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Manchester Town Hall - the ultimate example of civic pride | 0:00:02 | 0:00:05 | |
and they say its foundations are built on bales of cotton. | 0:00:05 | 0:00:08 | |
Hmm. | 0:00:08 | 0:00:09 | |
Welcome back to a second helping of Antiques Roadshow from Manchester. | 0:00:09 | 0:00:13 | |
'The official opening of Manchester Town Hall | 0:00:57 | 0:00:59 | |
'was to be a glamorous affair, | 0:00:59 | 0:01:01 | |
'so the monarch was invited.' | 0:01:01 | 0:01:03 | |
But Queen Victoria declined to attend | 0:01:03 | 0:01:06 | |
when she got wind of the Mayor's radical beliefs. | 0:01:06 | 0:01:08 | |
He'd wanted to produce a newspaper for the poor called | 0:01:08 | 0:01:11 | |
The Poor Man's Guardian - outrageous! | 0:01:11 | 0:01:14 | |
Ironically enough, though, it was the Mayor who stood in for her | 0:01:14 | 0:01:17 | |
when this magnificent building was opened on the 13th September 1877. | 0:01:17 | 0:01:22 | |
And here he is, the radical himself, Abel Heywood. | 0:01:22 | 0:01:26 | |
The architect was a northern lad, Alfred Waterhouse. | 0:01:29 | 0:01:32 | |
He designed cotton flowers all over the building. | 0:01:32 | 0:01:35 | |
It became known as King Cotton's Palace - | 0:01:35 | 0:01:38 | |
a reference to the vast amounts of cotton imported to Manchester | 0:01:38 | 0:01:42 | |
for the manufacturing of textiles. | 0:01:42 | 0:01:45 | |
And you can see bees everywhere too, | 0:01:45 | 0:01:47 | |
as busy Manchester was a hive of industry. | 0:01:47 | 0:01:50 | |
130 years on and the town hall is just as busy as ever. | 0:01:51 | 0:01:55 | |
This is still the place you come to register | 0:01:55 | 0:01:57 | |
births, marriages and deaths | 0:01:57 | 0:01:58 | |
and it's a favoured Hollywood location. | 0:01:58 | 0:02:01 | |
Only recently Meryl Streep was spotted striding down the corridors | 0:02:01 | 0:02:05 | |
dressed in the familiar attire of Margaret Thatcher. | 0:02:05 | 0:02:09 | |
The Mayor's staterooms are where the great and the good | 0:02:12 | 0:02:15 | |
have been wined and dined over the last century or so. | 0:02:15 | 0:02:18 | |
Benjamin Disraeli, Dr Livingstone - I presume? | 0:02:18 | 0:02:22 | |
Sorry, couldn't resist that. | 0:02:22 | 0:02:24 | |
Winston Churchill - he was made a Freeman of the City, | 0:02:24 | 0:02:26 | |
they've all been entertained here. | 0:02:26 | 0:02:29 | |
Today we are the guests of Manchester City Council | 0:02:31 | 0:02:34 | |
and what a spectacular place for our experts to weave their magic. | 0:02:34 | 0:02:39 | |
The story of Manchester's industrial history | 0:02:39 | 0:02:42 | |
is dominated by a word, which you hear all the time, | 0:02:42 | 0:02:44 | |
and it's cotton, cotton, cotton, cotton, cotton and cotton. | 0:02:44 | 0:02:48 | |
It's what you hear all the time. | 0:02:48 | 0:02:50 | |
There's another part of Manchester's industrial history, | 0:02:50 | 0:02:54 | |
which is pressed glass. | 0:02:54 | 0:02:55 | |
And Ancoats was stuffed with pressed glass works. | 0:02:56 | 0:03:00 | |
That's Manchester, | 0:03:01 | 0:03:03 | |
that really is a piece of Manchester's genuine past, | 0:03:03 | 0:03:06 | |
as much as any cotton you could think of - and it's survived! | 0:03:06 | 0:03:09 | |
I'll tell you what, it's survived a lot more than the cotton, hasn't it? | 0:03:09 | 0:03:12 | |
-Yes! -It's in a lot better condition that a shirt you would have bought! | 0:03:12 | 0:03:16 | |
So, come on, tell us about your bit of it. | 0:03:16 | 0:03:18 | |
Well, it's a piece that was always in Grandma's house | 0:03:18 | 0:03:21 | |
and when Grandma died 18 years ago, obviously, the house was cleared | 0:03:21 | 0:03:26 | |
and it was just passed down to myself, as a member of the family, | 0:03:26 | 0:03:30 | |
and when we had family get-togethers | 0:03:30 | 0:03:32 | |
Grandma always used to put the celery in it! | 0:03:32 | 0:03:35 | |
Which is really bizarre, bearing in mind it's a celery vase! | 0:03:35 | 0:03:40 | |
Is it really? Right. | 0:03:40 | 0:03:42 | |
It's a celery vase. | 0:03:42 | 0:03:43 | |
It's not really, they've described it as a celery vase | 0:03:43 | 0:03:46 | |
because the tax on practical glass was less than on fancy glass. | 0:03:46 | 0:03:51 | |
