this lacquered stand. | 0:15:53 | 0:15:56 | |
-It wasn't, of course, originally fitted for electricity. -No. | 0:15:56 | 0:15:59 | |
I suspect it was originally a lamp base for an oil lamp. | 0:15:59 | 0:16:03 | |
It dates to the very end of the 19th century, | 0:16:03 | 0:16:06 | |
or maybe the early 20th century, and it is absolutely spectacular. | 0:16:06 | 0:16:12 | |
It shows you what Japanese metalworkers could do, and, well... | 0:16:12 | 0:16:17 | |
I think that's one of the best pieces of Japanese metalwork | 0:16:17 | 0:16:21 | |
I have ever seen on the Antiques Roadshow. | 0:16:21 | 0:16:24 | |
It is absolutely spectacular. | 0:16:24 | 0:16:27 | |
-Would you buy one of these, if you saw it in a shop? -I would. | 0:16:27 | 0:16:30 | |
-Are you sure? -Yes, cos I mean I've always loved it. | 0:16:30 | 0:16:33 | |
Are you in the habit of spending £5,000 on lamps? | 0:16:33 | 0:16:36 | |
No, I'm not. | 0:16:36 | 0:16:38 | |
LAUGHTER | 0:16:38 | 0:16:40 | |
Well, no, I'm afraid I couldn't afford that. | 0:16:40 | 0:16:44 | |
-Well, that's... -It's a great thing. | 0:16:44 | 0:16:48 | |
It is, I just love it. | 0:16:48 | 0:16:50 | |
You've brought me in a collection of letters | 0:16:52 | 0:16:54 | |
from a distant ancestor of yours. | 0:16:54 | 0:16:56 | |
Can you just tell me a bit about who he was | 0:16:56 | 0:17:00 | |
and why these letters are of interest? | 0:17:00 | 0:17:03 | |
-His name was William Hodges. -Right, OK. | 0:17:03 | 0:17:06 | |
And in 1798-99, | 0:17:06 | 0:17:09 | |
he was convicted of stealing a box of haberdashery | 0:17:09 | 0:17:12 | |
from a shop in Covent Garden. | 0:17:12 | 0:17:14 | |
Right. | 0:17:14 | 0:17:16 | |
He was chased out of the shop by the shopkeeper's wife, | 0:17:16 | 0:17:21 | |
so they are quite convinced that he had the box. | 0:17:21 | 0:17:25 | |
He was then convicted of stealing | 0:17:25 | 0:17:31 | |
-and he was sentenced to death. He was 16, 17 at the time. -Yes. | 0:17:31 | 0:17:36 | |
His life sentence was commuted to transportation, | 0:17:36 | 0:17:42 | |
and so it was in about 1800 that he was transported to Australia. | 0:17:42 | 0:17:48 | |
Australia, OK. | 0:17:48 | 0:17:49 | |
And these are letters that he's written... | 0:17:49 | 0:17:52 | |
-There's a couple written to his brother. -Yes. | 0:17:52 | 0:17:55 | |
Just after he's been convicted and on board one of the prison ships, | 0:17:55 | 0:18:00 | |
or on board one of the ships, as it's about to go out to Australia. | 0:18:00 | 0:18:05 | |
-Yes, and this was in Portsmouth, in Langstone Harbour. -Right, OK. | 0:18:05 | 0:18:09 | |
On a ship called La Forteyn. And he was then... | 0:18:09 | 0:18:13 | |
wrote to his brother from the ship, | 0:18:13 | 0:18:15 | |
the hulk ship where people were kept for quite some considerable time | 0:18:15 | 0:18:19 | |
before they were transported. | 0:18:19 | 0:18:21 | |
In this particular letter... he's quite a practical man, isn't he? | 0:18:21 | 0:18:25 | |
-He seems to be. -He's asking for a list of things to sort of see him | 0:18:25 | 0:18:29 | |
through the sea voyage. | 0:18:29 | 0:18:30 | |
"If you will be so good as to send me | 0:18:30 | 0:18:33 | |
"a few necessaries to take with me, such as a pound of tobacco, | 0:18:33 | 0:18:37 | |
"a piece of bacon, some tea and sugar | 0:18:37 | 0:18:40 | |
"and a few herbs, such as garlic and mint, | 0:18:40 | 0:18:44 | |
"and some onions and a pocket knife | 0:18:44 | 0:18:48 | |
"and the silk handkerchief." | 0:18:48 | 0:18:50 | |
-He then went out to Australia. -Yes. | 0:18:50 | 0:18:53 | |
And what happened to him then? | 0:18:53 | 0:18:55 | |
Well, um, presumably, he began to earn a living | 0:18:55 | 0:19:00 | |
and, as he became more important within the town, | 0:19:00 | 0:19:04 | |
he then applied for an absolute pardon | 0:19:04 | 0:19:07 | |
-from the Governor at the time. -And that was given to him? | 0:19:07 | 0:19:10 | |
It was eventually. | 0:19:10 | 0:19:12 | |
In 1821, he was... Having sent a petition to Governor Macquarie... | 0:19:12 | 0:19:17 | |
-Right. -..he was then granted his pardon. | 0:19:17 | 0:19:20 | |
-And this is the petition here... -This is the petition. | 0:19:20 | 0:19:23 | |
..where he writes to Macquarie, as you say, asking for complete pardon. | 0:19:23 | 0:19:27 | |
William Hodges. | 0:19:27 | 0:19:30 | |
-And it's granted. -It is. | 0:19:30 | 0:19:32 | |
-And he then makes good his life, doesn't he? -He does. | 0:19:32 | 0:19:36 | |
He sort of makes recompense for his past crime, | 0:19:36 | 0:19:39 | |
which he has sort of admitted to and confessed to and... | 0:19:39 | 0:19:42 | |
-in some of the letters or one of the letters. -And calls it his "folly". | 0:19:42 | 0:19:46 | |
And calls it his folly, absolutely. And we've got a little newspaper cutting here | 0:19:46 | 0:19:51 | |
-from the Sidney Gazette, 1838. -Eight. | 0:19:51 | 0:19:55 | |
Where it records his death - | 0:19:55 | 0:19:58 | |
"William Hodges of King Street, Sydney, | 0:19:58 | 0:20:01 | |
"aged 55, and 35 years a resident in the colony. | 0:20:01 | 0:20:06 | |
"Many years a respectable licensed victualler of this town." | 0:20:06 | 0:20:09 | |
-It's a lovely little archive you've got here. -Yes. | 0:20:09 | 0:20:11 | |
It's a first-hand account of his... of the transportation. | 0:20:11 | 0:20:17 | |
Particularly in Australia, there's a big market | 0:20:17 | 0:20:20 | |
