0:00:03 > 0:00:06It's happy birthday to our Roadshow mascot...
0:00:06 > 0:00:10the Morris Minor - it's 60 this year and far from fading into memory
0:00:10 > 0:00:14it's enjoying something of a revival as an icon of British innovation.
0:00:14 > 0:00:17Welcome to the Antiques Roadshow from its birthplace...Oxford.
0:01:07 > 0:01:09Hertford is one of the oldest colleges in Oxford,
0:01:09 > 0:01:11dating back to the 13th century,
0:01:11 > 0:01:14and it was one of the first to welcome women students.
0:01:14 > 0:01:17Good thing too - I spent three very happy years here.
0:01:19 > 0:01:21It was like suddenly being transported
0:01:21 > 0:01:23onto the set of Brideshead Revisited.
0:01:23 > 0:01:26I was continually struck by the sheer beauty of the place.
0:01:26 > 0:01:29In the grandeur of the Bodleian Library
0:01:29 > 0:01:32I could read any book I wanted, from Dickens to Dante.
0:01:32 > 0:01:35I could stroll through the Sheldonian where I finally graduated
0:01:35 > 0:01:37and my student essays might have been thrown together
0:01:37 > 0:01:40at the last minute, but I could scribble them in the splendour
0:01:40 > 0:01:42of the Radcliffe Camera right next to my college,
0:01:42 > 0:01:45before seeking vital refreshment in the pub of course.
0:01:47 > 0:01:49One of my abiding memories of my time here
0:01:49 > 0:01:52is being asleep in my room, usually till about midday,
0:01:52 > 0:01:55and then being woken up by hordes of tourists right under my window.
0:01:55 > 0:01:57They'd all come to see the room
0:01:57 > 0:01:59of the famous author Evelyn Waugh, just here.
0:02:02 > 0:02:04And he wasn't the only well-known alumnus.
0:02:04 > 0:02:07There's been a bit of a rash of newsreaders here...
0:02:07 > 0:02:09Natasha Kaplinsky, Krishnan Guru-Murthy...
0:02:09 > 0:02:11I've been known to do a bit of that myself.
0:02:11 > 0:02:12Must be something in the water.
0:02:14 > 0:02:17And yes, here I am, looking proud as punch with fellow students
0:02:17 > 0:02:18at the end of my first term.
0:02:18 > 0:02:22OK, bad hair, but it was the '80s.
0:02:23 > 0:02:26All in all, this has the promise of a nostalgic day
0:02:26 > 0:02:30as we welcome visitors to the quad at my old college, Hertford.
0:02:30 > 0:02:32With the help of the people of Oxford,
0:02:32 > 0:02:34it should bring back a few memories.
0:02:38 > 0:02:41A dear aunt always had it on her sideboard
0:02:41 > 0:02:45in all my years of growing up and we called it "Auntie's Beetle Vase".
0:02:45 > 0:02:49She came by it in about 1937.
0:02:49 > 0:02:53She took in lodgers from Oxford University and some of them
0:02:53 > 0:02:56I believe were quite well-to-do
0:02:56 > 0:03:00titled gentlemen and as a means of thanking her, when they left
0:03:00 > 0:03:03and went down from the university, they gave her gifts
0:03:03 > 0:03:07and I'm thinking that perhaps that was one such gift.
0:03:07 > 0:03:11That fits in because this has never, ever been a cheap piece of glass,
0:03:11 > 0:03:14this has always been frankly an outstanding piece.
0:03:14 > 0:03:19It's art glass by the Daum factory in France.
0:03:19 > 0:03:21We know that, it's no secret
0:03:21 > 0:03:24- because the name of the factory, Daum...- Right.
0:03:24 > 0:03:27- ..is the name of two brothers who founded the factory.- Yes.
0:03:27 > 0:03:29Nancy is the town where they worked.
0:03:29 > 0:03:34- Yes.- And this was made about 1910 in Art Nouveau style.
0:03:34 > 0:03:36It's a complex piece of glass.
0:03:36 > 0:03:41A series of layers of glass were formed, blown together
0:03:41 > 0:03:43with successive layers,
0:03:43 > 0:03:47one colour dipped into a furnace to pick up another colour.
0:03:47 > 0:03:51- Right.- And then repeated to kind of get a gobstopper effect...
0:03:51 > 0:03:53- Right.- ..of concentric colours.
0:03:53 > 0:03:56It was taken out of the mould and whilst it was still hot,
0:03:56 > 0:04:02these moulded forms of beetles were placed onto the hot glass,
0:04:02 > 0:04:04so the beetles were heated up,
0:04:04 > 0:04:08a little bit of foil has been placed on the glass...
0:04:08 > 0:04:12- Right.- ..and then a second piece of glass laid on top, and all of these
0:04:12 > 0:04:17- differently coloured beasties were laid onto the hot glass.- Right.
0:04:17 > 0:04:19And then the whole lot was cooled.
0:04:19 > 0:04:23All together, a pretty swanky piece of glass and a very nice present.
0:04:23 > 0:04:27Daum is a highly sought-after factory and its value today
0:04:27 > 0:04:29would be in the realms of
0:04:29 > 0:04:32- you selling at auction, this is -
0:04:32 > 0:04:34- £5,000.- Good heavens!
0:04:34 > 0:04:36How about that then?
0:04:36 > 0:04:40Well, she'd be very pleased if she were alive, to know that today.
0:04:40 > 0:04:43She had no idea, I think, that it was valuable,
0:04:43 > 0:04:47- we just loved it as children. - Best thing.
0:04:50 > 0:04:53I spend quite a bit of my time going around charity shops
0:04:53 > 0:04:56because you never know what you might find.
0:04:56 > 0:04:58I know you work in a charity shop.
0:04:58 > 0:05:01- Don't tell me this is from the charity shop.- It is.- It is.
0:05:01 > 0:05:02Where did it come from?
0:05:02 > 0:05:07I actually went to buy a few bits of china to sell in the charity shop.
0:05:07 > 0:05:10- Right.- And I went to a local little auction
0:05:10 > 0:05:14and bought a box of miscellaneous china for £3.
0:05:14 > 0:05:16Including this, for £3?
0:05:16 > 0:05:19- That was in the bottom of it.- When was this? 1940-something or...?
0:05:19 > 0:05:22- Oh, no, no, it was about March this year.- Right.
0:05:22 > 0:05:26Afterwards can you tell me the name of this little auction place?
0:05:26 > 0:05:30Well, I'm amazed, it's a lovely piece of Wemyss pottery,
0:05:30 > 0:05:34which I think you know, it's clearly marked on the back "Wemyss Ware,
0:05:34 > 0:05:37"RH&S" - Robert Heron and Sons.
0:05:37 > 0:05:40And it's just really a super piece.
0:05:40 > 0:05:44What made you think this shouldn't go in the charity shop at £3.50, say?
0:05:44 > 0:05:48- We didn't.- Somebody took an instant dislike to it,
0:05:48 > 0:05:49and came up to me with a broken heart
0:05:49 > 0:05:52and said, "I'm sorry I can't fit it in the bin,"
0:05:52 > 0:05:54and I said, "Well, you can't just do that,
0:05:54 > 0:05:57"we need to research and see who... where it's come from,"
0:05:57 > 0:06:00so I went on the internet and found out who Wemyss are.