So, if they called it a flower vase, it would have cost more | 0:03:51 | 0:03:55 | |
but because they called it a celery vase, you could sell it cheaper. | 0:03:55 | 0:04:00 | |
-Right, so... -And as for date, well, we know how old it is | 0:04:00 | 0:04:03 | |
cos there's a little mark down here. | 0:04:03 | 0:04:05 | |
It's a design registration lozenge. | 0:04:05 | 0:04:08 | |
It's about 1865. | 0:04:08 | 0:04:10 | |
-Oh, REALLY? -Yeah, really. | 0:04:10 | 0:04:13 | |
1865? | 0:04:13 | 0:04:15 | |
It's not a fantastically valuable thing. What's it worth? | 0:04:15 | 0:04:19 | |
30 or 40 quid sort of money but the fact is, it has survived | 0:04:19 | 0:04:24 | |
-and it's still here... -It is. -..proudly proclaiming MANCHESTER! | 0:04:24 | 0:04:28 | |
So we can use it for celery then? Legally! | 0:04:28 | 0:04:32 | |
THEY LAUGH | 0:04:32 | 0:04:33 | |
Cock Robin merrily singing his heart out on a Victorian tree branch, | 0:04:35 | 0:04:40 | |
in a gold frame, in the original fitted box. | 0:04:40 | 0:04:45 | |
What's the story behind it? | 0:04:45 | 0:04:46 | |
It was my maternal grandmother's. | 0:04:46 | 0:04:49 | |
I know nothing about it | 0:04:49 | 0:04:50 | |
and I would like to know how the robin got there! | 0:04:50 | 0:04:53 | |
-Yes, because he's trapped within, isn't he, really? -Yes he is, yes. | 0:04:53 | 0:04:57 | |
It's in incredibly good condition. | 0:04:57 | 0:05:00 | |
The reason is, as I do always say, | 0:05:00 | 0:05:02 | |
if you've got the original box for the item, | 0:05:02 | 0:05:04 | |
goodness me, that really does help to keep the condition | 0:05:04 | 0:05:07 | |
absolutely top grade. | 0:05:07 | 0:05:09 | |
What it is, it's called a reverse crystal painting. | 0:05:09 | 0:05:14 | |
Take a bubble of rock crystal, engrave it from the back | 0:05:14 | 0:05:20 | |
-and paint the detail of the robin from the back. -Oh. | 0:05:20 | 0:05:26 | |
So it's painted on and if you could see, literally, behind it, | 0:05:26 | 0:05:30 | |
you'd see that there's a sort of engraved hole filled up with paint. | 0:05:30 | 0:05:34 | |
Very high quality gold frame, 18 carat gold frame, | 0:05:36 | 0:05:39 | |
and at the back, like all the best Victorian pendants, | 0:05:39 | 0:05:45 | |
-a locket compartment for you to put a photograph or a lock of hair. -Yeah. | 0:05:45 | 0:05:49 | |
Probably given, do you not agree, as a Christmas present? Do you think? | 0:05:51 | 0:05:54 | |
Probably, yes. | 0:05:54 | 0:05:55 | |
I would have thought so. | 0:05:55 | 0:05:56 | |
-All right, been in the family all these years. -Yes. | 0:05:56 | 0:06:01 | |
Do you wear it? | 0:06:01 | 0:06:02 | |
I don't now but I have worn it when I was much younger, | 0:06:02 | 0:06:05 | |
I used to wear it with a black velvet ribbon with an evening dress. | 0:06:05 | 0:06:09 | |
It's not valueless, they are very collectable | 0:06:09 | 0:06:14 | |
and this one is a particularly good one, in a Hunt and Roskell box. | 0:06:14 | 0:06:17 | |
Would you like to hear that it's worth something in the region of £2,500? | 0:06:17 | 0:06:22 | |
That's a very nice surprise, thank you. | 0:06:23 | 0:06:26 | |
-Would you be pleased then? -I'd be very pleased, yes. | 0:06:26 | 0:06:28 | |
Just my height, this. | 0:06:32 | 0:06:34 | |
Oh, God, yeah. It's handy to lean on. | 0:06:34 | 0:06:36 | |
-It's a big pot! -Good. | 0:06:36 | 0:06:38 | |
Where did you get it from? | 0:06:38 | 0:06:40 | |
My mother bought it in 1945... | 0:06:40 | 0:06:42 | |
..from in a shop in Manchester. | 0:06:43 | 0:06:45 | |
-Fantastic, and you've had it ever since? -Yes. | 0:06:46 | 0:06:49 | |
-Do you like it? -I do like it, yes. | 0:06:50 | 0:06:52 | |
Do you know what it all means? | 0:06:52 | 0:06:54 | |
I don't, not at all. | 0:06:54 | 0:06:56 | |
I'll tell you something. | 0:06:56 | 0:06:57 | |
As I approached this pot I knew instantly what it was... | 0:06:57 | 0:07:03 | |
-Japanese. -Lovely. | 0:07:03 | 0:07:05 | |
-It isn't! -Oh. -THEY LAUGH | 0:07:05 | 0:07:08 | |
-Once I got close, I realised I was wrong. -Right. | 0:07:08 | 0:07:11 | |
It's actually got a fair amount of Japanese influence on it | 0:07:11 | 0:07:15 | |
-but it's actually Chinese. -Oh, right. | 0:07:15 | 0:07:18 | |
-And dates from the middle of the 19th century. -Right. | 0:07:18 | 0:07:23 | |
-So it's 150 years old. -Right. | 0:07:23 | 0:07:25 | |