for these details of families that went out to Australia, | 0:20:20 | 0:20:24 | |
settled, and the information that he gives. | 0:20:24 | 0:20:27 | |
If an archive like this came up onto the market, | 0:20:27 | 0:20:30 | |
I think you're easily looking at something between £5,000 and £7,000. | 0:20:30 | 0:20:34 | |
-Really? -Yes, it's a very important little collection of stuff. | 0:20:34 | 0:20:37 | |
Gosh, that really is amazing. | 0:20:37 | 0:20:39 | |
Considering we've had it in the family for 300 years, | 0:20:39 | 0:20:43 | |
-I guess it's not going anywhere. -Brilliant, thank you so much. | 0:20:43 | 0:20:46 | |
Thank you. | 0:20:46 | 0:20:47 | |
A painting has been brought along to the Roadshow today that I feel | 0:20:49 | 0:20:52 | |
I have a bit of a connection with. | 0:20:52 | 0:20:54 | |
It's... Well, the signature on it is Hans van Meegeren. | 0:20:54 | 0:20:56 | |
I made a programme about Hans van Meegeren with one of our specialists, Philip Mould - | 0:20:56 | 0:21:00 | |
it was called Fake Or Fortune. | 0:21:00 | 0:21:02 | |
I don't know if you saw it, but it was all about van Meegeren, | 0:21:02 | 0:21:05 | |
who was a Dutch master faker in the run up to, and during, the Second World War | 0:21:05 | 0:21:10 | |
and he managed to convince the most august and learned art institutions in Holland | 0:21:10 | 0:21:16 | |
that the Vermeers he sold them - the great master Vermeer - | 0:21:16 | 0:21:20 | |
that those paintings were genuine. | 0:21:20 | 0:21:22 | |
In fact, they weren't Vermeer's, he had done them, | 0:21:22 | 0:21:25 | |
and it was an absolute scandal when it was found out, | 0:21:25 | 0:21:27 | |
so to see one of his paintings brought along today... | 0:21:27 | 0:21:30 | |
I can hardly believe it! | 0:21:30 | 0:21:32 | |
Ian, hello, thank you so much for letting us see this. | 0:21:32 | 0:21:34 | |
Dendy, Hans van Meegeren. | 0:21:34 | 0:21:37 | |
I mean, I know him as someone who faked Vermeers - | 0:21:37 | 0:21:39 | |
-this doesn't look like one. -No, it looks like a Kees van Dongen, | 0:21:39 | 0:21:42 | |
like an Impressionist picture. | 0:21:42 | 0:21:43 | |
I mean, you know, when he was discovered | 0:21:43 | 0:21:46 | |
to be the great faker just after the war, | 0:21:46 | 0:21:48 | |
cos Hermann Goering had one in his collection - the famous Nazi - | 0:21:48 | 0:21:51 | |
and they found this, | 0:21:51 | 0:21:54 | |
they went back to the dealer that Goering bought it from | 0:21:54 | 0:21:56 | |
and found out that the dealer had bought it from van Meegeren, | 0:21:56 | 0:21:59 | |
and then van Meegeren owned up to faking all these pictures. | 0:21:59 | 0:22:03 | |
He became very, very famous, | 0:22:03 | 0:22:05 | |
and his works were making quite a lot of money. | 0:22:05 | 0:22:08 | |
He made a lot of money from his fakes before the war, and after the war, | 0:22:08 | 0:22:11 | |
people were collecting him because he was an infamous person. | 0:22:11 | 0:22:14 | |
So, Ian, where did you get this from? | 0:22:14 | 0:22:16 | |
It was left to me by two friends, a husband and wife, | 0:22:16 | 0:22:19 | |
who died a couple of years ago, and it was left me in the will. | 0:22:19 | 0:22:23 | |
Do you know where they got it from? | 0:22:23 | 0:22:25 | |
She was actually an antique and art dealer during the 1950s. | 0:22:25 | 0:22:28 | |
Yeah. | 0:22:28 | 0:22:29 | |
And I think they acquired it sometime in the '80s from an auction. | 0:22:29 | 0:22:33 | |
So you've brought in this picture | 0:22:33 | 0:22:35 | |
that is not like a Hans van Meegeren that I have seen before. | 0:22:35 | 0:22:39 | |
It's Impressionist, it's not like his own pictures, | 0:22:39 | 0:22:43 | |
which were quite classical, the things he was painting before the war, before he started faking. | 0:22:43 | 0:22:47 | |
And I look at this and I think this is somebody faking Hans van Meegeren. | 0:22:47 | 0:22:52 | |
So the faker has been faked. | 0:22:52 | 0:22:54 | |
So what have we got, in terms of value? | 0:22:54 | 0:22:56 | |
The van Meegeren that is not a van Meegeren, the fake of a fake. | 0:22:56 | 0:23:00 | |
I'd probably put on it, for decorative purposes, | 0:23:00 | 0:23:04 | |
about £200 to £300. | 0:23:04 | 0:23:05 | |
I don't think we've made your day, have we, Ian? | 0:23:05 | 0:23:07 | |
I like the painting, so... | 0:23:07 | 0:23:09 | |
Well, very interesting to have something like that in your house with that name on. | 0:23:09 | 0:23:13 | |
So these two objects have just met. Seems like a happy meeting. | 0:23:16 | 0:23:20 | |
Yes. | 0:23:20 | 0:23:21 | |
And what I will say to you both, before we get started, | 0:23:21 | 0:23:25 | |
is that they come from the same stable. | 0:23:25 | 0:23:28 | |
So... | 0:23:29 | 0:23:32 | |
you're the owner of the bear. | 0:23:32 | 0:23:34 | |
The bear has been in my family probably since new. | 0:23:34 | 0:23:39 | |
Right. | 0:23:39 | 0:23:40 | |
I remember it only on special occasions, | 0:23:40 | 0:23:43 | |
but most of its life, I think it's been locked up in a drawer. | 0:23:43 | 0:23:46 | |
So he's having a good outing today. And what about yours? | 0:23:46 | 0:23:49 | |
Well, mine's a mystery, because love at first sight. | 0:23:49 | 0:23:52 | |
I met him at an auction, and he was a must-have. | 0:23:52 | 0:23:55 | |
Well, the firm of manufacture is in fact a Parisian firm | 0:23:55 | 0:24:01 | |
called Roullet et Descamps | 0:24:01 | 0:24:04 | |
