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This is Antiques Master, | 0:00:02 | 0:00:04 | |
the contest to find Britain's top amateur antiques expert. | 0:00:04 | 0:00:08 | |
Tonight the battle continues, as the country's finest antiques enthusiasts | 0:00:08 | 0:00:13 | |
fight it out at the magnificent Towneley Hall in Burnley. | 0:00:13 | 0:00:18 | |
They face a series of tough challenges, | 0:00:18 | 0:00:20 | |
testing their skills at identifying, dating and valuing antiques. | 0:00:20 | 0:00:25 | |
Ultimately only one will be crowned Antiques Master. | 0:00:25 | 0:00:29 | |
Hello and welcome to Antiques Master. I'm Sandi Toksvig | 0:00:47 | 0:00:51 | |
and this is the search for Britain's top amateur antiques enthusiast. | 0:00:51 | 0:00:55 | |
Now as the contest continues, we have three more antiques buffs | 0:00:55 | 0:00:59 | |
waiting to prove they've got the knowledge, the passion and the skill | 0:00:59 | 0:01:03 | |
to be Antiques Master 2011 | 0:01:03 | 0:01:06 | |
and all of this under the watchful eye | 0:01:06 | 0:01:09 | |
of our resident expert, Mr Eric Knowles. | 0:01:09 | 0:01:11 | |
Let's meet tonight's contestants. | 0:01:11 | 0:01:13 | |
20-year-old student John Rogers is a specialist in British silver. | 0:01:14 | 0:01:19 | |
I like to think I've got a pretty broad knowledge covering most areas. | 0:01:19 | 0:01:23 | |
Everybody has their slips | 0:01:23 | 0:01:25 | |
but I'm looking forward to seeing how far it'll test me. | 0:01:25 | 0:01:28 | |
Diana Johnson from Shrewsbury loves British country pottery. | 0:01:28 | 0:01:31 | |
In this age of mass production, | 0:01:31 | 0:01:34 | |
I'm fascinated by the ingenuity of people | 0:01:34 | 0:01:37 | |
making so many different things in the past | 0:01:37 | 0:01:39 | |
and in the way they were used. | 0:01:39 | 0:01:41 | |
And Martin Easton from Bexhill-on-Sea has a passion for Treen. | 0:01:41 | 0:01:46 | |
I can't think of anybody who can't pick up a nice, small bit of Treen | 0:01:46 | 0:01:49 | |
and not run their hands over it. | 0:01:49 | 0:01:51 | |
You just have to, because the patination on it | 0:01:51 | 0:01:55 | |
and the feel of it is fantastic. | 0:01:55 | 0:01:57 | |
But who will have what it takes to win a place in the semi-finals | 0:01:57 | 0:02:01 | |
and move one step closer to becoming Antiques Master? | 0:02:01 | 0:02:04 | |
Their journey starts now. | 0:02:04 | 0:02:09 | |
Right, your first challenge is all about your antiques specialisms. | 0:02:13 | 0:02:17 | |
Now we know that each of you has a different antiques passion | 0:02:17 | 0:02:20 | |
and we are going to put that specialist knowledge to the test. | 0:02:20 | 0:02:23 | |
We have scoured the country for five glorious examples for each of you | 0:02:23 | 0:02:28 | |
and what you need to do is to study them and tell me the following - | 0:02:28 | 0:02:32 | |
Which is the oldest? Which is the most valuable? | 0:02:32 | 0:02:36 | |
And which one is the odd one out? | 0:02:36 | 0:02:38 | |
Now, there's 40 points available. | 0:02:38 | 0:02:40 | |
There are ten points for each antique | 0:02:40 | 0:02:42 | |
that you correctly identify and an extra ten points | 0:02:42 | 0:02:45 | |
if you can tell us the price of the most valuable piece | 0:02:45 | 0:02:49 | |
within 15% of the auction estimate. | 0:02:49 | 0:02:53 | |
So let's see who's got a real eye for detail. | 0:02:53 | 0:02:56 | |
First up is John, whose antiques passion is pre-1800 British silver. | 0:02:57 | 0:03:03 | |
Your odd one out is that it is out of the time period, | 0:03:03 | 0:03:05 | |
so it is not pre-1800. All right? | 0:03:05 | 0:03:10 | |
Let's just start here. Even I know what that is, it's a pot. | 0:03:10 | 0:03:13 | |
Yep, it's a coffee pot. | 0:03:13 | 0:03:14 | |
Let's have a look at the marks. | 0:03:14 | 0:03:16 | |
-Are you good at the marks, do you know them? -I like the marks. -You do? | 0:03:16 | 0:03:19 | |
-This is London. -How can you tell London? | 0:03:19 | 0:03:22 | |
Er, leopard's head and we've got a T. | 0:03:22 | 0:03:25 | |
This the date letter but going by this shape | 0:03:25 | 0:03:28 | |
and moulding, I'd say about 1740, 1750s. | 0:03:28 | 0:03:31 | |
And does the design of it bespeak anybody in particular? | 0:03:31 | 0:03:34 | |
Erm, possibly William Pitts. | 0:03:34 | 0:03:37 | |
What is it, John, that draws you to silver? | 0:03:37 | 0:03:40 | |
Well, I'm learning metalwork myself. | 0:03:40 | 0:03:42 | |
-So, at college, you're studying to be a silversmith? -No, I just do fine art | 0:03:42 | 0:03:46 | |
but I'd like to learn silversmithery at some point. | 0:03:46 | 0:03:49 | |
We've got a teapot, neoclassical. | 0:03:49 | 0:03:53 | |
Anything coming up? | 0:03:53 | 0:03:54 | |
George III duty marks, so we're after 1784. | 0:03:54 | 0:03:57 | |