Do you know what these are? | 0:07:27 | 0:07:28 | |
Look like overgrown tulips. | 0:07:28 | 0:07:30 | |
-They're actually peaches! -Oh, right. | 0:07:30 | 0:07:33 | |
And a peach in China, is a symbol of longevity. | 0:07:33 | 0:07:38 | |
Well, it's an omen that she bought it - she lived to be 98! | 0:07:38 | 0:07:43 | |
It works! | 0:07:43 | 0:07:45 | |
So, you're going to live to 98 - oh, you're not 98 yet are you? | 0:07:45 | 0:07:49 | |
I'm 80! | 0:07:49 | 0:07:50 | |
Er, down here we've got... | 0:07:50 | 0:07:55 | |
-immortals on different animals... -Yes. | 0:07:55 | 0:07:59 | |
..and they're the Taoist immortals, not Buddhist but Taoist. | 0:07:59 | 0:08:04 | |
-Different religion. -Right. | 0:08:04 | 0:08:06 | |
And I think this would be very saleable | 0:08:06 | 0:08:10 | |
to the modern Chinese market. | 0:08:10 | 0:08:13 | |
And I think you would get somewhere between £5,000 and £8,000 for it. | 0:08:14 | 0:08:18 | |
Do you know how much it cost? | 0:08:19 | 0:08:21 | |
No, tell me. | 0:08:21 | 0:08:22 | |
-I'm going to show you. -Yes. | 0:08:22 | 0:08:24 | |
My Dad bought it, in a shop, a furniture shop in Manchester... | 0:08:24 | 0:08:29 | |
..in 1945... | 0:08:31 | 0:08:32 | |
-..five pounds. -It's gone up 1,000 times. | 0:08:33 | 0:08:36 | |
The first one I bought about 15 years ago, | 0:08:40 | 0:08:43 | |
just from a local antiques fair, | 0:08:43 | 0:08:47 | |
and then the other one I bought about six or eight months later, | 0:08:47 | 0:08:52 | |
again just at a local antiques fair, so... | 0:08:52 | 0:08:54 | |
Are you an Art Deco collector? | 0:08:54 | 0:08:56 | |
Because these obviously do date from the 1930s. | 0:08:56 | 0:08:59 | |
I do like the Art Deco period. | 0:08:59 | 0:09:02 | |
-So you're a bit of a magpie, yeah? -Yeah. | 0:09:02 | 0:09:03 | |
Well, first of all, let's just look at the features, | 0:09:03 | 0:09:06 | |
cos the features immediately tell you that you're looking at something | 0:09:06 | 0:09:09 | |
-which is from that, sort of, inter-war period. -Yes. | 0:09:09 | 0:09:12 | |
Because it's amazing, you can look at fashion plates | 0:09:12 | 0:09:17 | |
and ladies have got these elongated faces, | 0:09:17 | 0:09:19 | |
erm, and also it doesn't need much for me to know | 0:09:19 | 0:09:22 | |
that there's a mark behind there that's going to say Goldscheider, | 0:09:22 | 0:09:27 | |
although it's a little bit obscured. | 0:09:27 | 0:09:29 | |
So we know that they're made in Austria, | 0:09:29 | 0:09:31 | |
and this one, I notice, benefits actually from a label as well. | 0:09:31 | 0:09:35 | |
Yeah, I only noticed that last night when I took them off the wall. | 0:09:35 | 0:09:39 | |
-And you've been living with them for 15 years! -I know. | 0:09:39 | 0:09:41 | |
That's incredible. | 0:09:41 | 0:09:42 | |
I mean, I love this particular one, I've seen this one before | 0:09:42 | 0:09:46 | |
-because look at that hair! -Mmm. | 0:09:46 | 0:09:48 | |
-Ringlets of jade green. -Yeah. | 0:09:48 | 0:09:51 | |
I mean, to be honest with you, it looks like a hairdresser's nightmare | 0:09:51 | 0:09:55 | |
-where a perm has gone badly wrong in the rinse, or whatever! -It does. | 0:09:55 | 0:09:59 | |
But this is the sort of object that collectors are very keen to have. | 0:09:59 | 0:10:04 | |
They made a whole range of wall masks, including THIS one. | 0:10:04 | 0:10:10 | |
Now, this one does set the pulse racing. | 0:10:10 | 0:10:13 | |
I've got to say it's a rare subject. | 0:10:13 | 0:10:15 | |
Anything to do with skiing these days is always at a premium. | 0:10:16 | 0:10:21 | |
You even find auctions in London | 0:10:21 | 0:10:23 | |
dedicated to skiing posters and skiing memorabilia, | 0:10:23 | 0:10:28 | |
so she would sit well in two distinct sales. | 0:10:28 | 0:10:31 | |
-Obviously an Art Deco sale and a skiing sale. -Yes. | 0:10:31 | 0:10:34 | |
Well, let's just go back to this girl. | 0:10:34 | 0:10:36 | |
-How much did you pay for that? -120 for that one. | 0:10:36 | 0:10:39 | |
-OK. -That was more expensive than the other one. | 0:10:39 | 0:10:42 | |
All right, well let's take this one. | 0:10:42 | 0:10:44 | |
120, today... | 0:10:44 | 0:10:46 | |
the market for that is going to be nearer £300 or thereabouts. OK. | 0:10:46 | 0:10:52 | |