in the Marais district of Paris. | 0:24:04 | 0:24:06 | |
And they were established in 1866 and interestingly, | 0:24:06 | 0:24:09 | |
they ceased production in 1995, so really quite modern. | 0:24:09 | 0:24:14 | |
Oh. | 0:24:14 | 0:24:16 | |
And they were in their time - and continued to be - the best, | 0:24:16 | 0:24:20 | |
the most well-known and produced wonderful automata. | 0:24:20 | 0:24:25 | |
Both of them are made of rabbit skin, | 0:24:25 | 0:24:30 | |
so your rabbit skin has been dyed brown, beautifully brown bear, | 0:24:30 | 0:24:35 | |
and here we have a lovely white rabbit encased in a lettuce. | 0:24:35 | 0:24:41 | |
And yours dates from about 1900, | 0:24:41 | 0:24:44 | |
and yours is a second best. | 0:24:44 | 0:24:47 | |
Yes. Ah. | 0:24:47 | 0:24:48 | |
At 1930. | 0:24:48 | 0:24:49 | |
They were very popular, and I have to say | 0:24:51 | 0:24:54 | |
it wasn't uncommon that they were kept for high days and holidays. | 0:24:54 | 0:24:57 | |
They were the sort of thing that were brought out | 0:24:57 | 0:25:00 | |
after a special event to entertain the children | 0:25:00 | 0:25:03 | |
when they were getting a bit out of hand. | 0:25:03 | 0:25:05 | |
But I think, personally, they were adults' toys. | 0:25:05 | 0:25:08 | |
MAN LAUGHS | 0:25:08 | 0:25:09 | |
They're both wind-up, but this one has a little secret in store, | 0:25:09 | 0:25:15 | |
because, if we turn it round, in the back here... | 0:25:15 | 0:25:18 | |
is a flap. | 0:25:18 | 0:25:20 | |
I never knew that! | 0:25:20 | 0:25:24 | |
And into that, you put a battery, so it was clockwork | 0:25:24 | 0:25:28 | |
and battery-driven, | 0:25:28 | 0:25:31 | |
and this had light-bulb eyes that lit up... | 0:25:31 | 0:25:34 | |
-The hussy! -LAUGHTER | 0:25:34 | 0:25:37 | |
So, very collectable, highly desirable, | 0:25:39 | 0:25:44 | |
and I suppose we should talk about values. | 0:25:44 | 0:25:49 | |
So yours is the oldest, but actually, interestingly, | 0:25:49 | 0:25:53 | |
-it is the less valuable of the two... -Aw... | 0:25:53 | 0:25:56 | |
-..and is worth between £400 and £600. -Oh. | 0:25:56 | 0:25:59 | |
Yours, being the younger of the two, | 0:25:59 | 0:26:03 | |
is slightly more sophisticated with its light-up eyes, | 0:26:03 | 0:26:07 | |
its movement, but also it's musical, | 0:26:07 | 0:26:10 | |
and for that reason, it's worth a little bit more | 0:26:10 | 0:26:13 | |
at £800 to £1,200. | 0:26:13 | 0:26:16 | |
Wow. | 0:26:16 | 0:26:17 | |
And now I think we should see them doing their thing. | 0:26:17 | 0:26:22 | |
Over to you. | 0:26:22 | 0:26:24 | |
-Gentleman first, or both together? -I think together - | 0:26:24 | 0:26:27 | |
-if you can get them going together, that would be great. -I'll have a word, | 0:26:27 | 0:26:30 | |
cos she starts... Come on, then, off you go. | 0:26:30 | 0:26:32 | |
There's something about animals that move | 0:26:32 | 0:26:35 | |
and have their own personality, | 0:26:35 | 0:26:38 | |
-and how well they've got on together this afternoon! -They have! | 0:26:38 | 0:26:41 | |
This table, and the chairs and sideboard, were bought by my grandmother in the early 1930s | 0:26:58 | 0:27:03 | |
and have been in use by our family every day ever since. | 0:27:03 | 0:27:08 | |
-Fantastic. I mean that's the sort of thing I love to hear. -Yes. | 0:27:08 | 0:27:11 | |
Many a sort of lovely Sunday roast. Since 1936? | 0:27:11 | 0:27:14 | |
-Well, or sooner, cos I have a photograph of her using it in 1936. -Oh, really? | 0:27:14 | 0:27:19 | |
So she'd obviously bought it prior to then. | 0:27:19 | 0:27:22 | |
Absolutely marvellous, and there it is in its home as well, | 0:27:22 | 0:27:25 | |
and you have another photograph there, too. | 0:27:25 | 0:27:27 | |
-This is the house it was bought for. -Fantastic. | 0:27:27 | 0:27:30 | |
For me, looking at this photograph and seeing this table, | 0:27:30 | 0:27:33 | |
they match absolutely perfectly. | 0:27:33 | 0:27:35 | |
This table, in its own way, | 0:27:35 | 0:27:37 | |
is a middle-class dream of the 1930s family. | 0:27:37 | 0:27:40 | |
What you're looking at is a bit of everything put together. | 0:27:40 | 0:27:43 | |
It's middle class, it's middle way, | 0:27:43 | 0:27:45 | |
so you've got a little bit of the prevalent style of the day, Art Deco, | 0:27:45 | 0:27:49 | |
in these very straight lines, | 0:27:49 | 0:27:51 | |
nice geometric lines and strong, stepped feel. | 0:27:51 | 0:27:53 | |
-And then also, you've got a little bit of Arts and Crafts style in it too. -Yes. | 0:27:53 | 0:27:58 | |
-Even with these little fantastically accentuated dovetail joints here. -Yes. | 0:27:58 | 0:28:02 | |
Implying it's handmade, but it's not. | 0:28:02 | 0:28:05 | |
This was a typical piece you would buy in a department store. | 0:28:05 | 0:28:08 | |
-Right, yes. -So it's a mass-produced piece of furniture. -Yes. | 0:28:08 | 0:28:11 | |
In its own way, it sort of foresees the mass-produced utility furniture | 0:28:11 | 0:28:14 | |
-of just after the war. -Yes. -Of course this was made just before the war, | 0:28:14 | 0:28:18 | |
-and that is absolutely typical of a good, solid, middle-class home. -Yes. | 0:28:18 | 0:28:23 | |
And this, with its fantastic rose garden, I notice here, | 0:28:23 | 0:28:26 | |
a gentleman posing in it, it's sort of Metroland. | 0:28:26 | 0:28:28 | |
-Have you come across that term before? -Yes, yes, I have yes. | 0:28:28 | 0:28:30 | |