-Valuable? -Quite, yes. -"Quite." You like the feel of it. | 0:03:57 | 0:04:01 | |
Right, we'll come on to the next thing. | 0:04:01 | 0:04:04 | |
Little sugar caster. | 0:04:04 | 0:04:05 | |
Is it a Hester Bateman? Ah, this is by Hester Bateman. | 0:04:05 | 0:04:08 | |
Who's Hester Bateman? | 0:04:08 | 0:04:10 | |
Woman silversmith of the late 18th century. It's a caster. | 0:04:10 | 0:04:14 | |
For sugar? | 0:04:14 | 0:04:15 | |
I would suppose so, or pepper. No, too big for pepper. | 0:04:15 | 0:04:19 | |
OK, we're going to have to hurry you along. | 0:04:19 | 0:04:22 | |
I think this is provincial. | 0:04:22 | 0:04:24 | |
So not made in London or no, no, no, wait, yes, Britannia standard. | 0:04:24 | 0:04:29 | |
Which means? | 0:04:29 | 0:04:30 | |
Between 1697 and 1720, they raised the standard of silver from Sterling | 0:04:30 | 0:04:35 | |
to Britannia to stop people melting down the coinage. | 0:04:35 | 0:04:40 | |
So could it be the oldest? | 0:04:40 | 0:04:41 | |
I would say so, yes. | 0:04:41 | 0:04:43 | |
Let's look at the small item on the end before we make some decisions. | 0:04:43 | 0:04:48 | |
And this, I'm going to say, is early 19th century. | 0:04:48 | 0:04:52 | |
It's by Samuel Pemberton and it was made in Birmingham. | 0:04:52 | 0:04:55 | |
He made snuffboxes and this is very... . | 0:04:55 | 0:04:57 | |
There's still a lot made in Birmingham. | 0:04:57 | 0:04:59 | |
A lot of silver stuff made. | 0:04:59 | 0:05:01 | |
First, the odd one out - the one out of the time period, | 0:05:01 | 0:05:04 | |
the one that is not pre-1800. | 0:05:04 | 0:05:05 | |
-I'm going to go with the snuffbox. -All right. | 0:05:05 | 0:05:07 | |
I'm going to say between 1820, 1830s. | 0:05:07 | 0:05:11 | |
-All right, now let's look for the oldest item. -The spoon. | 0:05:11 | 0:05:14 | |
-And, again, when do you think it might...? -About 1700. | 0:05:14 | 0:05:17 | |
About 1700. And the one that would fetch the highest price. | 0:05:17 | 0:05:20 | |
Erm, this is a very good coffee pot with its excellent casting here. | 0:05:20 | 0:05:24 | |
-I'll say this is the most valuable. -This one is the most valuable. | 0:05:24 | 0:05:27 | |
Come and stand here with me and we'll see if Eric agrees with you. | 0:05:27 | 0:05:31 | |
Let's have a look for our oldest item on here. | 0:05:33 | 0:05:37 | |
And you just homed in on this. | 0:05:37 | 0:05:38 | |
Absolutely right. | 0:05:38 | 0:05:41 | |
The date that we had on here | 0:05:41 | 0:05:43 | |
was 1699 and the maker was a man called William Scarlett. | 0:05:43 | 0:05:48 | |
You're off and running with ten points. | 0:05:48 | 0:05:50 | |
Odd one out. You've gone over here | 0:05:50 | 0:05:53 | |
and you've chosen a little snuffbox by Samuel Pemberton | 0:05:53 | 0:05:57 | |
and the hallmark on this tells me that it's actually for 1792. | 0:05:57 | 0:06:02 | |
So where is my 19th-century piece? | 0:06:02 | 0:06:07 | |
It's right here. | 0:06:07 | 0:06:08 | |
But, I have to say, you can call me sneaky because this is 1801. | 0:06:08 | 0:06:15 | |
So here's your odd one out. | 0:06:15 | 0:06:19 | |
So where's my most valuable? | 0:06:19 | 0:06:21 | |
You're absolutely right to go for this coffee pot. | 0:06:21 | 0:06:26 | |
You get ten points for guessing it's the most valuable | 0:06:26 | 0:06:28 | |
but you could get another ten | 0:06:28 | 0:06:30 | |
if you can tell me the price of the coffee pot | 0:06:30 | 0:06:32 | |
within 15% of the auction estimate. | 0:06:32 | 0:06:37 | |
I'll say £3,000. | 0:06:37 | 0:06:40 | |
We think you're a bit heavy on the price there, | 0:06:40 | 0:06:42 | |
because we've actually got it valued at £1,800. | 0:06:42 | 0:06:45 | |
So 20 points you get and thank you so much. | 0:06:45 | 0:06:48 | |
John sits down with 20 points. Will Diana spot the oldest, | 0:06:48 | 0:06:52 | |
most valuable and odd one out in her specialism, British country pottery? | 0:06:52 | 0:06:59 | |
The odd one out is the only piece made for a top London retailer. | 0:06:59 | 0:07:04 | |
Now, to me, that looks like a giant fruit bowl. | 0:07:04 | 0:07:07 | |
Well, I'm guessing that this pot was made about 1890 to 1910. | 0:07:08 | 0:07:15 | |
It has a delicious owl face marks at the side, | 0:07:15 | 0:07:18 | |
where you would lift it as if it was your handle. | 0:07:18 | 0:07:21 | |
I think this is a garden planter. | 0:07:21 | 0:07:23 | |
Do you? Is it heavy? | 0:07:23 | 0:07:25 | |
-Yes, it is quite heavy. -Now, what about this one here? | 0:07:25 | 0:07:28 | |
This is another earthenware pot | 0:07:28 | 0:07:31 | |
but it has this very characteristic squiggle decoration on it, | 0:07:31 | 0:07:36 | |
which is called slip trailing. | 0:07:36 | 0:07:37 | |
And does that help us to date it? | 0:07:37 | 0:07:39 | |
No, because that was done for several hundred years. | 0:07:39 | 0:07:43 | |