Now, when you say more expensive for our ski girl. | 0:10:52 | 0:10:55 | |
That was the cheaper one. | 0:10:55 | 0:10:57 | |
-Oh, that was the cheaper one? -Yeah. -Oh, right, so how cheap is cheap? | 0:10:57 | 0:11:00 | |
-Well, it was £100 for that one. -£100. | 0:11:00 | 0:11:04 | |
Erm, I've not seen this before, | 0:11:04 | 0:11:07 | |
and I've seen a lot of Goldscheider masks, | 0:11:07 | 0:11:09 | |
so I wouldn't hesitate to quote you somewhere in the region of £800 | 0:11:09 | 0:11:12 | |
to possibly, possibly £1,000. | 0:11:12 | 0:11:16 | |
Wow, that's amazing! | 0:11:16 | 0:11:18 | |
That is amazing. | 0:11:18 | 0:11:19 | |
So, the Crystal House or Crystal Palace | 0:11:22 | 0:11:24 | |
-was built for the Great Exhibition in 1851... -Yes. | 0:11:24 | 0:11:27 | |
..and it was, you know, the most exciting thing | 0:11:27 | 0:11:31 | |
that had happened at that time. | 0:11:31 | 0:11:34 | |
Six million people - | 0:11:34 | 0:11:35 | |
-a third of the population of Great Britain - came to see it. -Wow. | 0:11:35 | 0:11:39 | |
It was 990,000 square feet | 0:11:39 | 0:11:43 | |
and so there were a tremendous number of commemoratives | 0:11:43 | 0:11:46 | |
made for this event... | 0:11:46 | 0:11:48 | |
-and you've brought one. -Yes. -Where did you get it? | 0:11:48 | 0:11:51 | |
-I got it from my great aunt. -And did she go? Do you know? | 0:11:51 | 0:11:54 | |
I'm not sure | 0:11:54 | 0:11:55 | |
but I think it must have been passed down through the family. | 0:11:55 | 0:11:58 | |
Well, it was such a spectacular event | 0:11:58 | 0:12:01 | |
and many, many things were produced...so they're quite common. | 0:12:01 | 0:12:06 | |
Right. | 0:12:06 | 0:12:08 | |
But I've never seen this one before. | 0:12:08 | 0:12:09 | |
Right. | 0:12:09 | 0:12:10 | |
-So, and I LOVE the verse. -Yes, so do I. | 0:12:10 | 0:12:14 | |
-Because it's not very good, is it? -It's strange. -It's very strange. | 0:12:14 | 0:12:18 | |
"These are the soldiers so gay and so bright | 0:12:18 | 0:12:21 | |
"Who like to play best but are willing to fight | 0:12:21 | 0:12:23 | |
"In defence of the Police, so active and bold | 0:12:23 | 0:12:26 | |
"Who mind not the heat and fear not the cold." | 0:12:26 | 0:12:28 | |
THEY CHUCKLE It's lovely. | 0:12:28 | 0:12:31 | |
So produced for this - | 0:12:31 | 0:12:33 | |
I haven't seen this one before, so rarer than most, | 0:12:33 | 0:12:37 | |
and I think you would have to pay about £500. | 0:12:37 | 0:12:41 | |
Wow! Just for this? | 0:12:41 | 0:12:43 | |
My goodness. | 0:12:43 | 0:12:45 | |
Heavens! | 0:12:45 | 0:12:47 | |
I can't believe that, I really can't. | 0:12:48 | 0:12:51 | |
So if you don't mind me asking you, sir, | 0:12:52 | 0:12:54 | |
this is meant to be hanging in Mottram Church, | 0:12:54 | 0:12:57 | |
what's it doing, today, at Manchester Town Hall? | 0:12:57 | 0:12:59 | |
Well, we, in 1980, bought a biscuit company in this cotton mill | 0:12:59 | 0:13:06 | |
and, within a year, we were clearing out store rooms | 0:13:06 | 0:13:11 | |
and were throwing out all the junk. | 0:13:11 | 0:13:14 | |
And some of the boys discovered this amongst the junk. | 0:13:14 | 0:13:18 | |
So, you bought your biscuit factory | 0:13:19 | 0:13:21 | |
-that happened to be an old cotton mill. -Yes. | 0:13:21 | 0:13:24 | |
This was found there. | 0:13:24 | 0:13:25 | |
Yes, it was. | 0:13:25 | 0:13:27 | |
It's been hanging in reception in the biscuit factory ever since. | 0:13:27 | 0:13:31 | |
-And so its history is incredibly rich, isn't it? -Yes, it is. | 0:13:31 | 0:13:35 | |
Because it says here, | 0:13:35 | 0:13:36 | |
"The South Side of Mottram Chancel is Repaired By and Belongs to | 0:13:36 | 0:13:41 | |
"the Earl of Warrington as Lord of the Manor of Stayly." | 0:13:41 | 0:13:46 | |
So, Mottram Church, where is that? | 0:13:46 | 0:13:49 | |
Well, Mottram church is in Stalybridge, | 0:13:49 | 0:13:51 | |
which is in the village of Mottram itself. | 0:13:51 | 0:13:54 | |
And it's between Stalybridge and Glossop, | 0:13:54 | 0:13:56 | |
about 15 miles east of Manchester. | 0:13:56 | 0:14:01 | |
This shield actually dates from 1694, | 0:14:01 | 0:14:05 | |
when the Earl of Warrington placed it in the church at Mottram. | 0:14:05 | 0:14:11 | |
Because this armorial, the sort of focal point of it, | 0:14:11 | 0:14:14 | |