0:06:00 > 0:06:02Thank goodness you did - this could have gone in the bin?
0:06:02 > 0:06:05Yes...because it wouldn't fit.
0:06:05 > 0:06:08- Too small a bin.- Thank goodness for small bins in Oxford.
0:06:08 > 0:06:11- That's exactly what I said. - Well, it's a gorgeous piece.
0:06:11 > 0:06:14It isn't signed but I'm confident it was painted by Karel Nekola,
0:06:14 > 0:06:16- the main artist at the factory. - I thought it was.
0:06:16 > 0:06:21The way he's painted the bird and the leaves and this very free style
0:06:21 > 0:06:23he's done is typical of him.
0:06:23 > 0:06:25It was made for a "Nellie"...
0:06:25 > 0:06:27Nellie could be anybody
0:06:27 > 0:06:31and it's something which is going to be worth a little bit more than £3.
0:06:31 > 0:06:34- We thought it might be. - So I am quite confident,
0:06:34 > 0:06:36in a specialist Wemyss sale,
0:06:36 > 0:06:42- this would be making somewhere in the region of £800 to £1,200.- What?
0:06:42 > 0:06:43- That's great.- Wow!
0:06:43 > 0:06:46So now you know it's worth a little bit more than £3,
0:06:46 > 0:06:49- what are you going to do with it? - Well, maybe into an auction.
0:06:49 > 0:06:52- And then?- And the money, Helen Douglas House, every penny.
0:06:52 > 0:06:55So that's a good profit on £3. What does Helen Douglas House do?
0:06:55 > 0:06:58- It's a children's hospice.- That's a very good cause.
0:06:58 > 0:06:59I'd better give it back to you, in that case,
0:06:59 > 0:07:01and don't put it back in the bin.
0:07:01 > 0:07:03- I won't drop it, thank you. - It's a pleasure.
0:07:08 > 0:07:12- These are two pieces of jewellery, they're both brooches.- Yes.
0:07:12 > 0:07:15But they are so extraordinarily colourful, they're so vivid.
0:07:15 > 0:07:16Tell me a little bit about them.
0:07:16 > 0:07:20Well, I think I was given that one from my mother, she had it first,
0:07:20 > 0:07:23but she didn't wear it actually, and I've worn it a great deal.
0:07:23 > 0:07:27This one I haven't worn so much because it's very heavy,
0:07:27 > 0:07:32it's rather bad for the clothes as well, makes a hole, you see.
0:07:32 > 0:07:37Let's just have a look at it and discuss what it's made of.
0:07:37 > 0:07:41Um, the immediate response when you see it
0:07:41 > 0:07:44is that it's a painting, but it isn't,
0:07:44 > 0:07:50- it's a prime example of 19th-century mosaic.- Yes.
0:07:50 > 0:07:55It's Florentine mosaic and we have a name for it, it's called pietra dura.
0:07:55 > 0:07:59- Dura, yeah.- And what they're made of, all these little coloured stones
0:07:59 > 0:08:05are individual hard stones - chalcedony, sard, lapis lazuli...
0:08:05 > 0:08:07- that's the blue ones there. - Wonderful.
0:08:07 > 0:08:13Now they've inset them artfully, skilfully, in black Belgian slate.
0:08:13 > 0:08:15Oh, really? How interesting.
0:08:15 > 0:08:19And then they've taken the plaque and they have mounted it
0:08:19 > 0:08:25- in a bright yellow gold frame, 1865-1870.- Right.
0:08:25 > 0:08:28Can I just turn it round and you can see that the gold
0:08:28 > 0:08:30is a solid gold plate at the back.
0:08:30 > 0:08:31- Yes.- In a dish-shaped frame.- I see.
0:08:31 > 0:08:34- So this is a good piece of jewellery. - Yes.
0:08:34 > 0:08:36- Can I move on to the next piece? - Yes, please.
0:08:36 > 0:08:39Tell me a bit about this brooch.
0:08:39 > 0:08:43Well, I wear that quite often when I have something it looks right on,
0:08:43 > 0:08:45which I haven't for a little while.
0:08:45 > 0:08:48Well, in about 1825-1830,
0:08:48 > 0:08:52this was the era of very gushy jewellery, where you would have
0:08:52 > 0:08:55- these wonderful expressions of sentiment and love.- Yes.
0:08:55 > 0:08:59So for instance things like hearts, keys, padlocks,
0:08:59 > 0:09:03little cupids with bows and this sort of thing...
0:09:03 > 0:09:06and they're supposed to convey the great love and sentiment
0:09:06 > 0:09:07that I feel towards you.
0:09:07 > 0:09:11- Yes.- Each gem has its own particular resonance...
0:09:11 > 0:09:13turquoise for forget-me-nots,
0:09:13 > 0:09:17rubies for passion, marigolds for jealousy...
0:09:17 > 0:09:19the language of flowers, you see.
0:09:19 > 0:09:21Now if you take the first letter
0:09:21 > 0:09:27of each of these little gem-set drops, starting off with ruby...
0:09:27 > 0:09:33R-E-G-A-R-D...
0:09:33 > 0:09:35so ruby, there's a diamond at the end,
0:09:35 > 0:09:37- there's a smattering of colourful gems...- Yeah.
0:09:37 > 0:09:39..all with their own significance,
0:09:39 > 0:09:43so, you know, a lovely message of love and sentiment, "regard",
0:09:43 > 0:09:44or it could be "dearest"
0:09:44 > 0:09:48- or it could be your name spelt out in gemstones.- Really? I've not seen one.
0:09:48 > 0:09:54Turn it over, there's a tiny little locket-backed compartment there
0:09:54 > 0:09:58to put a little tiny plume of hair, so it's got all the ingredients.
0:09:58 > 0:10:01- Yes, yes.- Have they been valued before?- No.
0:10:01 > 0:10:04I think that the mosaic brooch today, in that condition...
0:10:04 > 0:10:07£1,500 to £2,000.
0:10:07 > 0:10:12- Good, yes.- Now that's good.- Yes.- But then you look at this piece here.
0:10:12 > 0:10:17- Yes.- And this is so charming and so delicate, and so sensitive.- Yes.
0:10:17 > 0:10:22- I think if this was sold you're looking at about £2,500.- Right, yes.
0:10:22 > 0:10:25- So you know you say that you wear it all the time?- Yes.
0:10:25 > 0:10:28- Take care of it. - Oh, yes.- It's a beauty.
0:10:28 > 0:10:30- I am very careful of it. - Thank you very much.
0:10:30 > 0:10:32Thank you very much.
0:10:32 > 0:10:35This was fast turning out to be a day of surprises
0:10:35 > 0:10:39for visitors to Hertford College and for me too.
0:10:39 > 0:10:43It's years since I was a student here but across a crowded quad
0:10:43 > 0:10:44I spotted my French tutor Anne
0:10:44 > 0:10:47- chatting to one of our specialists. - Yes, I think...
0:10:47 > 0:10:51Now, sorry to interrupt but here is a face I recognise, my tutor.
0:10:51 > 0:10:53Oh, hello, Fiona, fancy seeing you.
0:10:53 > 0:10:57- How nice to see you. Goodness me. - Wonderful to see you, yes.
0:10:57 > 0:11:00I'm amazed you remember me, I was a deeply unremarkable student.