-On to the next piece. -This is 19th century. | 0:07:43 | 0:07:45 | |
This is a Derbyshire... | 0:07:45 | 0:07:48 | |
bargee teapot, surprisingly late, about 1870 to 1910. | 0:07:48 | 0:07:53 | |
-What did you say? Bargee? -Bargee. -Bargee was? | 0:07:53 | 0:07:55 | |
As with the people on the long boats, on the canals. | 0:07:55 | 0:07:58 | |
Ah, I see. | 0:07:58 | 0:08:00 | |
-It's lost its top but it's a nice thing. -You like it? | 0:08:00 | 0:08:02 | |
I like it, yes. | 0:08:02 | 0:08:04 | |
-And the next, that's a very... -I like this more. | 0:08:04 | 0:08:06 | |
This is a puzzle jug. | 0:08:06 | 0:08:08 | |
What is the puzzle? | 0:08:08 | 0:08:09 | |
The puzzle is that you cannot generally drink directly | 0:08:09 | 0:08:13 | |
from these because the holes in the neck here mean that you get wet. | 0:08:13 | 0:08:17 | |
-So where do these come from? Are they from a particular county? -A lot of potteries did this. | 0:08:17 | 0:08:21 | |
Is this the sort of thing that might be made for a London retailer? | 0:08:21 | 0:08:25 | |
-No. -Definitely not going to be the odd one out, that one. | 0:08:25 | 0:08:28 | |
-No. -Let's come on to the last item. | 0:08:28 | 0:08:30 | |
Which looks very like a child's chamber pot. | 0:08:30 | 0:08:32 | |
It'd be a small bottom, wouldn't it? | 0:08:32 | 0:08:34 | |
A very small bottom. | 0:08:34 | 0:08:35 | |
And this is potted in a creamy sort of clay that has then been dipped | 0:08:35 | 0:08:40 | |
into a comparatively clear glaze | 0:08:40 | 0:08:42 | |
and somebody's just taken the tips of their fingers | 0:08:42 | 0:08:45 | |
-and combed a design round it. -It makes me go a bit funny. -I know. | 0:08:45 | 0:08:49 | |
We're going to have to move us along | 0:08:49 | 0:08:51 | |
and why don't we start by finding the oldest. | 0:08:51 | 0:08:53 | |
I think this is the oldest. | 0:08:53 | 0:08:55 | |
What time frame are you going to give it? | 0:08:55 | 0:08:58 | |
About 1780. | 0:08:58 | 0:08:59 | |
Now the odd one out? | 0:08:59 | 0:09:00 | |
The one and only piece made for a top London retailer. | 0:09:00 | 0:09:03 | |
-Is this. -Why do you say that? | 0:09:03 | 0:09:05 | |
This is a garden pot made by the Wrecclesham pottery | 0:09:05 | 0:09:10 | |
near Farnham for Liberty's. | 0:09:10 | 0:09:12 | |
And the most valuable? | 0:09:12 | 0:09:14 | |
The puzzle jug. | 0:09:14 | 0:09:15 | |
The puzzle jug. | 0:09:15 | 0:09:16 | |
All righty. We'll see if Eric agrees with you. | 0:09:16 | 0:09:19 | |
I'm going to start with our oldest item. | 0:09:23 | 0:09:26 | |
I can well and truly understand why you would go for the slipware | 0:09:26 | 0:09:31 | |
because these were made throughout the 17th, 18th century and beyond. | 0:09:31 | 0:09:34 | |
But I've got to take it somewhere else. | 0:09:34 | 0:09:37 | |
I've got to take it to the end of here, | 0:09:37 | 0:09:40 | |
to this little pot, which is actually a broth pot dated at 1740. | 0:09:40 | 0:09:47 | |
So when it comes to the odd one out we were looking for a pot | 0:09:47 | 0:09:53 | |
made for a London retailer, absolutely right. | 0:09:53 | 0:09:55 | |
It is Farnham and the retailer in question, Liberty. | 0:09:56 | 0:10:00 | |
-That is your odd one out. -So ten points, well done. | 0:10:00 | 0:10:04 | |
We now have to look for the most valuable. | 0:10:04 | 0:10:06 | |
-Where would you say this came from? -Muriel Minster in Somerset. | 0:10:06 | 0:10:09 | |
Absolutely right. | 0:10:09 | 0:10:10 | |
But it's not the most valuable | 0:10:10 | 0:10:12 | |
because coming in at £2,000 is our slipware dish. | 0:10:12 | 0:10:19 | |
So I'm going to give you a chance here to get another five points | 0:10:19 | 0:10:23 | |
if you can tell me, within 15% of the auction estimate, | 0:10:23 | 0:10:27 | |
what do you think is the price of the oldest item? | 0:10:27 | 0:10:32 | |
£280. | 0:10:32 | 0:10:34 | |
Well, in actual fact, this piece has been valued at £1,000. | 0:10:34 | 0:10:39 | |
It is very early. | 0:10:39 | 0:10:40 | |
You sit down with ten points. Well done, Diana. Thank you so much. | 0:10:40 | 0:10:44 | |
Diana takes ten points out of the maximum 40. | 0:10:44 | 0:10:48 | |
Now Martin must shine with his passion for Treen. | 0:10:48 | 0:10:52 | |
Your odd one out is it's the only continental piece. | 0:10:52 | 0:10:57 | |
I'm rather amused by this. | 0:10:57 | 0:10:58 | |
What do you think it might be? | 0:10:58 | 0:11:00 | |
Well, perhaps kitchen-orientated or obviously it's a hanging object. | 0:11:00 | 0:11:05 | |
You've got a little ring on the top. | 0:11:05 | 0:11:07 | |
So what sort of thing might you...? | 0:11:07 | 0:11:09 | |
It's not strong enough for heavy brass pots or anything like that. | 0:11:09 | 0:11:12 | |
It could even be for little spoons or something hanging down. | 0:11:12 | 0:11:16 | |