So you would have your job in the city | 0:28:30 | 0:28:33 | |
and you would catch the tube - part of the new tube networks - | 0:28:33 | 0:28:36 | |
out to your house, and it was your own sort of slice of the English rural idyll. | 0:28:36 | 0:28:39 | |
You had your garden, | 0:28:39 | 0:28:41 | |
-a very nice sort of mock Tudor house here with these beams along the top. -Yes, yes. | 0:28:41 | 0:28:45 | |
And they're still around. I mean, wonderful build quality, | 0:28:45 | 0:28:48 | |
they're still around today. So when they bought the table, presumably this came with it? | 0:28:48 | 0:28:52 | |
I assume it was a set and bought at the same time. | 0:28:52 | 0:28:54 | |
Well, if you look at the lines here, these stepped lines, | 0:28:54 | 0:28:58 | |
you've got exactly that sort of geometric step line on here too. | 0:28:58 | 0:29:02 | |
Individually, the values are not great. | 0:29:02 | 0:29:06 | |
They're sturdy, solid pieces, they were made to last, | 0:29:06 | 0:29:10 | |
and a lot of them exist today. | 0:29:10 | 0:29:11 | |
And as a result, for the cabinet here, | 0:29:11 | 0:29:14 | |
it would struggle to make £100 at auction. | 0:29:14 | 0:29:17 | |
-Sure. -And the table, again £100 to £150 perhaps with a set of chairs, | 0:29:17 | 0:29:22 | |
but again, they'd both struggle to sell at auction on occasion. | 0:29:22 | 0:29:26 | |
But for me, that's part of their appeal - they're good, solid pieces. | 0:29:26 | 0:29:29 | |
Where else - or what else - | 0:29:29 | 0:29:31 | |
can you get for £100 to £150 in solid wood like this? | 0:29:31 | 0:29:35 | |
-And the chairs are extremely comfortable. -Well, that's good. | 0:29:35 | 0:29:38 | |
-Long Sunday roasts, that's precisely what you need to relax and sit back on. -Yes. | 0:29:38 | 0:29:42 | |
It's not often I get kind of emotionally screwed up | 0:29:44 | 0:29:48 | |
about an object, but I think this is fantastic. | 0:29:48 | 0:29:52 | |
Really fantastic. Where did you get it from? | 0:29:52 | 0:29:57 | |
My wife got it at a jumble sale in the early '70s, | 0:29:57 | 0:30:01 | |
that's as far as I know. | 0:30:01 | 0:30:04 | |
It was made by a factory in Europe called Meissen, in Germany. | 0:30:04 | 0:30:09 | |
Augustus the Strong, the Elector of Saxony | 0:30:09 | 0:30:13 | |
and King of Poland, | 0:30:13 | 0:30:15 | |
was a china maniac | 0:30:15 | 0:30:16 | |
and he wanted to build a palace, which he would stuff | 0:30:16 | 0:30:20 | |
with porcelain from all round the world. | 0:30:20 | 0:30:23 | |
And then he decided he wanted his own factory | 0:30:23 | 0:30:28 | |
and he got a young alchemist called Johann Bottger | 0:30:28 | 0:30:32 | |
to research it, and Bottger discovered the secret of porcelain in 1708, | 0:30:32 | 0:30:37 | |
and that was the foundation of the Meissen factory. | 0:30:37 | 0:30:42 | |
And this is a relatively early piece of Meissen. | 0:30:42 | 0:30:45 | |
The decoration on it... | 0:30:45 | 0:30:47 | |
Here we've got... I think these are lilies, aren't they? | 0:30:47 | 0:30:53 | |
With a ladybird. | 0:30:53 | 0:30:56 | |
This is called Holzschnitt Blumen. | 0:30:56 | 0:30:59 | |
-Yeah. -And these designs have been taken | 0:30:59 | 0:31:02 | |
from wood-engraved illustrated books of the period | 0:31:02 | 0:31:08 | |
and indeed of the 17th century. | 0:31:08 | 0:31:10 | |
Absolutely fabulous painting! | 0:31:10 | 0:31:14 | |
And quirks! | 0:31:16 | 0:31:19 | |
We've got a winged fly on here, | 0:31:19 | 0:31:21 | |
which has been painted over a flaw in the porcelain, | 0:31:21 | 0:31:25 | |
a big winged insect here, | 0:31:25 | 0:31:29 | |
and to cover up a whole lot of flaws, | 0:31:29 | 0:31:33 | |
a caterpillar, | 0:31:33 | 0:31:34 | |
which is brilliant. And here we've got, I think, bluebells, haven't we? | 0:31:34 | 0:31:38 | |
Yeah. | 0:31:38 | 0:31:40 | |
They are just so beautifully painted. | 0:31:40 | 0:31:42 | |
On the bottom, we've got the crossed swords of Meissen. | 0:31:44 | 0:31:48 | |
I've never seen that shape before | 0:31:48 | 0:31:50 | |
and I've never seen that shape illustrated anywhere before. | 0:31:50 | 0:31:54 | |
I think it is very, very rare. | 0:31:54 | 0:31:56 | |
I think if you put that into an auction sale today, | 0:31:56 | 0:32:00 | |
it would make close on £1,000. | 0:32:00 | 0:32:02 | |
God. | 0:32:05 | 0:32:06 | |
-It's all right for 6p. -Even with the broken handle? | 0:32:06 | 0:32:09 | |
-Yes. -God. | 0:32:09 | 0:32:12 | |
Where are you going to find another one? | 0:32:12 | 0:32:14 | |
If you're a Meissen collector, that's the one you've got to buy. | 0:32:14 | 0:32:18 | |
You can't go out and buy one without a cracked handle. | 0:32:18 | 0:32:20 | |
So it's no good in the dishwasher, then? | 0:32:20 | 0:32:22 | |
Not a good idea. | 0:32:23 | 0:32:24 | |
Not a good idea. Right. | 0:32:24 | 0:32:26 | |
We've always had this. I've had this on our piano at home. | 0:32:28 | 0:32:31 | |
My family, my father's side, where I got this from... | 0:32:31 | 0:32:34 | |
his father had worked as an engineer in Russia, | 0:32:34 | 0:32:38 | |
looking at oil at the beginning of the 20th century, | 0:32:38 | 0:32:41 | |
and then I inherited this, but I know very little about it. | 0:32:41 | 0:32:44 | |
So it's been in the family for well over 100 years. | 0:32:44 | 0:32:47 | |
I would imagine so, yes. | 0:32:47 | 0:32:49 | |