0:11:00 > 0:11:02I remember you very well, no, no, that is just not at all true.
0:11:02 > 0:11:04- Is it not?- I remember the papers you took
0:11:04 > 0:11:06- and how well you did. - Oh, that's very nice of you.
0:11:06 > 0:11:10I always guessed that you were going places, and I was right, wasn't I?
0:11:10 > 0:11:12That's very sweet of you to say so,
0:11:12 > 0:11:14not with French, as it turned out...
0:11:14 > 0:11:17What about Italian, do you use Italian more or...?
0:11:17 > 0:11:20I used it when I was a reporter on news programmes and Newsnight,
0:11:20 > 0:11:21but no, not that much.
0:11:21 > 0:11:24I'm sure it was helpful to have it, wasn't it?
0:11:24 > 0:11:25It was helpful to have it.
0:11:25 > 0:11:28- Wide culture and all that... - How amazing to see you.
0:11:28 > 0:11:30- ..Oxford provides.- I've got a little confession
0:11:30 > 0:11:32which just comes to mind now I've seen you.
0:11:32 > 0:11:36I remember once...you were always so kind when I was a student...
0:11:36 > 0:11:37and I remember in my first term,
0:11:37 > 0:11:40I hadn't done my essay and I was really upset about it
0:11:40 > 0:11:42and I went in and I was a bit tearful and you said...
0:11:42 > 0:11:44you were so nice, you said, "Is it problems at home?",
0:11:44 > 0:11:47and I thought, "That sounds better than 'I haven't done my essay',"
0:11:47 > 0:11:50so I said, "Yes," and I've felt guilty about it ever since.
0:11:50 > 0:11:52Well, I remember that you suggested
0:11:52 > 0:11:55the college should have a woman's tutor who looked after the women.
0:11:55 > 0:11:57- Yes, I did. - And now the college does...
0:11:57 > 0:12:00two in fact, for undergraduates and graduates,
0:12:00 > 0:12:02it's become a great industry, I mean, a great thing.
0:12:02 > 0:12:04Those were my "radfem" days as they say.
0:12:04 > 0:12:08You felt that the person's tutor shouldn't be the person you went to
0:12:08 > 0:12:11with your troubles... I know you did, but those were minor troubles.
0:12:11 > 0:12:15When you had big troubles you should have someone quite different and so
0:12:15 > 0:12:16we instituted that and I remember
0:12:16 > 0:12:19- you asked me if I would be that. - I did, yes. Ah...
0:12:19 > 0:12:22And now it's in all, you know, it's online and everywhere.
0:12:22 > 0:12:25- So I started something. - You started something.- Oh.
0:12:25 > 0:12:27So you see, you were a remarkable student.
0:12:27 > 0:12:29No, I certainly wasn't... but it's very lovely to see you.
0:12:29 > 0:12:32Well, it's lovely to see you, absolutely lovely.
0:12:38 > 0:12:41Well, he's wearing a crown, but when you look at him,
0:12:41 > 0:12:43he's hardly the king of bears.
0:12:43 > 0:12:46He's the tiniest, sweetest bear,
0:12:46 > 0:12:52which sits very comfortably in the palm of my hand. Now do you love him?
0:12:52 > 0:12:56Well, I love him and I have known him for a long time,
0:12:56 > 0:12:59- but I've never owned him and he's not mine now actually.- Oh.
0:12:59 > 0:13:02- He's in my care. - Now tell me who owns him then.
0:13:02 > 0:13:05Well, my sister, who's older than I am, and the story is...
0:13:05 > 0:13:08and I know it's true because I was very young at the time,
0:13:08 > 0:13:11she actually found him and, um...
0:13:11 > 0:13:14- In what circumstances? - Well, she was walking along,
0:13:14 > 0:13:18I think it was about Broadstairs or Ramsgate, along the coastline,
0:13:18 > 0:13:20and he was in a Kilner jar.
0:13:20 > 0:13:23No! A message in a bottle. Sort of.
0:13:23 > 0:13:25Well, there was a piece of paper evidently
0:13:25 > 0:13:27but the writing had gone, so that wouldn't...
0:13:27 > 0:13:30And in the family he's been known as "Kilner".
0:13:30 > 0:13:35So he's got a bit of a chequered history, we don't know, but...
0:13:35 > 0:13:38It's interesting because looking at him, first of all,
0:13:38 > 0:13:41he's wearing this crown but he's also wearing something else
0:13:41 > 0:13:46which is sort of faded green and yellow striped braid
0:13:46 > 0:13:50and on it is something that looks remarkably like a BP logo...
0:13:50 > 0:13:51British Petroleum...
0:13:51 > 0:13:56Now I'm not sure whether BP ever made a sort of promotional bear...
0:13:56 > 0:13:57maybe they did.
0:13:57 > 0:14:02Well, my sister assumed it was BP petrol, and it gets better,
0:14:02 > 0:14:06because she actually took that to a BP petrol station
0:14:06 > 0:14:11and went in and asked if anybody knows about BP bears,
0:14:11 > 0:14:14and in doing so, she actually met her husband.
0:14:14 > 0:14:17- No!- It was absolutely incredible
0:14:17 > 0:14:22and the bear brought them together and they were together for 43 years.
0:14:22 > 0:14:24That's the most remarkable story.
0:14:24 > 0:14:27In a way he shouldn't be called Kilner, he should be called Cupid.
0:14:27 > 0:14:30- Yes.- So this must have been in the '50s that she found him.
0:14:30 > 0:14:33- Yes, it was about...- Well, he would have been new then.
0:14:33 > 0:14:36- Yeah.- He's a bear dating from the 1950s,
0:14:36 > 0:14:40he's made by a company called Schuco, a German company
0:14:40 > 0:14:42who made all kinds of toys
0:14:42 > 0:14:48and may be part of a little-known BP publicity or advertising campaign.
0:14:48 > 0:14:53I would have said that the value's going to be around £200,
0:14:53 > 0:14:55perhaps between 200 and 250.
0:14:55 > 0:14:59- Really? How lovely.- And who knows, if there's a soft-hearted somebody
0:14:59 > 0:15:03- out there who loves the story, it could go for even more.- Incredible.
0:15:03 > 0:15:06But a dear little bear-shaped cupid...
0:15:06 > 0:15:08- How lovely. - ..with a wonderful story to tell.
0:15:11 > 0:15:13It's a big autograph album.
0:15:13 > 0:15:16- It's a heavy one.- And roughly how many autographs are there in there?
0:15:16 > 0:15:19- There must be at least 500. - Really? And where did it come from?
0:15:19 > 0:15:23My father collected them for the whole of his life,
0:15:23 > 0:15:27from the 1920s...early 1920s in Calcutta where he was born.
0:15:27 > 0:15:30- Right.- He was Indian, and then he moved on to New York...
0:15:30 > 0:15:32- Right.- ..and then...
0:15:32 > 0:15:35South America and then finally London,
0:15:35 > 0:15:37so he travelled all over the world
0:15:37 > 0:15:40and this never seemed to go far from him.
0:15:40 > 0:15:43If we open it up to some of the people that are in here,
0:15:43 > 0:15:45- we have Mahatma Gandhi.- Oh, right.
0:15:45 > 0:15:48Can you tell me, do you know how he got Gandhi's signature?