Any idea how old it might be, does it suggest an age to you? | 0:11:16 | 0:11:19 | |
I would think probably late 18th, early 19th century. | 0:11:19 | 0:11:22 | |
This is a most extraordinary-looking thing. | 0:11:22 | 0:11:25 | |
-People used to show off, really. -Right. | 0:11:25 | 0:11:27 | |
So if you consider that this hasn't a join in the whole thing. | 0:11:27 | 0:11:31 | |
That's astonishing, isn't it? | 0:11:31 | 0:11:33 | |
All made out of one piece, inset there with some banding, | 0:11:33 | 0:11:38 | |
darker wood sort of like an ebony. | 0:11:38 | 0:11:40 | |
And do you think it has a practical purpose | 0:11:40 | 0:11:42 | |
or is it just a pretty thing? | 0:11:42 | 0:11:43 | |
It's showing off his craftsmanship. | 0:11:43 | 0:11:46 | |
Come on to the next thing. What do we think this is? | 0:11:46 | 0:11:48 | |
What a nice tray. A lot of Treen was purely made for domestic use. | 0:11:48 | 0:11:51 | |
This would've be used in the kitchen, | 0:11:51 | 0:11:54 | |
a board for cheese, in the making of cheese. | 0:11:54 | 0:11:57 | |
Is it British, is it continental, you are looking for... | 0:11:57 | 0:12:00 | |
-I think it could be Scandinavian. -Right. What suggests that to you? | 0:12:00 | 0:12:04 | |
Well, simply, it's nice and light wood | 0:12:04 | 0:12:06 | |
and they did turn out a lot of Treens. | 0:12:06 | 0:12:08 | |
So I would think it was possibly Swedish. | 0:12:08 | 0:12:10 | |
All righty. I love this sort of... | 0:12:10 | 0:12:12 | |
Yes, that's different woods so you've got fruitwoods | 0:12:12 | 0:12:15 | |
and sycamore, banded. It's got a brass tray inside | 0:12:15 | 0:12:20 | |
and you've got the long pipe, church warden's pipe | 0:12:20 | 0:12:23 | |
with a very nice barley twist, nice size, specially made for the pipes. | 0:12:23 | 0:12:28 | |
Age? | 0:12:28 | 0:12:29 | |
I would think early 1800s. | 0:12:29 | 0:12:33 | |
And on to the last one. What do you think that is? | 0:12:33 | 0:12:36 | |
I would think it was for snuff, not just like a pocket snuff | 0:12:36 | 0:12:40 | |
but a large amount for on the table. | 0:12:40 | 0:12:42 | |
Probably turned on a pole lathe, | 0:12:42 | 0:12:44 | |
so one person working it with a treadle. | 0:12:44 | 0:12:46 | |
Valuable? | 0:12:46 | 0:12:47 | |
No, not too much because a lot of these were made. | 0:12:47 | 0:12:50 | |
So, no, I wouldn't say that was so valuable | 0:12:50 | 0:12:53 | |
as possibly some of the other items. | 0:12:53 | 0:12:55 | |
Let's start with the oldest one. | 0:12:55 | 0:12:57 | |
If only I knew exactly what it was for, | 0:12:57 | 0:12:59 | |
I could possibly go for this one. | 0:12:59 | 0:13:01 | |
That could be the oldest. | 0:13:01 | 0:13:03 | |
All right. Let's look for the most valuable. | 0:13:03 | 0:13:07 | |
I think I'll go for, actually, the pipe stand with the barley twist. | 0:13:07 | 0:13:13 | |
The pipe stand. And let's look for the one from the continent. | 0:13:13 | 0:13:16 | |
-I will stick with that. -You'll stick with that one. -I reckon it's Swedish. | 0:13:16 | 0:13:19 | |
Let's see what Eric reckons. | 0:13:19 | 0:13:21 | |
Now, the oldest. | 0:13:25 | 0:13:26 | |
You went down here but you weren't absolutely certain, were you? | 0:13:26 | 0:13:31 | |
But you did say kitchen. Just imagine... | 0:13:31 | 0:13:33 | |
Oh, yes, I can now yes. | 0:13:33 | 0:13:34 | |
All right. So we're talking whisk but are we talking the oldest? | 0:13:34 | 0:13:40 | |
I'm looking for something much older. | 0:13:40 | 0:13:42 | |
This dates to the time of Waterloo and it is the oldest. | 0:13:42 | 0:13:48 | |
Date, 1815. | 0:13:48 | 0:13:50 | |
It pays just to linger a little bit longer | 0:13:50 | 0:13:53 | |
when you've got something like this | 0:13:53 | 0:13:54 | |
because when you turn that top over | 0:13:54 | 0:13:57 | |
and pop it in the top of there, we have got a candle holder. | 0:13:57 | 0:14:02 | |
Odd one out. You've gone over here. | 0:14:02 | 0:14:05 | |
-The things you said... In actual fact, not cheese. -Bread. | 0:14:05 | 0:14:08 | |
Not bread but a butcher's tray. | 0:14:08 | 0:14:11 | |
And it is British. | 0:14:11 | 0:14:13 | |
So you've got it down as the odd one out | 0:14:13 | 0:14:16 | |
but I was looking for something that if it could speak to me, | 0:14:16 | 0:14:20 | |
would speak to me with a Dutch accent. | 0:14:20 | 0:14:23 | |
It is the pipe stand and this particular one we have dated at 1840 | 0:14:23 | 0:14:30 | |
but that, I can tell you, is our odd one out. | 0:14:30 | 0:14:33 | |
So the most valuable. What have we not spoken about? | 0:14:33 | 0:14:37 | |
Well, we've not spoken about this little treasure. | 0:14:37 | 0:14:40 | |
You said all the right things, carved from a single piece | 0:14:40 | 0:14:43 | |