-is incredibly detailed, isn't it? -Yes. | 0:14:14 | 0:14:16 | |
-It goes back generations, really. -Yes. | 0:14:16 | 0:14:19 | |
Explaining, you know, his blood line, | 0:14:19 | 0:14:21 | |
-it's a bit like a family tree, if you like. -Yes. | 0:14:21 | 0:14:23 | |
So, presumably, it was hanging in the chancel or... | 0:14:23 | 0:14:27 | |
actually, looking at it, | 0:14:27 | 0:14:29 | |
one wonders whether it might even have formed part of the, sort of, | 0:14:29 | 0:14:33 | |
the panelling within that chancel. | 0:14:33 | 0:14:35 | |
-There's a curious square just here, isn't there? -Yes. | 0:14:35 | 0:14:39 | |
-A good repair! -Yes, a good repair, possibly even a door or something. | 0:14:39 | 0:14:42 | |
We're not sure whether it's a door or a panel | 0:14:42 | 0:14:45 | |
but it certainly hung in the chancel for about 150 years | 0:14:45 | 0:14:48 | |
and it was only moved by a guy called Chapman, | 0:14:48 | 0:14:53 | |
a wealthy mill owner from the area, | 0:14:53 | 0:14:56 | |
who bought the chancel from the church and decided, in his wisdom, | 0:14:56 | 0:15:01 | |
that he was wealthy enough to take out all the accoutrements | 0:15:01 | 0:15:06 | |
that were in the chancel, replacing them with his own. | 0:15:06 | 0:15:10 | |
So, at that time the armorial shield disappeared, | 0:15:10 | 0:15:14 | |
that was in 1854 or thereabouts, | 0:15:14 | 0:15:18 | |
and destroyed everything that was within it for his own goods. | 0:15:18 | 0:15:22 | |
And this of course disappeared at that time. | 0:15:22 | 0:15:25 | |
But interesting that it was never actually destroyed or thrown away, | 0:15:25 | 0:15:29 | |
and not hard to imagine why | 0:15:29 | 0:15:31 | |
because it STILL has that richness to it, doesn't it? | 0:15:31 | 0:15:35 | |
And so when you purchased the old cotton mill as your biscuit factory, | 0:15:35 | 0:15:41 | |
what did you pay for it? | 0:15:41 | 0:15:43 | |
Oh, we paid well over the odds, we paid £1. | 0:15:43 | 0:15:46 | |
A pound? SHE LAUGHS | 0:15:46 | 0:15:49 | |
-A whole pound. -And that was for the factory, machinery and this. | 0:15:49 | 0:15:53 | |
-One whole pound? -One whole pound, yes. | 0:15:53 | 0:15:56 | |
Well, we bought the debt as well, I have to say, | 0:15:56 | 0:15:59 | |
but, you know, not a bad deal. | 0:15:59 | 0:16:01 | |
Well, it is such a visually attractive object | 0:16:01 | 0:16:04 | |
and a very similar armorial panel to this | 0:16:04 | 0:16:09 | |
was sold a couple of years ago, at auction, | 0:16:09 | 0:16:13 | |
-and I think probably surprised everyone by fetching £12,500. -Yes. | 0:16:13 | 0:16:19 | |
Now the question with this is, where does that sit alongside it? | 0:16:19 | 0:16:24 | |
I think its provenance is fantastic. | 0:16:24 | 0:16:27 | |
So, I would think, really, that it's got to be worth at least that much, | 0:16:27 | 0:16:33 | |
possibly as much as... | 0:16:33 | 0:16:34 | |
£15,000. | 0:16:34 | 0:16:36 | |
Sounds very nice, yes, I wouldn't argue with that, sounds very good. | 0:16:36 | 0:16:40 | |
Not for sale! | 0:16:40 | 0:16:41 | |
-My father used to work for the Anglo-Iranian Oil Company... -Right. | 0:16:44 | 0:16:48 | |
..in the Abadan Oil Refinery. | 0:16:48 | 0:16:51 | |
And then planned to live out there but unfortunately, | 0:16:51 | 0:16:54 | |
along with other foreign residents, were thrown out | 0:16:54 | 0:16:57 | |
after some dispute over the oil company, | 0:16:57 | 0:16:59 | |
-and he came home and brought these Persian rugs with him. -Right, OK. | 0:16:59 | 0:17:04 | |
Well, let's talk a bit about exactly where they come from. | 0:17:04 | 0:17:06 | |
We call them Kashan - | 0:17:06 | 0:17:07 | |
Kashan is a city in the Isfahan Province of Iran, | 0:17:07 | 0:17:12 | |
and rugs, traditionally, were made there | 0:17:12 | 0:17:15 | |
in the 17th and early 18th century, to this pattern, | 0:17:15 | 0:17:19 | |
and they were made in royal workshops. Very, very high quality. | 0:17:19 | 0:17:23 | |
Of course rugs from that period are extremely rare | 0:17:23 | 0:17:25 | |
and extremely valuable. | 0:17:25 | 0:17:26 | |
I use the term "rugs", as well, | 0:17:26 | 0:17:28 | |
because people seem to get a little confused - | 0:17:28 | 0:17:30 | |
often people say "carpets". | 0:17:30 | 0:17:32 | |
Carpets, in my mind, have to be something quite a lot bigger. | 0:17:32 | 0:17:35 | |