0:15:48 > 0:15:50Yes, I do, this was one of his favourite stories.
0:15:50 > 0:15:54I gather he spent three whole days outside a hall
0:15:54 > 0:16:00where Gandhi was in a conference and failed for the first two days
0:16:00 > 0:16:03- and I think a security guard took pity on him the third day...- Yes.
0:16:03 > 0:16:06..and let him stand by the door where Gandhi was coming out
0:16:06 > 0:16:11and Gandhi then said he didn't sign autographs, so my father...
0:16:11 > 0:16:15rather rashly...pointed out he had the Earl of Lytton who I think
0:16:15 > 0:16:18was the Viceroy of India, and the Governor General...
0:16:18 > 0:16:21two earls...and Gandhi's reply apparently was,
0:16:21 > 0:16:24"Then you don't want a scavenger like me in this book,"
0:16:24 > 0:16:27and signed in Sanskrit,
0:16:27 > 0:16:30which did disappoint Dad and he asked him if he'd sign in English,
0:16:30 > 0:16:33- but he said, "I'm not English, why should I?"- Absolutely.
0:16:33 > 0:16:36But he compromised on the date, the date was in English.
0:16:36 > 0:16:42Yes, 5th November 1924, and if we just go on a few, a few more further,
0:16:42 > 0:16:46we have here a collection of British Prime Ministers, well-known ones.
0:16:46 > 0:16:50Jim Callaghan on the left, Winston Churchill obviously from 1932
0:16:50 > 0:16:56above Edward Heath, and then, if we look over the page...
0:16:57 > 0:16:59..here we have Margaret Thatcher.
0:16:59 > 0:17:02Dad wasn't well by then, this was his very last autograph,
0:17:02 > 0:17:05my brother went to Downing Street to do this.
0:17:05 > 0:17:08- Right.- But the story is that he had given firm instructions
0:17:08 > 0:17:11to my brother to get Margaret Thatcher to sign here...
0:17:11 > 0:17:13- four British Prime Ministers.- Right.
0:17:13 > 0:17:16When it came back...he thought it was something to do with not signing
0:17:16 > 0:17:18by a Labour politician, a Labour Prime Minister.
0:17:18 > 0:17:20I think...my hunch always was that
0:17:20 > 0:17:23she didn't want to sign opposite Edward Heath.
0:17:23 > 0:17:25- Yes, nothing to do with him. - That's my feeling,
0:17:25 > 0:17:29so anyway, opposite, she could sign opposite FDR instead
0:17:29 > 0:17:31which might... she might have preferred.
0:17:31 > 0:17:32And from here we go forward
0:17:32 > 0:17:36to one of your father's great disappointments, I understand.
0:17:36 > 0:17:37This was.
0:17:37 > 0:17:41He asked...he took it to the embassy to get John Kennedy to sign,
0:17:41 > 0:17:43and Jackie, and Jackie signed and he did meet her
0:17:43 > 0:17:45and she said that she was really sorry,
0:17:45 > 0:17:47the President had heard about the book,
0:17:47 > 0:17:50thought it was wonderful, was going to sign it
0:17:50 > 0:17:51and then some crisis and couldn't
0:17:51 > 0:17:55but that when they next came to London, which was due quite soon...
0:17:55 > 0:17:58- Yes.- ..to contact her rather than the secretary,
0:17:58 > 0:18:00and she would make sure he signed it...
0:18:00 > 0:18:02- and of course in the meantime he was assassinated.- Yes.- So, um...
0:18:02 > 0:18:05- So it's dated 1961.- Yeah, mm...
0:18:05 > 0:18:07What a shame!
0:18:07 > 0:18:09One of the few he missed out,
0:18:09 > 0:18:12- but you've still got 500-odd signatures here.- Yes.
0:18:12 > 0:18:17Musicians, politicians, historical figures, literary figures as well.
0:18:17 > 0:18:21There are some very important and some valuable signatures in here.
0:18:21 > 0:18:24Churchill's signature, on its own, for example,
0:18:24 > 0:18:27is worth £300, £400 or £500 just on its own.
0:18:27 > 0:18:30- Oh, I didn't realise that. - A Gandhi signature, likewise,
0:18:30 > 0:18:33can be worth £400, £500, £600 on its own,
0:18:33 > 0:18:37but, overall, what you're looking at probably is somewhere in the region
0:18:37 > 0:18:40of £4,000 to £6,000 if you were to sell it at auction.
0:18:45 > 0:18:47A beautiful piece of carved wood.
0:18:47 > 0:18:49Where did you get it and what's its history?
0:18:49 > 0:18:53It's my father's and it was my grandfather's before that
0:18:53 > 0:18:56- but I don't know how he got it. - Do you know what it is?- No.
0:18:56 > 0:18:58That's why I'm here.
0:18:58 > 0:18:59Glad to be of service.
0:18:59 > 0:19:02Well, as soon as you pulled this out of the bag,
0:19:02 > 0:19:05I thought, "That's a wonderful bit of carving,"
0:19:05 > 0:19:07and it comes from a culture
0:19:07 > 0:19:10that's perhaps one of the most warlike of cultures
0:19:10 > 0:19:14and we're looking towards the Polynesian peoples, New Zealand.
0:19:14 > 0:19:16- Right.- The Maori.
0:19:16 > 0:19:19So how did it get over here?
0:19:19 > 0:19:21I was hoping you were going to tell me that,
0:19:21 > 0:19:23- but you don't know.- No, I don't.
0:19:23 > 0:19:25That's the wonderful, speculative quality
0:19:25 > 0:19:27of many things we see on the Roadshow.
0:19:27 > 0:19:30- And where do you keep it? - I keep it by my front door.
0:19:30 > 0:19:35- Ah, useful.- To ward off unwanted visitors.- Fair comment.
0:19:35 > 0:19:37The reason I knew it was Maori
0:19:37 > 0:19:42- was because of these very distinct, tight scrolls.- Right.
0:19:42 > 0:19:46The Maori settled New Zealand some sort of 3,000 years ago
0:19:46 > 0:19:50and, of course, their art is extremely powerful
0:19:50 > 0:19:53and they have incredible, supernatural sort of mythologies
0:19:53 > 0:19:58about the creation, about the creation of woman and nature,
0:19:58 > 0:20:02and they put all this force and energy into their art.
0:20:02 > 0:20:07But, of course, being warlike this has a very specific function.
0:20:07 > 0:20:14It's sadly for clubbing people so the choice of timber is crucial.
0:20:14 > 0:20:16It's tight-grained hardwood,
0:20:16 > 0:20:19which would obviously take a nice, crisp carving,
0:20:19 > 0:20:23but it was designed to literally bludgeon somebody on the temple,
0:20:23 > 0:20:25perhaps you'd take somebody's jaw off with it,
0:20:25 > 0:20:29and the pointed end for perhaps going into their ribs,
0:20:29 > 0:20:32- so it is pretty nasty.- Yes, it is pretty nasty.- But the one thing
0:20:32 > 0:20:38that really lifts this is the fact that it's dated and...1844
0:20:38 > 0:20:43and, of course, any Polynesian carvings that carry a date are rare.
0:20:43 > 0:20:47- Yes.- Many aren't dated, there was no tradition of writing
0:20:47 > 0:20:52for the Maoris until the sort of Western settlers came,
0:20:52 > 0:20:55and, of course, there are names on this.