and that is a little hook, which would just go on to your belt, | 0:14:43 | 0:14:46 | |
this would go under your arm and in that little groove there | 0:14:46 | 0:14:52 | |
would be a knitting needle. | 0:14:52 | 0:14:54 | |
So if you need three knitting needles to make a pair of socks, | 0:14:54 | 0:14:59 | |
this is what you would need. | 0:14:59 | 0:15:01 | |
So it dates from 1830 and it is our most valuable object on display. | 0:15:01 | 0:15:07 | |
No points there, I'm afraid, Martin, | 0:15:07 | 0:15:10 | |
but what we'll do, because we're very generous, | 0:15:10 | 0:15:13 | |
we'll give you five points if you can tell us, | 0:15:13 | 0:15:17 | |
within 15% of the auction estimate, | 0:15:17 | 0:15:19 | |
how much you think the most valuable one would go for. | 0:15:19 | 0:15:23 | |
Erm, 650. | 0:15:23 | 0:15:26 | |
Tantalisingly close. We were looking any side | 0:15:26 | 0:15:29 | |
of 500, so it just misses the mark. | 0:15:29 | 0:15:31 | |
Martin, thank you very much. | 0:15:31 | 0:15:32 | |
Thank you very much. | 0:15:32 | 0:15:34 | |
Well, let's have a look at the end of, I think, | 0:15:35 | 0:15:38 | |
frankly, a rather gruelling first challenge. | 0:15:38 | 0:15:40 | |
This is where we are. John, you're in the lead, you've got 20 points. | 0:15:40 | 0:15:44 | |
Diana, you are in second place with ten, | 0:15:44 | 0:15:47 | |
Martin, unfortunately not a scoring round for you | 0:15:47 | 0:15:50 | |
but it is all still to play for. | 0:15:50 | 0:15:52 | |
Now one of you will be leaving the contest at the end of the next challenge | 0:15:52 | 0:15:56 | |
but, frankly, there's not a lot in it. | 0:15:56 | 0:15:58 | |
So let's go through to the Green Room for A Place In Time. | 0:15:58 | 0:16:01 | |
In the second of tonight's three challenges, | 0:16:04 | 0:16:07 | |
we've selected five antiques, all from different periods. | 0:16:07 | 0:16:11 | |
The first is a tea caddy, | 0:16:11 | 0:16:14 | |
then a decorative tile. | 0:16:14 | 0:16:16 | |
Next, an enamelled vase, | 0:16:16 | 0:16:19 | |
followed by a locket | 0:16:19 | 0:16:22 | |
and, finally, a doll. | 0:16:22 | 0:16:23 | |
The antiques have been placed in random order | 0:16:23 | 0:16:26 | |
and each contestant has five minutes to assess and position them | 0:16:26 | 0:16:30 | |
from earliest to latest on the Antiques Master timeline. | 0:16:30 | 0:16:34 | |
They will receive ten points for each one they get right. | 0:16:34 | 0:16:38 | |
The first item to inspect is the antique doll, valued at £1,600. | 0:16:38 | 0:16:44 | |
She's wearing flat shoes, not shoes with heels. | 0:16:44 | 0:16:46 | |
They tend to be a fraction earlier. | 0:16:46 | 0:16:49 | |
-She's made out of unglazed ceramic, called bisque. -Uh huh. | 0:16:49 | 0:16:53 | |
and then they've cut out an oval | 0:16:53 | 0:16:56 | |
and have put in a little paperweight eye on each side. | 0:16:56 | 0:16:58 | |
There's no number or manufacturer's name on the back, | 0:16:58 | 0:17:03 | |
which would have if it had been French. | 0:17:03 | 0:17:05 | |
I listen to Hilary Kay on the Antiques Roadshow about these | 0:17:05 | 0:17:08 | |
and I don't know how to date them but going by costume... | 0:17:08 | 0:17:11 | |
-OK. -..she's not late 19th century. | 0:17:11 | 0:17:14 | |
The next item that needs a place on the timeline is the locket. | 0:17:14 | 0:17:17 | |
Without testing it, I presume it is gold, | 0:17:17 | 0:17:19 | |
it could possibly be continental French. | 0:17:19 | 0:17:23 | |
Date-wise, I would think possibly mid-19th century. | 0:17:23 | 0:17:27 | |
It's got numerals in it, it has a scratched four | 0:17:27 | 0:17:31 | |
under where the locket would have contained a picture | 0:17:31 | 0:17:34 | |
and that has two little Vs. | 0:17:34 | 0:17:35 | |
I'm not sure if it's significant | 0:17:35 | 0:17:37 | |
or just something the maker left behind. | 0:17:37 | 0:17:39 | |
It's a double locket. | 0:17:39 | 0:17:40 | |
Going by the style of this sort of enamelled blue star and the pearl | 0:17:40 | 0:17:44 | |
is indicating to me mid 19th century. | 0:17:44 | 0:17:46 | |
The vase has an auction value of £250. | 0:17:46 | 0:17:52 | |
They've blown a glass amphora figure here | 0:17:52 | 0:17:55 | |
and then they've added a foot to it. | 0:17:55 | 0:17:58 | |
Right. | 0:17:58 | 0:17:59 | |
They've put gilding on and little... | 0:17:59 | 0:18:01 | |
sort of pearls, applied pieces of white glass. | 0:18:01 | 0:18:05 | |
I'm trying to think of glassmakers and by style this sort of... | 0:18:05 | 0:18:08 | |
It possibly isn't quite right for Art Nouveau. | 0:18:08 | 0:18:12 | |
I think that would be a bit more organic. | 0:18:12 | 0:18:14 | |
Maybe the aesthetic movement? | 0:18:14 | 0:18:17 | |
Very, very nicely made and it's got a lovely shape to it. | 0:18:17 | 0:18:20 | |