These are very definitely rugs. | 0:17:35 | 0:17:37 | |
The interesting thing about the business of making these rugs | 0:17:37 | 0:17:41 | |
is when the Afghans invaded Iran in 1722, | 0:17:41 | 0:17:46 | |
production of these rugs virtually ceased, and production didn't really | 0:17:46 | 0:17:51 | |
resume until around about the mid 19th century, | 0:17:51 | 0:17:54 | |
and there's a very interesting little idiosyncrasy | 0:17:54 | 0:17:58 | |
that ties these in with Manchester. | 0:17:58 | 0:18:00 | |
Would you have any idea what that might be? | 0:18:00 | 0:18:03 | |
I understand some of the carpets were made of Manchester wool. | 0:18:03 | 0:18:09 | |
Ah, well, that's good, because | 0:18:09 | 0:18:10 | |
actually you've pretty well hit the nail on the head! | 0:18:10 | 0:18:13 | |
Because, in fact, there was a shortage of good quality wool | 0:18:13 | 0:18:15 | |
in the late 19th century. | 0:18:15 | 0:18:17 | |
Between about 1890 and 1930 | 0:18:17 | 0:18:19 | |
they couldn't get enough good quality wool | 0:18:19 | 0:18:21 | |
to manufacture these rugs in Iran, | 0:18:21 | 0:18:24 | |
so, effectively, what they did was, | 0:18:24 | 0:18:26 | |
they imported merino wool from Manchester, | 0:18:26 | 0:18:28 | |
which is quite incredible, isn't it? | 0:18:28 | 0:18:30 | |
So that's the connection. | 0:18:30 | 0:18:32 | |
But I think dating them is a LITTLE bit difficult. | 0:18:32 | 0:18:37 | |
They're 20th century. | 0:18:37 | 0:18:40 | |
When did he pick them up? | 0:18:40 | 0:18:41 | |
1950s? | 0:18:41 | 0:18:43 | |
I reckon that my father probably left Iran, | 0:18:43 | 0:18:47 | |
Persia, about 1950, at the latest. | 0:18:47 | 0:18:50 | |
Right, OK, well, frankly I think | 0:18:50 | 0:18:52 | |
they date from pretty close to that period. | 0:18:52 | 0:18:55 | |
I can see that this one's got some new fringing on the bottom of it, | 0:18:55 | 0:18:59 | |
a replacement fringing, | 0:18:59 | 0:19:00 | |
but I think they date from around that period | 0:19:00 | 0:19:02 | |
or not long before that period, | 0:19:02 | 0:19:04 | |
so they're early 20th century, perhaps. | 0:19:04 | 0:19:07 | |
Price wise, a matching pair like this | 0:19:07 | 0:19:10 | |
are probably going to sell for about £2,000 at auction. | 0:19:10 | 0:19:14 | |
You're joking! | 0:19:14 | 0:19:15 | |
That is a surprise. | 0:19:19 | 0:19:20 | |
I mean, to me the value of the rugs is the sentimental value, | 0:19:20 | 0:19:24 | |
that my father worked there and brought them back here. | 0:19:24 | 0:19:27 | |
If there is a connection with Manchester, | 0:19:27 | 0:19:29 | |
well, that would be fantastic | 0:19:29 | 0:19:31 | |
thinking that the rugs have come home. | 0:19:31 | 0:19:33 | |
-Lars, how's it going? -OK, thank you. | 0:19:36 | 0:19:38 | |
How many items do you think you've seen today, so far? | 0:19:38 | 0:19:41 | |
-Cos there've been SO many people here. -Items? My goodness... | 0:19:41 | 0:19:43 | |
-Well, how many people then? -People... | 0:19:43 | 0:19:45 | |
somewhere between 200 and 300 people on ceramics, just me, yeah. | 0:19:45 | 0:19:48 | |
Wow, wow. Anything stand out particularly? | 0:19:48 | 0:19:52 | |
Well, we've seen a HUGE variety of things | 0:19:52 | 0:19:54 | |
but the thing that, sort of, stands out is a recent report from outside, | 0:19:54 | 0:19:58 | |
that a gentleman, who has been seen in here, | 0:19:58 | 0:20:00 | |
with what he says was valued at £5,000, | 0:20:00 | 0:20:04 | |
has broken it outside. | 0:20:04 | 0:20:06 | |
Ooh. | 0:20:06 | 0:20:07 | |
Now, I don't recall seeing anything worth £5,000 | 0:20:07 | 0:20:10 | |
so, it's a bit of a mystery. | 0:20:10 | 0:20:13 | |
Well, at least it broke outside, and not inside. | 0:20:13 | 0:20:17 | |
I'm hoping he's going to bring the bits in! | 0:20:17 | 0:20:19 | |
Here we are, standing in Alfred Waterhouse's, in my opinion, | 0:20:22 | 0:20:25 | |
his masterpiece, the great Town Hall. | 0:20:25 | 0:20:29 | |
And you might think it's a bit OTT | 0:20:29 | 0:20:31 | |
and then you look at your clock, | 0:20:31 | 0:20:33 | |
which is, again, a wonderful example of Victorian...decoration. | 0:20:33 | 0:20:38 | |
Is it something you have at home sitting in pride of place? | 0:20:40 | 0:20:43 | |