0:20:55 > 0:20:59We have Sanit 1844, J Watt Gabit
0:20:59 > 0:21:04and, on the other face, J Gash and the date 1844,
0:21:04 > 0:21:07and various other sort of references.
0:21:07 > 0:21:10Somewhere in the records, perhaps in New Zealand,
0:21:10 > 0:21:14these names and the dates will all come together.
0:21:14 > 0:21:20These were worn ready for use on the waist by the Maori tribesmen and...
0:21:20 > 0:21:22so it's a powerful thing, but what's it worth?
0:21:22 > 0:21:24It's just a bit of old carved wood.
0:21:24 > 0:21:30If I was putting this in a sale, I'd put an estimate of £2,000 to £3,000.
0:21:30 > 0:21:33- That much?- That much.- Gosh.
0:21:41 > 0:21:44If you've been paying attention this series, you'll notice
0:21:44 > 0:21:46I have throughout asked experts if -
0:21:46 > 0:21:48heaven forfend - their house went up in flames
0:21:48 > 0:21:51and they had to run out clutching two precious objects,
0:21:51 > 0:21:53what would they be? I see what you've brought,
0:21:53 > 0:21:57this is clearly cheating, so let's come to this in a minute.
0:21:57 > 0:21:59Tell me about this one first of all.
0:21:59 > 0:22:04Well, this is a Chinese bronze which I spotted in an auction house.
0:22:04 > 0:22:08I'd never looked at bronzes seriously,
0:22:08 > 0:22:11and I picked this up and I thought, "This is just fantastic."
0:22:11 > 0:22:16Just look at these t'ien-lung, which are sea dragons, sinewy dragons.
0:22:16 > 0:22:19This one's got a phoenix's head.
0:22:19 > 0:22:23There's one round here with a horse's head and so it goes.
0:22:23 > 0:22:27Um, and I thought, "That's... I've got to have that."
0:22:27 > 0:22:33It dates about 1680, somewhere around there,
0:22:33 > 0:22:35and I love it, it's fantastic.
0:22:35 > 0:22:38Is this one of your chosen objects just because you love it,
0:22:38 > 0:22:41which is a good enough reason, or is there more to it?
0:22:41 > 0:22:45There's more to it because it set me off
0:22:45 > 0:22:50in a completely different direction, which was to look at bronzes,
0:22:50 > 0:22:56and I started buying them, often for not an awful lot of money.
0:22:56 > 0:22:58Are you trying to sell me this idea
0:22:58 > 0:23:00that this is all a whole of some kind?
0:23:00 > 0:23:03- This is the scholar's table. - The scholar's table?
0:23:03 > 0:23:07These are small objects which the Chinese scholar would have about him.
0:23:07 > 0:23:11He divorces himself from the hurly-burly of life
0:23:11 > 0:23:16and he goes off to a mountain retreat and there he looks at the sunset
0:23:16 > 0:23:20and the mountains and the pine trees and then he comes back
0:23:20 > 0:23:23and he writes his poetry, you see,
0:23:23 > 0:23:28and he has on the table a weight to hold the scroll down, he has...
0:23:29 > 0:23:32..to rest his brush on,
0:23:32 > 0:23:37and he has objects to put powdered incense into his censer
0:23:37 > 0:23:39and there would never...
0:23:39 > 0:23:42no scholar would ever put this number of objects together.
0:23:42 > 0:23:44- I mean, oh, dear, no.- Too cluttered.
0:23:44 > 0:23:49A few very carefully selected objects. But I'm a Westerner.
0:23:49 > 0:23:53- This is my second object. - Oh, right, OK.
0:23:53 > 0:23:56He is a paperweight,
0:23:56 > 0:24:02he's made of bronze and he's a dog, a sort of slightly odd-looking dog.
0:24:02 > 0:24:06- And what is it about him that makes him so special?- Do you love him?
0:24:06 > 0:24:08- Does he appeal to you? - He's snarling at me, David.
0:24:08 > 0:24:11- No, he's not.- He is! Look! - No, he's not, he's arrogant.
0:24:11 > 0:24:14But what is it? So why is he your second item?
0:24:14 > 0:24:19Because I love the way he sits there beside me,
0:24:19 > 0:24:22because these sit beside my PC when I'm working,
0:24:22 > 0:24:25and he's got his nose in the air and he's looking down at me
0:24:25 > 0:24:31and saying, "What do you think you are? I've been around for 450 years.
0:24:31 > 0:24:36"You're nothing!" So he's absolutely perfect, I'll take him with me.
0:24:36 > 0:24:38- Thank you very much.- Not at all.
0:24:42 > 0:24:46It's most unusual to get American pop art at an Antiques Roadshow.
0:24:46 > 0:24:48How come you've got these?
0:24:48 > 0:24:52Well, my mother gave them to me for my 17th birthday in 1970.
0:24:52 > 0:24:56She got them from a London art gallery and she was interested
0:24:56 > 0:25:00in modern art and she was also with Dennis Bailey,
0:25:00 > 0:25:03who was a really good graphic artist at the time.
0:25:03 > 0:25:08But when I was splitting up from my boyfriend, he wanted a heart,
0:25:08 > 0:25:10and so I said to him, "OK, you can have one,"
0:25:10 > 0:25:13so I gave it to him and then my mother said,
0:25:13 > 0:25:17"You've got to get it back. What are you talking about?"
0:25:17 > 0:25:19I said, "Look, I have to have my heart back,"
0:25:19 > 0:25:21and so he did, reluctantly,
0:25:21 > 0:25:24but since then I never would split them up.
0:25:24 > 0:25:27He broke your heart, so it's mad to have given him your heart.
0:25:27 > 0:25:29Yeah, it was, yeah.
0:25:29 > 0:25:32Well, I'm very glad you've got it back.
0:25:32 > 0:25:34Jim Dine was an American pop artist,
0:25:34 > 0:25:38perhaps now not considered in the first rank with people like Warhol,
0:25:38 > 0:25:42but in his day he was absolutely up there with the rest of them
0:25:42 > 0:25:45- and he was also a member of the neo-Dada movement.- Yeah.
0:25:45 > 0:25:48- And he certainly, certainly... - True surrealist he was, yeah.
0:25:48 > 0:25:50True surrealist, exactly.
0:25:50 > 0:25:54He also was a man who did a lot of graphic art
0:25:54 > 0:25:56and the lithographs that you've got here
0:25:56 > 0:25:58are part of a series of hearts.
0:25:58 > 0:26:00- He stuck with hearts and skulls and...- Yeah.
0:26:00 > 0:26:02- ..clothing as well.- Mmm.
0:26:02 > 0:26:04- And tools.- And tools.
0:26:04 > 0:26:09- One wonders why he got fixated on all these things but anyway he did.- Yeah.
0:26:09 > 0:26:11When your mother bought them for your 17th,
0:26:11 > 0:26:16- do you know how much she paid for them?- Yeah, she paid... It was 200.
0:26:16 > 0:26:19- In London at the time.- Yeah, yeah.
0:26:19 > 0:26:22- Not a lot of money.- No.- Maybe it was a lot of money in 1970.
0:26:22 > 0:26:26Well, yeah, it seemed a lot at the time, for my 17th birthday.