I would think possibly that's the early part of the 20th century. | 0:18:20 | 0:18:24 | |
The fourth piece they must date is the tile. | 0:18:24 | 0:18:28 | |
This is a biblical scene on tile. | 0:18:28 | 0:18:31 | |
-Do you think it's British? -No, I think it's Dutch. | 0:18:31 | 0:18:34 | |
Right. What is it that makes you think it's Dutch? | 0:18:34 | 0:18:36 | |
Well, we would generally say it's either Dutch or it's English and I'm punting there. | 0:18:36 | 0:18:41 | |
I would think that was Dutch and I would think that's early. | 0:18:41 | 0:18:44 | |
Nicely glazed, small tile. I would think that could be 17th century. | 0:18:44 | 0:18:49 | |
I wouldn't be able to tell you if it was Dutch or British. | 0:18:49 | 0:18:51 | |
Right, but age is really the thing that we're looking for. | 0:18:51 | 0:18:54 | |
This is well into the 18th century, 1750, 1770s. | 0:18:54 | 0:18:58 | |
So a good candidate to be down this end? | 0:18:58 | 0:19:01 | |
Yes, this is one of the earlier items. | 0:19:01 | 0:19:03 | |
The last item is the tea caddy. | 0:19:03 | 0:19:05 | |
-I love these. -Do you? Why? | 0:19:05 | 0:19:07 | |
They're so beautiful. This is ivory with tortoiseshell inlain. | 0:19:07 | 0:19:10 | |
It's got its lead lining. | 0:19:10 | 0:19:12 | |
And age? | 0:19:12 | 0:19:14 | |
1790-1810. | 0:19:16 | 0:19:18 | |
There is a lot of fakes on the market of this type | 0:19:18 | 0:19:23 | |
but it's certainly got some age but it could have been aged. | 0:19:23 | 0:19:26 | |
Right, but if it wasn't aged and it was genuine? | 0:19:26 | 0:19:28 | |
If it wasn't aged, I would say that was mid 18th century. | 0:19:28 | 0:19:31 | |
You open the top and I'm looking to see if the hinge is original, | 0:19:31 | 0:19:35 | |
which it is, they often got wangled off. | 0:19:35 | 0:19:37 | |
Although the key is not original, | 0:19:37 | 0:19:39 | |
the lock and the lock plate are still there | 0:19:39 | 0:19:41 | |
and inside, you can see the remains of some... | 0:19:41 | 0:19:44 | |
silver foil, basically. | 0:19:44 | 0:19:45 | |
Quite a luxurious little piece. | 0:19:45 | 0:19:47 | |
It's decision time. They have just one minute left | 0:19:47 | 0:19:50 | |
to place the antiques in chronological order. | 0:19:50 | 0:19:54 | |
Ten points will be awarded for each one correctly placed | 0:19:54 | 0:19:57 | |
on the Antiques Master timeline. | 0:19:57 | 0:19:59 | |
Diana opts for a unique approach. | 0:19:59 | 0:20:02 | |
-I'll leave that there. -You're going to leave that? | 0:20:02 | 0:20:05 | |
And I'm going to say it's about 1755. The Delft tile is 1780. | 0:20:05 | 0:20:09 | |
Leave the tile there. | 0:20:09 | 0:20:11 | |
That is 1830s, that is 1860s and that is 1880s. | 0:20:11 | 0:20:14 | |
You're not actually going to move anything? | 0:20:14 | 0:20:16 | |
I'm leaving them as they are. | 0:20:16 | 0:20:17 | |
Martin places the tile as the earliest piece. | 0:20:17 | 0:20:21 | |
This, I think, is the earliest. | 0:20:21 | 0:20:23 | |
And John agrees. | 0:20:23 | 0:20:25 | |
From what I know about tiles, I'd put this as my earliest item | 0:20:25 | 0:20:28 | |
and the tea caddy as the next earliest. | 0:20:28 | 0:20:30 | |
He thinks the tea caddy should go in position, too. | 0:20:30 | 0:20:33 | |
But Martin goes for the vase. | 0:20:33 | 0:20:36 | |
I'm going to put this here. | 0:20:36 | 0:20:38 | |
They both agree the locket should be in the middle of the timeline. | 0:20:38 | 0:20:41 | |
I'm going to go with this as the middle item in around the 1860s. | 0:20:41 | 0:20:45 | |
Followed by the doll. | 0:20:45 | 0:20:46 | |
I'm going to put her there. | 0:20:46 | 0:20:49 | |
I might put her here. | 0:20:49 | 0:20:50 | |
But they disagree about the latest item. John thinks it's the vase. | 0:20:50 | 0:20:54 | |
I have a feeling this could be the youngest item. | 0:20:54 | 0:20:57 | |
OK. | 0:20:57 | 0:20:58 | |
Whilst Martin plumps for the tea caddy. | 0:20:58 | 0:21:00 | |
I've got a horrible feeling that could not be | 0:21:00 | 0:21:03 | |
as old as it's trying to be. | 0:21:03 | 0:21:05 | |
Time is running out. | 0:21:05 | 0:21:06 | |
-Anything you want to move? -Erm...no. | 0:21:06 | 0:21:10 | |
-Anything you want to change? -No. -Very good. | 0:21:10 | 0:21:13 | |
Time's up but is anyone's timeline in the correct order? | 0:21:13 | 0:21:18 | |
Well, all of you have given our antiques a place in time. | 0:21:21 | 0:21:24 | |
Let's find out who was right. Eric. | 0:21:24 | 0:21:27 | |
We're looking, initially, for the oldest. | 0:21:27 | 0:21:30 | |
And this tile, two of you certainly decided | 0:21:30 | 0:21:33 | |
that you wanted to put it here as being the earliest. | 0:21:33 | 0:21:36 | |
It dates to around about 1720 and is Dutch. | 0:21:36 | 0:21:40 | |
So ten points to Martin and to John. | 0:21:40 | 0:21:44 | |