It is, yes. We, erm... | 0:20:43 | 0:20:45 | |
It's in the hall and people see it and remark on it when they, | 0:20:45 | 0:20:48 | |
when they visit and it's a conversation piece. | 0:20:48 | 0:20:52 | |
The clock isn't too accurate but we love it, you know, yeah. | 0:20:52 | 0:20:57 | |
You've exactly said the words = you "love it", | 0:20:57 | 0:20:59 | |
because some people might say this is something that is SO Victorian | 0:20:59 | 0:21:05 | |
and it's over-ornate. | 0:21:05 | 0:21:07 | |
I mean, just starting at this top and this sort of wonderful dome, | 0:21:07 | 0:21:10 | |
with the finials and the lion's head coming down to the spandrels - | 0:21:10 | 0:21:14 | |
and what are these strange ears at the side? | 0:21:14 | 0:21:18 | |
They are so over-the-top Victorian in many ways | 0:21:18 | 0:21:22 | |
and either you love it, or you hate it, | 0:21:22 | 0:21:24 | |
and, I have to say, I'm a bit of a 19th century fan, so I love it. | 0:21:24 | 0:21:27 | |
Now, as a clock, it was made in Germany. | 0:21:27 | 0:21:30 | |
-Probably around about 1900, somewhere about 1890. -Really? | 0:21:30 | 0:21:35 | |
So about 110 years old but as a long case clock, not terribly exciting, | 0:21:35 | 0:21:39 | |
not terribly valuable UNTIL you reveal what's in the front here. | 0:21:39 | 0:21:44 | |
Yes. | 0:21:44 | 0:21:46 | |
And we open it up and what do we have? We have a disc musical box | 0:21:46 | 0:21:50 | |
and that makes it really desirable to a collector. | 0:21:50 | 0:21:54 | |
And what makes this interesting is that you can have endless discs. | 0:21:54 | 0:21:57 | |
How many have you got at home? | 0:21:57 | 0:21:58 | |
Six or seven, similar sort of things. | 0:21:58 | 0:22:02 | |
That's probably the favourite tune, I think, that we've got on for you. | 0:22:02 | 0:22:05 | |
Because so often with musical clocks, it has one tune, or maybe two, | 0:22:05 | 0:22:09 | |
and I should after ten years - | 0:22:09 | 0:22:10 | |
my goodness you'd be rather bored with those tunes! | 0:22:10 | 0:22:12 | |
-But you can change the discs and change the tune. -Yes, of course, yes. | 0:22:12 | 0:22:15 | |
And the whole clock, musical movement, was made in Leipzig | 0:22:15 | 0:22:19 | |
by the company called Symphonion. | 0:22:19 | 0:22:22 | |
-Right. -There were two big companies, | 0:22:22 | 0:22:23 | |
Polyphon and Symphonion, great competitors. | 0:22:23 | 0:22:26 | |
But this is a Symphonion long case clock, | 0:22:26 | 0:22:29 | |
it was made for the home - | 0:22:29 | 0:22:30 | |
some were made for pubs, where you put a penny in the side, | 0:22:30 | 0:22:32 | |
but this is a home model. | 0:22:32 | 0:22:34 | |
And therefore, to a collector, a rare piece. | 0:22:34 | 0:22:37 | |
At auction today... | 0:22:38 | 0:22:40 | |
..we're probably thinking about a figure of between £7,000 and £9,000. | 0:22:41 | 0:22:45 | |
Really? As much as that? Gosh. | 0:22:45 | 0:22:48 | |
TUNE TINKLING | 0:22:48 | 0:22:51 | |
Well, for decades and decades the name Carlton Ware | 0:23:01 | 0:23:05 | |
has been synonymous with some fantastic ceramic creations, | 0:23:05 | 0:23:09 | |
from floral embossed wares, to teapots with legs. | 0:23:09 | 0:23:12 | |
But in the middle of it all, there is a period where they produced | 0:23:12 | 0:23:16 | |
some of the most opulent and extravagant wares, | 0:23:16 | 0:23:19 | |
like these in front of me. | 0:23:19 | 0:23:20 | |
So tell me, how come you are the lucky owner of two fabulous pieces? | 0:23:20 | 0:23:25 | |
Well, they've been in my family for as long as I can remember, | 0:23:25 | 0:23:28 | |
they originally were my grandma's and she's always had them. | 0:23:28 | 0:23:32 | |
I believe before that, | 0:23:32 | 0:23:34 | |
I think they were her dad's, | 0:23:34 | 0:23:37 | |
-possibly back to the 1920s, I think. -OK. | 0:23:37 | 0:23:40 | |
So give me a bit of a background of you and your family in the 1920s. | 0:23:40 | 0:23:44 | |
-Were you, shall I say, well-heeled? -I can't say I was. | 0:23:44 | 0:23:48 | |
What about Grandma and Grandad? | 0:23:48 | 0:23:50 | |
I think yes, they were. My grandad started, with his father, | 0:23:50 | 0:23:54 | |
a building firm back in the 1920s and as far as I know did quite well. | 0:23:54 | 0:23:58 | |
They were quite wealthy. | 0:23:58 | 0:24:00 | |