0:26:26 > 0:26:30- "Oh, my God!" Seemed like a fortune. - Well, and you obviously love them.
0:26:30 > 0:26:35- Absolutely.- They're extremely popular even today and, of course,
0:26:35 > 0:26:39a heart motif is perfect for the reasons your mother gave it to you.
0:26:39 > 0:26:43And now I have them over my fireplace and one is me,
0:26:43 > 0:26:45one is my husband, one is my son.
0:26:45 > 0:26:48- Perfect. You wouldn't want to get rid of one of them now?- No, I wouldn't.
0:26:48 > 0:26:51I love them all and really I love them all together.
0:26:51 > 0:26:56Exactly. So together, she paid 200.
0:26:56 > 0:27:00This one, on its own, makes roughly 2,000 today.
0:27:00 > 0:27:02- Yeah.- So...
0:27:02 > 0:27:05you know, the set I suppose would probably sell
0:27:05 > 0:27:08for somewhere around £2,000 to £3,000.
0:27:08 > 0:27:13- Right, right.- So a jolly nice... - Just hold on to them.
0:27:13 > 0:27:16Imagine how much they would have diminished
0:27:16 > 0:27:19by giving one away to your boyfriend.
0:27:19 > 0:27:22Well, yeah, and anyway it would have destroyed the whole point.
0:27:22 > 0:27:26Well, I'm glad your mother talked you into taking it back.
0:27:28 > 0:27:31This is a slightly odd bowl to be here.
0:27:31 > 0:27:33Really?
0:27:33 > 0:27:35Yeah. Where did it come from?
0:27:35 > 0:27:38It's from Japan.
0:27:38 > 0:27:41- In what sense?- My husband bought it.
0:27:41 > 0:27:43Ah, OK, your husband bought it in Japan.
0:27:43 > 0:27:45He saw it in an antiques market.
0:27:45 > 0:27:48- Oh, did he? - Yes.- And what did he pay for it?
0:27:48 > 0:27:50- About £50, I believe.- How long ago?
0:27:50 > 0:27:58- 1985.- OK. What it is is not for the export market.
0:27:58 > 0:28:00This is for indigenous consumption
0:28:00 > 0:28:04and why it's slightly odd to find it here.
0:28:04 > 0:28:08We've got a barbed rim, that's come from China
0:28:08 > 0:28:15which eventually came from the Middle East metalwork.
0:28:15 > 0:28:17It's come all the way through to here.
0:28:17 > 0:28:21We've got on the back
0:28:21 > 0:28:23six characters.
0:28:23 > 0:28:27"Ta ming cheng hua nien chih..."
0:28:27 > 0:28:31"Made in the great Ming dynasty of the Emperor Cheng Hua".
0:28:31 > 0:28:34- He was a 15th-century emperor.- Ming?
0:28:34 > 0:28:36- That's what the mark says.- Oh.
0:28:36 > 0:28:40You can never trust marks.
0:28:40 > 0:28:46This is the Japanese putting on a Chinese mark
0:28:46 > 0:28:51to say that this is really a prestigious piece.
0:28:52 > 0:28:56This curious cogwheel on here
0:28:56 > 0:29:02comes from a class of Japanese porcelain called Nabeshima
0:29:02 > 0:29:09which was made only for the Emperor and for the Daimios in Nabeshima.
0:29:09 > 0:29:11Why it's on here I don't know,
0:29:11 > 0:29:15but it does slightly tie up with the front -
0:29:15 > 0:29:22this wonderful gnarled pine tree in underglaze blue,
0:29:22 > 0:29:28and the pine tree is symbolic of old age and everlasting life.
0:29:28 > 0:29:33They've painted the pine needles here like real pine needles,
0:29:33 > 0:29:37but they've filled in the background
0:29:37 > 0:29:40with a pine needle stylised decoration.
0:29:40 > 0:29:45It's just right. I'm hugely envious.
0:29:46 > 0:29:50It's got slight condition problem here
0:29:50 > 0:29:55but it's...it is just... it is just a joy, that dish.
0:29:56 > 0:30:00- You haven't asked me when it dates from.- I'm waiting for you...
0:30:00 > 0:30:02I'm waiting for you to tell me.
0:30:02 > 0:30:07Well, it dates from about 1680.
0:30:07 > 0:30:12It's a very old bit of Japanese porcelain made at Arita
0:30:12 > 0:30:16- for indigenous consumption and not a common thing to see at all.- Really?
0:30:16 > 0:30:19I think if it was sold here today,
0:30:19 > 0:30:22given that the market's flat as a pancake,
0:30:22 > 0:30:27you would still get £800 to £1,500 for it.
0:30:27 > 0:30:29Really?
0:30:29 > 0:30:33So his £50 was very well spent.
0:30:33 > 0:30:37It was worth bringing back from Japan.
0:30:37 > 0:30:39I would send him back on the next plane.
0:30:41 > 0:30:44- Thank you very much.- Thank you.
0:30:46 > 0:30:54"If you these hieroglyphs discover, you fix for life a worthy lover."
0:30:54 > 0:30:59This is one of the most charming early-19th-century love letters
0:30:59 > 0:31:01that I think I've ever seen.
0:31:01 > 0:31:06It's made out of pieces of cut paper and I think it's absolutely charming.
0:31:06 > 0:31:10I mean, I can read some of it. Can you read all of it?
0:31:10 > 0:31:12No, we've tried many times.
0:31:12 > 0:31:15My husband remembers it being in his grandmother's house
0:31:15 > 0:31:16when he was a child,
0:31:16 > 0:31:19but we've had so many people looking at it, haven't we, Jane?
0:31:19 > 0:31:22If we've had friends or relatives round
0:31:22 > 0:31:24we've asked if they understand any of it,
0:31:24 > 0:31:28and sometimes we get an odd line or a word, but not the whole letter.
0:31:28 > 0:31:30Well, it's a fabulous Valentine
0:31:30 > 0:31:35and I would put it in about the period of about 1830-1835,
0:31:35 > 0:31:37so let's try and read it.
0:31:37 > 0:31:39A heart...
0:31:39 > 0:31:44T and a hat - that, of-10, often,
0:31:44 > 0:31:48- has... This is a purse or a basket of some sort.- Yes.
0:31:48 > 0:31:52Purse-yew-d...
0:31:52 > 0:31:54pursued...the...
0:31:54 > 0:31:57and this is a chap on horseback so it's probably a knight -
0:31:57 > 0:32:00the night dancing of ewer eye...
0:32:00 > 0:32:03- dancing of your eye, something like that anyway.- Yes.
0:32:03 > 0:32:06- But it's absolutely charming.- Yes.
0:32:06 > 0:32:10And then finally, the last line reads...
0:32:10 > 0:32:15- Cupid's...- I wonder whether this last line could be grace,
0:32:15 > 0:32:17because it's got a G and then people running.
0:32:17 > 0:32:22- Could that be a race? - Race, yes, Cupid's grace then,
0:32:22 > 0:32:24and this figure here is Hope.
0:32:24 > 0:32:27She's got an anchor, you see.
0:32:27 > 0:32:30Hope a... Then what about two cows?
0:32:30 > 0:32:32- What...?- Cowed...- Cows, cows.