Not only is it our earliest object, but it is our least valuable. | 0:21:44 | 0:21:49 | |
It weighs in at a mere £60. | 0:21:49 | 0:21:51 | |
Where would we go next? | 0:21:51 | 0:21:54 | |
We would go to about 1790 and I think it fair to say | 0:21:54 | 0:21:57 | |
there's only item on here that would have you in the 1790s | 0:21:57 | 0:22:01 | |
and it's this little treasure | 0:22:01 | 0:22:03 | |
and I can tell you that this is our most expensive piece | 0:22:03 | 0:22:07 | |
before you today, a staggering £6,000. | 0:22:07 | 0:22:11 | |
And it's worth ten points to John. | 0:22:11 | 0:22:13 | |
The glass is certainly continental, | 0:22:13 | 0:22:16 | |
the glass, date-wise, about 1860. | 0:22:16 | 0:22:19 | |
So this stays right here in the middle of our timeline. | 0:22:19 | 0:22:23 | |
And well done, Diana, there's ten points for you there. | 0:22:23 | 0:22:26 | |
If I can just move that fine piece there, we have our doll. | 0:22:26 | 0:22:31 | |
We have our doll. | 0:22:31 | 0:22:32 | |
You mentioned costume, John. | 0:22:32 | 0:22:34 | |
very important when you get the original costume. | 0:22:34 | 0:22:37 | |
it's often a real giveaway. | 0:22:37 | 0:22:39 | |
So the doll is 1870. | 0:22:39 | 0:22:42 | |
So ten points each to Martin and to John. | 0:22:42 | 0:22:46 | |
Now, the enamel locket. | 0:22:46 | 0:22:48 | |
Date-wise, you are forgiven for thinking | 0:22:48 | 0:22:51 | |
that this would have been around about 1860. | 0:22:51 | 0:22:54 | |
It's a style that found favour | 0:22:54 | 0:22:56 | |
throughout the second half of the 19th century | 0:22:56 | 0:23:00 | |
but we have a dateline of 1900. | 0:23:00 | 0:23:03 | |
Well, I'm afraid nobody got that one right at all, | 0:23:03 | 0:23:07 | |
so let's have a look at the final scores. | 0:23:07 | 0:23:10 | |
John was leading after the first challenge. | 0:23:10 | 0:23:12 | |
You had 20 points, you gained another 30. | 0:23:12 | 0:23:14 | |
You remain in the lead with 50 points, | 0:23:14 | 0:23:16 | |
You will be going through to the final challenge. | 0:23:16 | 0:23:20 | |
Diana, you had ten points. | 0:23:20 | 0:23:22 | |
You've gained another ten, you now have 20. | 0:23:22 | 0:23:24 | |
And, Martin, I did say it was all to play for. | 0:23:24 | 0:23:27 | |
You didn't gain any points in the first round | 0:23:27 | 0:23:30 | |
but you have gained 20 now. | 0:23:30 | 0:23:31 | |
So we find ourselves in a tiebreak situation. | 0:23:31 | 0:23:35 | |
Eric is going to show you one of the antiques that you've already handled | 0:23:35 | 0:23:39 | |
in the chronology challenge | 0:23:39 | 0:23:42 | |
and what we want you to do is to guess the value, | 0:23:42 | 0:23:44 | |
based on an auction estimate | 0:23:44 | 0:23:46 | |
and the contestant closes to the value will be going through | 0:23:46 | 0:23:51 | |
to the final challenge. So, Eric, which item are we looking at? | 0:23:51 | 0:23:54 | |
Well, we're going with the one item | 0:23:54 | 0:23:56 | |
that neither of the two actually got correct. | 0:23:56 | 0:23:59 | |
We're actually going to go with this locket. | 0:23:59 | 0:24:02 | |
So, please, would you write down your auction estimate. | 0:24:02 | 0:24:07 | |
Right, let's reveal your estimates. Diana, you first, please. | 0:24:12 | 0:24:17 | |
£360. Martin? | 0:24:17 | 0:24:21 | |
£165. What is the actual auction estimate? | 0:24:21 | 0:24:25 | |
£1,400. | 0:24:25 | 0:24:30 | |
My goodness me. | 0:24:30 | 0:24:32 | |
Well, neither of you was all that close | 0:24:32 | 0:24:34 | |
but, Diana, you are the closest | 0:24:34 | 0:24:36 | |
so you will be going through to the final challenge. | 0:24:36 | 0:24:39 | |
My commiserations there, Martin, | 0:24:39 | 0:24:42 | |
this is where your journey towards the title of Antiques Master ends. | 0:24:42 | 0:24:45 | |
I do hope you had a good time. | 0:24:45 | 0:24:47 | |
-Really enjoyed it, thank you. -Excellent news. | 0:24:47 | 0:24:49 | |
Well, Diana, congratulations. | 0:24:49 | 0:24:51 | |
You are still in the contest, with a chance of being the Antiques Master | 0:24:51 | 0:24:54 | |
and of course, John, in the lead at the moment but still all to play for, | 0:24:54 | 0:24:59 | |
let's go through to the final challenge in the Red Room. | 0:24:59 | 0:25:02 | |
So, John and Diana, there is just one guaranteed place | 0:25:06 | 0:25:11 | |
in the semi-finals and it is time for your final challenge. | 0:25:11 | 0:25:15 | |
Now before you we have five, I think, glorious antiques | 0:25:15 | 0:25:18 | |
and I'll start with an open question. Buzz if you know the answer. | 0:25:18 | 0:25:21 | |
Its five points if you get it right | 0:25:21 | 0:25:23 | |
but five points off for a wrong answer. | 0:25:23 | 0:25:26 | |
If you answer correctly, | 0:25:26 | 0:25:28 | |
you'll be able to choose one of the five antique categories | 0:25:28 | 0:25:31 | |