-Well, I know it's Russian. -Yes. | 0:32:49 | 0:32:52 | |
I can't really read Cyrillic, but I do know that it's by Lanceray, | 0:32:52 | 0:32:55 | |
-because I know that instinctively having seen this signature before. -Right. | 0:32:55 | 0:33:00 | |
I mean, it's got a date here - 1878 - and Lanceray exhibited in the... | 0:33:00 | 0:33:06 | |
Is that a 3 or 8? | 0:33:06 | 0:33:08 | |
Er, I won't argue about it - 3 or 8. | 0:33:08 | 0:33:11 | |
-He was exhibiting at all the great exhibitions. -Ah, right. -Lanceray. | 0:33:11 | 0:33:14 | |
-Although he's clearly Russian, he was very well-known in France. -Right. | 0:33:14 | 0:33:18 | |
But his bronzes were edited in - or cast in - France, | 0:33:18 | 0:33:25 | |
-probably the best quality ones. Poland as well. -Aha. | 0:33:25 | 0:33:29 | |
But possibly the most sought-after ones are the Russian foundries, | 0:33:29 | 0:33:32 | |
cos they instinctively tend to be the first foundries. | 0:33:32 | 0:33:36 | |
-And that's...Chopin, and that is the foundry... -Oh, right. | 0:33:36 | 0:33:39 | |
-..in Russia, I don't know exactly where. -No. | 0:33:39 | 0:33:43 | |
But it's such a wonderful subject, isn't it? | 0:33:43 | 0:33:45 | |
It's so typical of the Russian Steppes. | 0:33:45 | 0:33:48 | |
You've got this...three horses, which is quite an expensive set-up, really, | 0:33:48 | 0:33:53 | |
a three-horse rig, with this... Well, we call these troikas, | 0:33:53 | 0:33:56 | |
but there's a ravani or something, is the name, I don't know. | 0:33:56 | 0:33:58 | |
I don't know. I've only heard of troika, yeah. | 0:33:58 | 0:34:01 | |
But it's certainly being pulled in the troika sense, you know, | 0:34:01 | 0:34:05 | |
but it's most extraordinary with this... I can't... | 0:34:05 | 0:34:08 | |
Well, there are two men with a little baby. | 0:34:08 | 0:34:11 | |
-That's right. The father, I think. -The father, and that's the driver, so are they fleeing from someone? | 0:34:11 | 0:34:15 | |
-I don't know. -What is going on? | 0:34:15 | 0:34:17 | |
I've always looked at it and I've loved to look at it, | 0:34:17 | 0:34:19 | |
but I know nothing about it. I wish I did. | 0:34:19 | 0:34:22 | |
Well, it's a very good sculpture in very nice condition. | 0:34:22 | 0:34:27 | |
Mm-hm. | 0:34:27 | 0:34:29 | |
And there are lots of fakes of Lanceray's work, | 0:34:29 | 0:34:33 | |
but usually the smaller simpler figures. | 0:34:33 | 0:34:35 | |
When you get to these three horses, it's more complicated, | 0:34:35 | 0:34:39 | |
so this is not a fake. | 0:34:39 | 0:34:41 | |
Thank heaven for that, thank you, right. | 0:34:41 | 0:34:44 | |
It's a lovely colour, a mixture of black and browny colours, | 0:34:44 | 0:34:47 | |
there's a lovely - just here - this super dog here crouching down. | 0:34:47 | 0:34:51 | |
You wonder whether he's an attack dog or part of the actual team, I don't know, | 0:34:51 | 0:34:54 | |
but you can see the rubbing on there where it's all just... | 0:34:54 | 0:34:57 | |
I would assume he's attacking them, because they're looking upset. | 0:34:57 | 0:35:00 | |
These are wolves, aren't they? Yes, that's quite... So it's very dramatic and wonderful. | 0:35:00 | 0:35:04 | |
-You can imagine the cold. -Yeah, absolutely. | 0:35:04 | 0:35:06 | |
And the vast openness of the Russian Steppes. | 0:35:06 | 0:35:08 | |
The market has been a little fickle recently. | 0:35:08 | 0:35:11 | |
The Russian market, two or three years ago, | 0:35:11 | 0:35:13 | |
-was really quite strong. -Right. | 0:35:13 | 0:35:15 | |
It's backed off a bit and is very, very erratic. | 0:35:15 | 0:35:19 | |
If you had to go and replace it at a reasonable shop where you could expect to buy this sort of thing... | 0:35:19 | 0:35:23 | |
-and they're quite difficult to find... -Yeah. | 0:35:23 | 0:35:26 | |
..what sort of figure would you put on it? | 0:35:26 | 0:35:29 | |
And I think I'd put a figure of £10,000 on it. | 0:35:29 | 0:35:32 | |
Right, OK, thank you very much, it's just what... | 0:35:32 | 0:35:34 | |
exactly what I wanted to know. | 0:35:34 | 0:35:36 | |
-Thank you, a nice, round figure. -Absolutely, yes. | 0:35:36 | 0:35:38 | |
So, does he come in peace or does he come in war? | 0:35:40 | 0:35:44 | |
It's quite a subject, isn't it? | 0:35:44 | 0:35:46 | |
Because this Red Indian, he looks very much in the wrong place, | 0:35:46 | 0:35:49 | |
he's sitting in a chapel, I think, | 0:35:49 | 0:35:50 | |
a Quaker chapel. | 0:35:50 | 0:35:52 | |
Tell me about it. | 0:35:52 | 0:35:53 | |
Well, my father bought this in about 1937 as a gift | 0:35:53 | 0:35:57 | |
to his father-in-law to be, and as a young child, | 0:35:57 | 0:36:01 | |
I always remembered it hanging on the wall, | 0:36:01 | 0:36:03 | |
and then after he died, | 0:36:03 | 0:36:04 | |
it was then left through my mother, to me, | 0:36:04 | 0:36:08 | |
and I've had it ever since. | 0:36:08 | 0:36:10 | |
-Oh, well done. -Now, I know it's an English artist, | 0:36:10 | 0:36:13 | |
it's obviously an American scene, | 0:36:13 | 0:36:15 | |
but I'm absolutely intrigued to know what the subject matter is, | 0:36:15 | 0:36:19 | |
because it seems to me to be a historical event, | 0:36:19 | 0:36:21 | |
and whilst I've done some research, | 0:36:21 | 0:36:23 | |
I haven't actually managed to find out anything about it. | 0:36:23 | 0:36:26 | |
Well, it was exhibited - we can tell from the label on the back - | 0:36:26 | 0:36:29 | |