0:32:32 > 0:32:38- Cowed.- Cowed reply, which I think is absolutely charming.
0:32:38 > 0:32:42It's quite glorious and the work is incredibly detailed
0:32:42 > 0:32:46and he used a pin, as you can see in this purse, U.
0:32:46 > 0:32:48There's a U. I think that is very humorous
0:32:48 > 0:32:52and absolutely lovely and very typical of its period.
0:32:52 > 0:32:54Um, where do you keep it?
0:32:54 > 0:32:56- In the bathroom, isn't it?- Yes.
0:32:56 > 0:32:58What's it doing in the bathroom?
0:32:58 > 0:33:02- It's just a novelty piece if we have visitors.- Oh, come along.
0:33:02 > 0:33:03That is going to get damp.
0:33:03 > 0:33:07- I'd take it out of the bathroom. - Right.- I wouldn't have it in there.
0:33:07 > 0:33:12- Value. Any ideas?- Well, it's a fun thing.- Not at all really.
0:33:12 > 0:33:14We've had so much fun, I should think at least 100.
0:33:14 > 0:33:17Well, I think we can probably do about two -
0:33:17 > 0:33:20£200, and it is one of the most charming things I've seen.
0:33:20 > 0:33:23- Yes, yes.- Thank you.
0:33:23 > 0:33:28So here we have a German enamelled beer beaker from 1716,
0:33:28 > 0:33:32the written date on it, which I'm sure is absolutely right,
0:33:32 > 0:33:37gloriously enamelled but with a huge amount of damage on it.
0:33:37 > 0:33:39Did you do this to this, you hooligan?
0:33:39 > 0:33:43No, it's in better condition than it was when I bought it.
0:33:43 > 0:33:47It looked as if it had been stuck together with chewing gum.
0:33:47 > 0:33:52I took it to pieces very gingerly and I have stuck it together...
0:33:54 > 0:33:56- ..but you can see the sticky tape. - It could do
0:33:56 > 0:33:58with a bit of a wash, a careful wash.
0:33:58 > 0:34:02- I have cleaned it! - Well, give it a better one, then!
0:34:02 > 0:34:05It's beautiful, it really is a lovely piece of glass.
0:34:05 > 0:34:12German, the Hapsburg eagle here, all the emblems of various families.
0:34:12 > 0:34:17It's all done by powdering densely coloured glass,
0:34:17 > 0:34:21mixing it with lavender oil and painting all this onto the surface
0:34:21 > 0:34:26and then firing it on. So other than... I normally say
0:34:26 > 0:34:27you can't damage enamelled glass
0:34:27 > 0:34:30unless it's chucked under a steamroller.
0:34:30 > 0:34:33This has clearly been chucked under a steamroller
0:34:33 > 0:34:35but still survives to tell the tale
0:34:35 > 0:34:36and I'm sure that everybody
0:34:36 > 0:34:39can see the very, very rich quality of that piece.
0:34:39 > 0:34:41So how much did you pay for it?
0:34:41 > 0:34:45£10 in a sort of junk shop in Colchester.
0:34:45 > 0:34:49Ten pounds in a junk shop in Colchester becomes,
0:34:49 > 0:34:53because of its quality, £400 to £500 today.
0:34:53 > 0:34:56- Oh, really?- Well, that's not bad, is it?- No, no.- Lovely thing.
0:34:56 > 0:34:58Well, I think it's lovely, yes.
0:34:59 > 0:35:03On the right we have what looks like a distinguished English aristocrat
0:35:03 > 0:35:07and on the left we've got a Russian worker, or peasant.
0:35:07 > 0:35:10What's the connection between these two people?
0:35:10 > 0:35:13The only connection between these two people is that both pictures
0:35:13 > 0:35:15belonged to my late aunt and uncle.
0:35:15 > 0:35:18- Ah, so you inherited them? - I did indeed, yes.
0:35:18 > 0:35:21The picture on the right, signed C Pollock -
0:35:21 > 0:35:23now do you know who C Pollock is?
0:35:23 > 0:35:26Yes, he's the eldest brother of Jackson Pollock.
0:35:26 > 0:35:30He was known to my aunt and uncle in America in the early 1930s
0:35:30 > 0:35:33and I think he was doing other work like that at the time,
0:35:33 > 0:35:35I seem to recollect having seen some,
0:35:35 > 0:35:38so he just drew a picture of my uncle.
0:35:38 > 0:35:40Well, the name has such huge resonance
0:35:40 > 0:35:45- but unfortunately it's the wrong first name.- Absolutely.
0:35:45 > 0:35:50Isn't it extraordinary that a man who's known for squidgy paint,
0:35:50 > 0:35:53that abstract expressionism, whose family can produce
0:35:53 > 0:35:58rather more lucid, traditional images like this?
0:35:58 > 0:36:00Now let's have a look at the man on the left.
0:36:00 > 0:36:04You grew up with this, did you, with your aunt?
0:36:04 > 0:36:08Yes, yes, it was above her fireplace for all my younger years,
0:36:08 > 0:36:09in fact most of my life.
0:36:09 > 0:36:13- I always admired it.- It looks like it's been above a fireplace.- Yes.
0:36:13 > 0:36:16It's pretty filthy, isn't it?
0:36:16 > 0:36:18It's, um, not had anything much done to it, no.
0:36:18 > 0:36:21- You've seen the signature in the bottom right...- Yes.
0:36:21 > 0:36:24- ..which is of course Cyrillic, being a Russian signature.- Yes.
0:36:24 > 0:36:28- And you know the artist? - Er, yes, it's Ilya Repin.
0:36:28 > 0:36:31The way you say the name suggests you do know
0:36:31 > 0:36:33that he is quite a significant artist.
0:36:33 > 0:36:37I know he's particularly well known in Russia,
0:36:37 > 0:36:42he's regarded there as, I think, as a Russian master
0:36:42 > 0:36:46and painted mostly in the second half of the 19th century,
0:36:46 > 0:36:48this being a rather later work.
0:36:48 > 0:36:52In the 19th century he was what could be described as
0:36:52 > 0:36:54a great realist painter,
0:36:54 > 0:36:57he's someone who embraced society,
0:36:57 > 0:37:00who expressed it for all its terse realism.
0:37:00 > 0:37:04And he spent some time in France as well, he knocked around with Manet,
0:37:04 > 0:37:07he was influenced by Delacroix, so there was a fusion
0:37:07 > 0:37:11of quite a lot of Russian realism and a certain amount of French spice
0:37:11 > 0:37:13- in his work.- Right. Yes.
0:37:13 > 0:37:17If we look at the date in the bottom right-hand corner, 1919,
0:37:17 > 0:37:18he was in Finland.
0:37:18 > 0:37:21Finland was part of the Russian Empire, but it's the date
0:37:21 > 0:37:23that's so interesting, 1919.
0:37:23 > 0:37:28This is one of the most emotive moments in Russian history.
0:37:28 > 0:37:33The Communist Party has just got going, civil war is raging
0:37:33 > 0:37:36and the proletariat of course were at the core of it.
0:37:36 > 0:37:38This is the new Russia.
0:37:38 > 0:37:39And this figure
0:37:39 > 0:37:42- I'm trying to work out what he's doing and what he's holding -
0:37:42 > 0:37:44seems to be a worker of some kind.