for a further question worth ten points. | 0:25:31 | 0:25:33 | |
If you get the answer wrong, it'll be passed to the other contestant, | 0:25:33 | 0:25:37 | |
who could possibly steal five points off you. | 0:25:37 | 0:25:39 | |
So choose wisely. | 0:25:39 | 0:25:41 | |
The round will end after two minutes | 0:25:41 | 0:25:44 | |
or when all five antiques are out of play. | 0:25:44 | 0:25:48 | |
John, at the moment, you have 50 points. | 0:25:48 | 0:25:50 | |
Diana, you are on 20 but there is everything still to play for. | 0:25:50 | 0:25:53 | |
So time starts now. We begin with an open question. | 0:25:53 | 0:25:57 | |
Peachblow, amberina, vaseline and cranberry | 0:25:57 | 0:25:59 | |
are all coloured forms of what? | 0:25:59 | 0:26:01 | |
-Diana. -Glass. | 0:26:01 | 0:26:02 | |
Glass. Correct. Please choose a category. | 0:26:02 | 0:26:06 | |
Liberty. | 0:26:06 | 0:26:07 | |
Liberty and Co. | 0:26:07 | 0:26:08 | |
From what range of silver, launched by Liberty & Co in 1899, | 0:26:08 | 0:26:13 | |
does this vase come from? | 0:26:13 | 0:26:15 | |
-Cymric. -Cymric. Absolutely correct. | 0:26:15 | 0:26:17 | |
Open question, either of you can answer. | 0:26:17 | 0:26:20 | |
Which spoons sometimes found in sets of 12 or 13... | 0:26:20 | 0:26:24 | |
have a figure of Jesus or a saint as the finial. John? | 0:26:24 | 0:26:27 | |
Apostle spoon. | 0:26:27 | 0:26:29 | |
-Apostles. Please choose a category. -Er, Minton. | 0:26:29 | 0:26:31 | |
Minton. Which range does this Minton vase come from? | 0:26:31 | 0:26:35 | |
Secessionist. | 0:26:35 | 0:26:36 | |
Secessionist is correct. Open question, either of you can answer. | 0:26:36 | 0:26:40 | |
The neoclassical style was popularised in Britain | 0:26:40 | 0:26:43 | |
during the second half of the 18th century | 0:26:43 | 0:26:45 | |
by which Scottish architect brothers? John. | 0:26:45 | 0:26:47 | |
Robert Adam. | 0:26:47 | 0:26:48 | |
Robert Adam, absolutely correct. Please choose a category. | 0:26:48 | 0:26:52 | |
Erm...Satsuma. | 0:26:52 | 0:26:54 | |
Satsuma. The designs on Satsuma ware | 0:26:54 | 0:26:57 | |
are said to be influenced by the uprising | 0:26:57 | 0:26:59 | |
against which Japanese government that ruled between 1868 and 1912? | 0:26:59 | 0:27:04 | |
Meiji? | 0:27:04 | 0:27:05 | |
Meiji is correct. Open question, either of you can answer. | 0:27:05 | 0:27:08 | |
Triangle, raised anchor, red anchor and gold anchor | 0:27:08 | 0:27:12 | |
are periods in which English porcelain factory's history? | 0:27:12 | 0:27:15 | |
Chelsea. | 0:27:15 | 0:27:16 | |
-Correct. Please choose a category. -Galle. | 0:27:16 | 0:27:18 | |
Galle. In which French town was Galle born in 1846? | 0:27:18 | 0:27:23 | |
Liege? | 0:27:24 | 0:27:25 | |
Er, that is not correct, so I'll pass it over to Diana. | 0:27:25 | 0:27:29 | |
Which town? | 0:27:29 | 0:27:30 | |
Nancy. | 0:27:30 | 0:27:31 | |
Nancy is correct. Open question, either one of you can answer. | 0:27:31 | 0:27:34 | |
What name applies to a centrepiece with a large central bowl and several small ones? | 0:27:34 | 0:27:38 | |
-John. -An epergne. | 0:27:38 | 0:27:39 | |
Epergne. Correct. | 0:27:39 | 0:27:40 | |
-Please choose a category. -Dean's Bears. | 0:27:40 | 0:27:42 | |
Dean's Bears. In 1930, the British firm Deans made toys | 0:27:42 | 0:27:47 | |
representing which famous cartoon character, who first appeared in Steamboat Willie? | 0:27:47 | 0:27:51 | |
Mickey Mouse. | 0:27:53 | 0:27:54 | |
Mickey Mouse is absolutely correct. | 0:27:54 | 0:27:57 | |
And that sound also signals the end of the head to head. | 0:27:57 | 0:28:00 | |
It was rather nail-biting but I can reveal that the scores are, Diana, | 0:28:00 | 0:28:04 | |
you have 40 points. | 0:28:04 | 0:28:06 | |
John, well in the lead, you have 100 | 0:28:06 | 0:28:08 | |
and we will see you in the semi-finals. | 0:28:08 | 0:28:10 | |
My commiserations to you, Diana. | 0:28:10 | 0:28:12 | |
But, John, congratulations, how are you feeling? | 0:28:12 | 0:28:15 | |
I've really impressed myself. | 0:28:15 | 0:28:17 | |
You impressed yourself? Good for you! Did you impress Eric? | 0:28:17 | 0:28:20 | |
I was truly impressed by that general knowledge, well done. | 0:28:20 | 0:28:23 | |
Commiserations, Diana. | 0:28:23 | 0:28:25 | |
Well, do join us next time, | 0:28:25 | 0:28:27 | |
when we welcome three more antiques amateur enthusiasts | 0:28:27 | 0:28:30 | |
to compete for the Antiques Master title. | 0:28:30 | 0:28:32 | |
I'm really pleased with myself. | 0:28:37 | 0:28:39 | |
I didn't expect to be able to beat anybody else | 0:28:39 | 0:28:42 | |
who's probably got much more experience than me in this field. Yeah, quite happy. | 0:28:42 | 0:28:45 | |
Subtitles by Red Bee Media Ltd | 0:29:00 | 0:29:03 | |
Email [email protected] | 0:29:03 | 0:29:06 |