in the Royal Academy in 1885, | 0:36:29 | 0:36:32 | |
so we know that the costume is earlier than that - | 0:36:32 | 0:36:34 | |
this fellow's wearing a tricorn hat, isn't he? | 0:36:34 | 0:36:37 | |
So it must be a scene from the wars in the 19th century | 0:36:37 | 0:36:41 | |
between the Indians and the settlers, | 0:36:41 | 0:36:44 | |
in the expansion through to the west of America. | 0:36:44 | 0:36:48 | |
But a historical incident? I'm not so sure. | 0:36:48 | 0:36:54 | |
It comes with a quotation from the Bible, from Isaiah. | 0:36:54 | 0:36:57 | |
It says, "In quietness and confidence shall be your strength." | 0:36:57 | 0:37:01 | |
Now, I think the clue to the meaning of this picture is in that quotation. | 0:37:01 | 0:37:06 | |
Yes. | 0:37:06 | 0:37:08 | |
Because, obviously, you know, | 0:37:08 | 0:37:10 | |
these people are very worried about the Indian | 0:37:10 | 0:37:13 | |
being in their presence, but they are being quiet and strong, aren't they? | 0:37:13 | 0:37:17 | |
It's interesting that Victorians always seek - or sometimes seek - | 0:37:17 | 0:37:20 | |
to teach us things, they're didactic, and I think that's what's going on here. | 0:37:20 | 0:37:23 | |
-We're being given a message. -Right. | 0:37:23 | 0:37:25 | |
So that's one thing. I think that's what the artist's intention was. | 0:37:25 | 0:37:29 | |
But who is giving the advice? Is it the European | 0:37:29 | 0:37:34 | |
or is it the Indian? | 0:37:34 | 0:37:37 | |
Because the Indian seems to be at peace. | 0:37:37 | 0:37:40 | |
He's got blood on his tomahawk.. | 0:37:40 | 0:37:42 | |
Yes, he has, yes. | 0:37:42 | 0:37:45 | |
Which is a sort of rather funny way of showing being at peace, | 0:37:45 | 0:37:48 | |
but he is, after all, being invited into a chapel by the Quakers, | 0:37:48 | 0:37:52 | |
and I think the idea is that, if you are quiet and strong, | 0:37:52 | 0:37:57 | |
and you do not either try to make alliances or try to make wars - | 0:37:57 | 0:38:00 | |
more to the point - with your neighbours, then you will get along. | 0:38:00 | 0:38:04 | |
That's the advice. | 0:38:04 | 0:38:06 | |
I think that's the whole purpose of the picture, of this picture. | 0:38:06 | 0:38:09 | |
I like the Indian - the Native American - | 0:38:09 | 0:38:12 | |
because I'm not sure that he belongs to any particular tribe. | 0:38:12 | 0:38:16 | |
He looks more like one of those cigar advertisement figures, | 0:38:16 | 0:38:19 | |
don't you think? | 0:38:19 | 0:38:21 | |
-I'm pretty sure that the artist, whose name was Bayes... -Alfred Walter Bayes. | 0:38:21 | 0:38:25 | |
..Alfred Walter Bayes ever went to America. | 0:38:25 | 0:38:28 | |
I don't think he did, I'm sure he didn't, | 0:38:28 | 0:38:30 | |
so he only had a sort of generic understanding | 0:38:30 | 0:38:32 | |
-of what a Native American Indian would look like at all. -Yes. | 0:38:32 | 0:38:35 | |
And I think that's what he's painted here. Anyway, let's cut to the chase. | 0:38:35 | 0:38:38 | |
It's got to be worth something. | 0:38:38 | 0:38:42 | |
And I wondered what it might be worth. | 0:38:42 | 0:38:45 | |
I think we've got the meaning now, I think I've explained it. | 0:38:45 | 0:38:47 | |
The question is - how much? | 0:38:47 | 0:38:50 | |
I think it's a slightly difficult subject for modern audiences, | 0:38:50 | 0:38:54 | |
-is what I was trying to get to. -Yes. | 0:38:54 | 0:38:55 | |
And as a result, | 0:38:55 | 0:38:57 | |
-I think that I'm only going to put £4,000 to £6,000 on it. -Right. | 0:38:57 | 0:39:01 | |
Which... I'd like to do more, but... And it's a very interesting picture, | 0:39:01 | 0:39:05 | |
-in terms of the way we all think now, and it's very nicely painted. -Yes. | 0:39:05 | 0:39:09 | |
-And well observed. Thank you. -Thank you very much, thank you. | 0:39:09 | 0:39:11 | |
Waxed jackets are very much all the rage at the moment, | 0:39:13 | 0:39:16 | |
but the style is not normally like this. | 0:39:16 | 0:39:19 | |
It's very fashionable, but it's very 19th-century fashionable. | 0:39:19 | 0:39:23 | |
Indeed, yes, yes. | 0:39:23 | 0:39:25 | |
It's called a Sussex round frock, not a smock, | 0:39:25 | 0:39:29 | |
and it belonged to my great-grandfather - | 0:39:29 | 0:39:33 | |
and my nephew's great-great-grandfather - | 0:39:33 | 0:39:37 | |
who was a Sussex shepherd on the South Downs, | 0:39:37 | 0:39:40 | |
so this is appropriate for the Weald and Downland Museum, | 0:39:40 | 0:39:43 | |
and it's weatherproof. | 0:39:43 | 0:39:45 | |
I mean, it's the ultimate in weatherproofing, | 0:39:45 | 0:39:48 | |
because he would have gone out on the Sussex Downs in all weathers. | 0:39:48 | 0:39:52 | |
-Absolutely. -To...to help with lambing. | 0:39:52 | 0:39:54 | |
You know, the smock would have kept him warm, | 0:39:54 | 0:39:58 | |
-but also it's got this pocket at the side, so... -Yes. | 0:39:58 | 0:40:01 | |
For the newborn lambs. | 0:40:01 | 0:40:03 | |
Two pockets, yes. | 0:40:03 | 0:40:05 | |
It's a lovely snug fit, a comfortable thing | 0:40:05 | 0:40:07 | |
and practical, that's the thing with it, | 0:40:07 | 0:40:09 | |
it really is a practical working garment. | 0:40:09 | 0:40:11 | |
And, yeah, the pockets in the side stretch all the way round, | 0:40:11 | 0:40:14 | |
so you can keep a lamb in your back and keep it warm. | 0:40:14 | 0:40:17 | |
So who...who was your great-great- grandfather, and great-grandfather? | 0:40:17 | 0:40:21 | |