0:37:44 > 0:37:49Yes, I always saw it as steelworks or something like that.
0:37:49 > 0:37:52What looks like a rather rough sketch
0:37:52 > 0:37:54I think can be explained for two reasons.
0:37:54 > 0:37:56I think it's an unfinished work,
0:37:56 > 0:38:00I think it relates to something probably rather grander
0:38:00 > 0:38:02and rather more ambitious,
0:38:02 > 0:38:08and the technique used, the thick impasto on the face, is very typical
0:38:08 > 0:38:10of the sort of work that Repin was doing,
0:38:10 > 0:38:13again influenced by the French impressionists
0:38:13 > 0:38:17and it's almost as if he's using the paint
0:38:17 > 0:38:21to express the emotions of this painful birth of Russia.
0:38:21 > 0:38:23Well, I think that the Pollock
0:38:23 > 0:38:26is a charming example of Pollock's brother,
0:38:26 > 0:38:32but it's a good, solid drawing and it's worth £200 to £300.
0:38:32 > 0:38:35- OK. - Er, I think the painting on the left,
0:38:35 > 0:38:40well, you've got to remember now that Russian painting is all the rage.
0:38:40 > 0:38:45We used to talk about American millionaires making a difference,
0:38:45 > 0:38:49it's now Russian oligarchs who are fuelling the market.
0:38:49 > 0:38:54This painting on the left is worth up to about two hundred -
0:38:54 > 0:38:56£200,000, that is.
0:38:58 > 0:38:59Oh, wow!
0:38:59 > 0:39:04I had absolutely no idea it was worth anything like that.
0:39:05 > 0:39:10I'm shattered, I don't know what to say, I just don't know what to say.
0:39:15 > 0:39:17Photographs of the Beatles,
0:39:17 > 0:39:21but not photographs of the Beatles that I recognise,
0:39:21 > 0:39:24and actually photographs of the...
0:39:24 > 0:39:27looks like sort of, I don't know, floor staff
0:39:27 > 0:39:32in a television studio filling in during the lighting run-through.
0:39:32 > 0:39:37Well, it was a show done at Teddington Studios.
0:39:37 > 0:39:39You were involved with the studios?
0:39:39 > 0:39:42- I was employed there, yes, in the sound department.- Right.
0:39:42 > 0:39:44Um, and I worked on this show.
0:39:44 > 0:39:47They'd just come back from America, I think,
0:39:47 > 0:39:50and it was a sort of, like, "welcome home" type of show, I think,
0:39:50 > 0:39:57so I took my camera along with me and I managed to get these shots.
0:39:57 > 0:40:03We've got photographs of Ringo and of John and George.
0:40:03 > 0:40:06Oh, this is nice because this is actually in the studio itself
0:40:06 > 0:40:09and you can see the cameras there, the lights and so on.
0:40:09 > 0:40:11Yes. But the big thing was that
0:40:11 > 0:40:15the little girls were all outside in the road outside the studio...
0:40:15 > 0:40:19- The Beatle maniacs, yes. - ..completely blocking the road.
0:40:19 > 0:40:21The gates were locked, we were locked in for the day.
0:40:21 > 0:40:25- But how did they get in?- Teddington Studios has river frontage
0:40:25 > 0:40:27with the Thames,
0:40:27 > 0:40:30so they brought them up the river
0:40:30 > 0:40:34- and we featured that in the programme.- Fantastic.
0:40:34 > 0:40:37As far as I can see, you own the copyright on this.
0:40:37 > 0:40:39Well, I presume so, yes.
0:40:39 > 0:40:41It was your own camera.
0:40:41 > 0:40:43- Yes.- It was your own film.- Yes.
0:40:43 > 0:40:45And you've got how many of them?
0:40:45 > 0:40:48There's 20 there altogether.
0:40:48 > 0:40:53OK, and these obviously are just prints but from the originals...
0:40:53 > 0:40:56- From the original slides, yes. - ..which are these.- Yes.
0:40:56 > 0:40:59Let's just open these up.
0:41:02 > 0:41:06And on the top up here we can actually just see,
0:41:06 > 0:41:10- very small, it says, "February '64."- Yes.
0:41:10 > 0:41:14Now I've seen a lot of Beatle photographs over the years
0:41:14 > 0:41:18and, you know, a lot of the images are known,
0:41:18 > 0:41:22they're published, they're not terribly exciting.
0:41:22 > 0:41:26Interesting to come across something that hasn't been seen before.
0:41:26 > 0:41:29These haven't.
0:41:29 > 0:41:33You own the copyright, which then means that you can use them
0:41:33 > 0:41:35for anything you like, in theory,
0:41:35 > 0:41:39you could make calendars out of them, you could make posters out of them,
0:41:39 > 0:41:41you could use them for anything,
0:41:41 > 0:41:44and that makes them very interesting financially.
0:41:44 > 0:41:47Have you gone into the likely value at all?
0:41:47 > 0:41:52No, I haven't, not at all. In fact they've been in my loft for 40 years
0:41:52 > 0:41:56and it was only when I mentioned it to my son-in-law that he said,
0:41:56 > 0:42:00"Well, why don't you go and find out how much they're worth?", you know.
0:42:00 > 0:42:02OK, so this is the dowry, is it?
0:42:02 > 0:42:05Well, that's right. Yes. In a way, yes.
0:42:05 > 0:42:08- He's hoping this is going to be the dowry.- Yes, yes.
0:42:08 > 0:42:14Without copyright, these are interesting but not exciting.
0:42:14 > 0:42:18They would be worth perhaps £100 each,
0:42:18 > 0:42:20probably less than that actually.
0:42:20 > 0:42:26But with the ability to use these for anything you want to,
0:42:26 > 0:42:32ie with the copyright, I would put them up to around £500 each.
0:42:32 > 0:42:36- For each picture?- Yeah.- Gosh.
0:42:36 > 0:42:40Now I don't know how good your maths is, but I make that around £10,000.
0:42:40 > 0:42:45Yes. Crikey, I hadn't expected that much at all, no.
0:42:45 > 0:42:50Well, they're great images, they are very rare
0:42:50 > 0:42:53and you can do something with them.
0:42:53 > 0:42:57It's a magic and a very successful mixture.
0:43:00 > 0:43:03The sun has shone on us at Hertford College, Oxford
0:43:03 > 0:43:05and we've had some amazing discoveries.
0:43:05 > 0:43:08What about the painting that hung over a fireplace for 50 years
0:43:08 > 0:43:10and you thought it was worth what?
0:43:10 > 0:43:13£10,000, maybe £15,000 if I was lucky.
0:43:13 > 0:43:15And it turned out to be worth...?
0:43:15 > 0:43:19- £200,000.- So what did you think? That's amazing.
0:43:19 > 0:43:22Well, I was gobsmacked, I think is the word. Very difficult to believe.
0:43:22 > 0:43:24I've really not got over the shock.
0:43:24 > 0:43:26I bet! What will you do with it?
0:43:26 > 0:43:28Well, I've been advised to wait a few weeks
0:43:28 > 0:43:32and think about what I'm going to do, so nothing for a little while.
0:43:32 > 0:43:36- It was certainly worth you coming in today.- It was indeed.- I'll say.
0:43:36 > 0:43:39From the Antiques Roadshow in Oxford, bye-bye.