His name was Robert Strudwick, and he was born, we think, | 0:40:21 | 0:40:25 | |
about 1837, there or thereabouts, | 0:40:25 | 0:40:28 | |
and always lived and worked in Sussex | 0:40:28 | 0:40:32 | |
and on the Downs, basically. Married a Sussex girl, and here we are. | 0:40:32 | 0:40:36 | |
I can see you're holding a photograph of him here, | 0:40:36 | 0:40:39 | |
and that's incredibly evocative seeing it first on the manikin | 0:40:39 | 0:40:43 | |
and then looking at the photograph, | 0:40:43 | 0:40:45 | |
it brings it alive. | 0:40:45 | 0:40:47 | |
And the thing that strikes me most, I think, | 0:40:47 | 0:40:50 | |
-is the fact that it's very much handmade. -Yes. | 0:40:50 | 0:40:53 | |
And you see variations, these amazing variations, | 0:40:53 | 0:40:56 | |
so you get gathering on this sleeve here and then... | 0:40:56 | 0:40:59 | |
-And pleating on this one. -And pleating on that one there. -Yes, yes. | 0:40:59 | 0:41:03 | |
So it's sort of almost like the style evolved as it was being made. | 0:41:03 | 0:41:07 | |
I suspect he would have had just this one garment that would have run him through, | 0:41:07 | 0:41:12 | |
and it's testament to the quality of, you know, | 0:41:12 | 0:41:15 | |
waxed material that, you know, it did last. | 0:41:15 | 0:41:19 | |
I mean, there's not a single bit of damage on this whatsoever. | 0:41:19 | 0:41:22 | |
I'd say, if that was to come up for sale at an auction, | 0:41:22 | 0:41:25 | |
a specialist vintage costume sale, which is probably where it would go, | 0:41:25 | 0:41:28 | |
it would fetch at least £600. | 0:41:28 | 0:41:31 | |
And it's not going anywhere. | 0:41:31 | 0:41:34 | |
SHE LAUGHS | 0:41:34 | 0:41:36 | |
You never know what's going to turn up at the Roadshow. | 0:41:51 | 0:41:54 | |
Look at this - someone brought it in, said it belonged to their mother. | 0:41:54 | 0:41:58 | |
Hold it in your hand... | 0:41:58 | 0:41:59 | |
LAUGHTER | 0:42:01 | 0:42:02 | |
I don't know what it is - a little seal, perhaps. | 0:42:03 | 0:42:08 | |
There it goes. You know what they say - | 0:42:08 | 0:42:11 | |
warm hands... | 0:42:11 | 0:42:13 | |
No, that's not true at all. | 0:42:13 | 0:42:16 | |
Do you know, I think this enamel panel | 0:42:17 | 0:42:19 | |
-is certainly the most beautiful thing I've seen all day. -Oh. | 0:42:19 | 0:42:23 | |
What can you tell me about it? | 0:42:23 | 0:42:25 | |
Well, it belonged to my father-in-law, | 0:42:25 | 0:42:28 | |
and he was in London during the war and... lunch-time, going for a stroll, | 0:42:28 | 0:42:33 | |
and a dust cart went past, and on the top was this picture, | 0:42:33 | 0:42:38 | |
so he ran the length of...it may have been Regent Street, I don't know... | 0:42:38 | 0:42:42 | |
and stopped the dust cart and collected this, and it's been in the family ever since. | 0:42:42 | 0:42:46 | |
-And do you like it? -I love it, we all love it. -It is a fantastic thing, isn't it? | 0:42:46 | 0:42:50 | |
-What do you know about it? -We know nothing other than it came off a dust cart. | 0:42:50 | 0:42:53 | |
-Well, it's a good start. -So, there you go. | 0:42:53 | 0:42:56 | |
I think I can tell you a bit more. | 0:42:56 | 0:42:57 | |
It's enamel on copper, which is a very complex process | 0:42:57 | 0:43:01 | |
involving powdered glass, put in a kiln, fired many times with different colours | 0:43:01 | 0:43:06 | |
to build up the image on the copper. | 0:43:06 | 0:43:10 | |
There's no boundaries, it's a very, very tricky process. | 0:43:10 | 0:43:13 | |
It's a very old process, it goes back to the medieval period. | 0:43:13 | 0:43:16 | |
It was greatly revived in Britain at the very end of the 19th century. | 0:43:16 | 0:43:20 | |
Arthur Gaskin and others at Birmingham School of Art. | 0:43:20 | 0:43:23 | |
But the prime artist was somebody called Alexander Fisher, | 0:43:23 | 0:43:26 | |
who wrote a book about how to do it, | 0:43:26 | 0:43:29 | |
and many of the subjects have | 0:43:29 | 0:43:31 | |
this lovely sort of almost Pre-Raphaelite look. | 0:43:31 | 0:43:34 | |
-What do you think's going on here? -Well, I don't know. | 0:43:34 | 0:43:37 | |
-Don't know?! -She's obviously giving him something, a flower. | 0:43:37 | 0:43:40 | |
-I think she has flowers, she's giving him. -Well, she's picked a flower from the bush. | 0:43:40 | 0:43:44 | |
I think this could be wisteria, I don't know. | 0:43:44 | 0:43:46 | |
Well, I don't know the subject, but it could be Dante and Beatrice. | 0:43:46 | 0:43:49 | |
-Yes, could be. -Meeting on the bridge, you see. | 0:43:49 | 0:43:52 | |
They've picked some legendary historical subject, | 0:43:52 | 0:43:55 | |
which was very commonplace, | 0:43:55 | 0:43:57 | |
-but of course she's a completely sort of Pre-Raphaelite lady. -Oh, absolutely. | 0:43:57 | 0:44:01 | |
And so it has... full of that wonderful sort of... | 0:44:01 | 0:44:04 | |
late-Victorian Arts and Crafts atmosphere, beautiful colours. | 0:44:04 | 0:44:07 | |
Now, the secret of it is that down here in this little tiny corner, there is a name. | 0:44:07 | 0:44:12 | |
Now, I can't read that, and the only way to do it is to actually take the back off, | 0:44:12 | 0:44:17 | |
which we're not going to do now, cos it's very complex and must be done professionally. | 0:44:17 | 0:44:21 | |
It's also got this very nice frame - OK, there are bits missing, | 0:44:21 | 0:44:24 | |
but it's had a chequered past. | 0:44:24 | 0:44:26 | |
So we're looking at a date of about 1890-1900. | 0:44:26 | 0:44:30 | |
I'd like it to be by Alexander Fisher, | 0:44:30 | 0:44:32 | |
but he did train lots of people - particularly ladies - to do this. | 0:44:32 | 0:44:36 | |
Now, if it's by one of his lady assistants, | 0:44:36 | 0:44:40 | |
it's still going to be £2,000. | 0:44:40 | 0:44:44 | |
Good heavens. | 0:44:44 | 0:44:46 | |
If it's by Alexander Fisher - and I'm not saying it is, | 0:44:46 | 0:44:49 | |
but if we can put a big name to it - | 0:44:49 | 0:44:52 | |
it could be £8,000, £10,000. | 0:44:52 | 0:44:54 | |
Would be lovely, wouldn't it? | 0:44:54 | 0:44:56 | |
So it was a good day when he saw the dust cart. | 0:44:56 | 0:44:58 | |
-It was a good day when he chased the dust cart! -Yes. | 0:44:58 | 0:45:03 | |
Of all the things that I see on the Antiques Roadshow, I have to say | 0:45:05 | 0:45:08 | |
that tin-plate toys are my number-one favourites, | 0:45:08 | 0:45:12 | |
so this is a real treat for me, | 0:45:12 | 0:45:14 | |
because it is a good-sized, chunky, | 0:45:14 | 0:45:17 | |
tin-plate toy car, | 0:45:17 | 0:45:19 | |
and much too old for you to have played with, | 0:45:19 | 0:45:21 | |
though I guess you did play with it, because how could you not? | 0:45:21 | 0:45:25 | |
Is it a purchase, it is a family thing or...? | 0:45:25 | 0:45:27 | |
-It's a family thing, yes. -Right. -So it goes quite far back, yes. | 0:45:27 | 0:45:31 | |
All right, well, let's try and work out how far back it goes, | 0:45:31 | 0:45:34 | |
because we're very lucky to have... On the top here, | 0:45:34 | 0:45:37 | |
I don't know if you've noticed, there's a little lozenge | 0:45:37 | 0:45:40 | |
which is a trademark, which tells us about who made it. | 0:45:40 | 0:45:43 | |
And looking closely, it says... it has the initials GBN | 0:45:43 | 0:45:48 | |
in there, which are for Ignaz and Adolf Bing, | 0:45:48 | 0:45:52 | |
known as Gebruder Bing - GB - | 0:45:52 | 0:45:54 | |
and the N is for Nuremberg, which is where they were based. | 0:45:54 | 0:45:57 | |
These are really an indication of the kind of quality toys | 0:45:57 | 0:46:04 | |
that this particular manufacturer was making. | 0:46:04 | 0:46:07 | |
Now, I don't know how many generations it goes back, | 0:46:07 | 0:46:10 | |
but let me tell you when I think it was made, | 0:46:10 | 0:46:13 | |
which was sometime between 1905 and 1910. | 0:46:13 | 0:46:15 | |
I suppose the extraordinary fact about this company is that, | 0:46:15 | 0:46:22 | |
in that time - let's say 1912, pick a date - | 0:46:22 | 0:46:26 | |
their catalogue of wares, and these were just toys, | 0:46:26 | 0:46:30 | |
ran to 500 pages. | 0:46:30 | 0:46:31 | |
They had over 2,500 people in their workforce. | 0:46:31 | 0:46:36 | |
They sold to every country, including Saudi Arabia, Argentina, | 0:46:36 | 0:46:43 | |
every country throughout Europe, | 0:46:43 | 0:46:45 | |
and they did that without really sacrificing quality, | 0:46:45 | 0:46:48 | |
so these were master toymakers. | 0:46:48 | 0:46:52 | |
What do you like about it? | 0:46:52 | 0:46:54 | |
I've told you what I like about it - you must like something. | 0:46:54 | 0:46:57 | |
I like the little man inside. I think he's quite sweet, really, | 0:46:57 | 0:47:00 | |
the way he's sort of perched in his seat, | 0:47:00 | 0:47:02 | |
and the fact that it goes as well, the fact it works, | 0:47:02 | 0:47:05 | |
I think that's quite special, | 0:47:05 | 0:47:07 | |
to have something so old that still works as a toy, fundamentally. | 0:47:07 | 0:47:10 | |
God, dare I take the handbrake off? | 0:47:10 | 0:47:12 | |
-Give it a try. -I'll catch you! | 0:47:12 | 0:47:14 | |
OK, let's just give it whizz. | 0:47:14 | 0:47:16 | |
OK, now I'm not going to risk it. | 0:47:21 | 0:47:22 | |
-OK, we can see it works, it has the key. -The wheels go round. | 0:47:22 | 0:47:26 | |
Exactly. | 0:47:26 | 0:47:27 | |
I agree with you. I love the little man in there. | 0:47:27 | 0:47:30 | |
Very often, they came with little figures. | 0:47:30 | 0:47:33 | |
This is one in not brilliant condition, but it's lovely that it's there. | 0:47:33 | 0:47:37 | |
They're very easy to restore. | 0:47:37 | 0:47:39 | |
I suppose we ought to... to think about value, really. | 0:47:39 | 0:47:42 | |
To go out now and sell a car like this, | 0:47:42 | 0:47:46 | |
I know that the market in America is red, red hot, | 0:47:46 | 0:47:51 | |
there have been a series of sales out there | 0:47:51 | 0:47:53 | |
which have set new benchmarks for toy vehicles and toys of this period | 0:47:53 | 0:48:00 | |
across the board, and I would put this at between £10,000 and £12,000. | 0:48:00 | 0:48:04 | |
Wow! | 0:48:04 | 0:48:06 | |
That's quite impressive. | 0:48:06 | 0:48:09 | |
Oh, wow! > | 0:48:11 | 0:48:12 | |
Wow! | 0:48:12 | 0:48:14 | |
It's a great survivor, in any case, and a real treasure, | 0:48:14 | 0:48:18 | |
-so thank you very much for bringing it. -Thank you. | 0:48:18 | 0:48:22 | |
We've so much enjoyed our day here at the Weald and Downland Open Air Museum. | 0:48:22 | 0:48:26 | |
But if you'd like to come to some of our next locations | 0:48:26 | 0:48:29 | |
for the next series, why don't you have a look at our website...? | 0:48:29 | 0:48:32 | |
And who knows, next time, we could be seeing you. | 0:48:35 | 0:48:37 | |
Bye-bye. | 0:48:37 | 0:48:40 |