So these would have been bought for Grandma then? Or Great Grandma? | 0:24:00 | 0:24:03 | |
-Great Grandma as far as I've been told by my dad. -So both of them? | 0:24:03 | 0:24:06 | |
Both of them. There was a third piece. | 0:24:06 | 0:24:09 | |
There was another vase exactly like that one | 0:24:09 | 0:24:11 | |
and there was an accident a few years ago with it | 0:24:11 | 0:24:14 | |
-and I threw it away. -OK. | 0:24:14 | 0:24:19 | |
Well, everything you're saying | 0:24:19 | 0:24:21 | |
in terms of the time, the era, adds up perfectly | 0:24:21 | 0:24:23 | |
because this is Carlton Ware in the 1920s. | 0:24:23 | 0:24:27 | |
Specifically, this is Carlton Ware about 1929 | 0:24:27 | 0:24:30 | |
under the artistic directorship of a chap called Enoch Boulton, | 0:24:30 | 0:24:34 | |
and he was a designer of some serious excellence. | 0:24:34 | 0:24:37 | |
I mean, he really was the boy. | 0:24:37 | 0:24:39 | |
He knew what he was doing and he was reacting to everything | 0:24:39 | 0:24:43 | |
that was coming out of Europe in 1925 at the big Paris Exhibition. | 0:24:43 | 0:24:46 | |
And in fact a lot of people today now say that this pattern, | 0:24:46 | 0:24:50 | |
these vases, these pieces actually epitomise | 0:24:50 | 0:24:54 | |
the British interpretation | 0:24:54 | 0:24:56 | |
-of the Art Deco Movement at this period. -Oh, gosh. | 0:24:56 | 0:24:59 | |
These are seriously important design items of their time. | 0:24:59 | 0:25:03 | |
-Right. -So this period, there is good and there is great. | 0:25:03 | 0:25:07 | |
And is that the zigzag pattern? Am I right in...? | 0:25:07 | 0:25:11 | |
Well, the pattern is actually, for me, another name | 0:25:11 | 0:25:14 | |
that just perfectly epitomises the whole era. | 0:25:14 | 0:25:17 | |
This is known amongst all of us, and from the pattern books, as Jazz. | 0:25:17 | 0:25:22 | |
Oh, OK. | 0:25:22 | 0:25:24 | |
And what else is going on in the 1920s and '30s? It was the Jazz Age. | 0:25:24 | 0:25:27 | |
It was the music, the new creation, the new people. | 0:25:27 | 0:25:30 | |
These really daring, daring young people | 0:25:30 | 0:25:33 | |
who were doing everything different to their parents. | 0:25:33 | 0:25:36 | |
And how much more different could this be | 0:25:36 | 0:25:39 | |
from a load of Victorian chintz and florals? | 0:25:39 | 0:25:42 | |
-So with great, comes great interest. -OK. | 0:25:42 | 0:25:47 | |
With great interest, I have to tell you, comes great prices. | 0:25:47 | 0:25:51 | |
OK. | 0:25:51 | 0:25:52 | |
And you threw one of these away. | 0:25:52 | 0:25:54 | |
Well, if I tell you that you've thrown away | 0:25:54 | 0:25:58 | |
-somewhere in the region of £800 to £1,200. -Wow. | 0:25:58 | 0:26:02 | |
Oh, gosh. Oh, dear. | 0:26:02 | 0:26:05 | |
And if we then move up to the bigger piece, | 0:26:05 | 0:26:07 | |
-and we actually call these the gondola. -Yeah. | 0:26:07 | 0:26:10 | |
If we actually go up to this, | 0:26:10 | 0:26:12 | |
you're looking somewhere more like £1,500 to £2,000 for it. | 0:26:12 | 0:26:15 | |
Wow. Oh, dear. | 0:26:15 | 0:26:18 | |
These epitomise everything | 0:26:18 | 0:26:20 | |
that was going on in that era at its absolute best. | 0:26:20 | 0:26:24 | |
The interpretation, the understanding, the idea | 0:26:24 | 0:26:27 | |
and, more importantly, the execution. | 0:26:27 | 0:26:29 | |
-They are an absolute joy, so continue to treasure them. -I love them. | 0:26:29 | 0:26:32 | |
Yeah, fabulous. Thank you. | 0:26:32 | 0:26:34 | |
Last time the Antiques Roadshow team visited Manchester Town Hall | 0:26:47 | 0:26:50 | |
was back in 1989 - there were lots of great finds but it was also a | 0:26:50 | 0:26:55 | |
rather sobering day for a young man who met our art expert Philip Hook. | 0:26:55 | 0:26:58 | |
So this is just what we wanted to find in Manchester, | 0:27:00 | 0:27:03 | |
the familiar image of the industrial landscape | 0:27:03 | 0:27:06 | |
and the magic signature | 0:27:06 | 0:27:09 | |
at the bottom here, LS Lowry. | 0:27:09 | 0:27:11 | |
Can you tell me how you came by these two pictures? | 0:27:11 | 0:27:14 | |
Well, I've a classic car restoration company. | 0:27:14 | 0:27:17 | |
And about three years ago I was doing | 0:27:17 | 0:27:19 | |
a job for a chap in London on an E-type Jaguar and he was short of | 0:27:19 | 0:27:22 | |
the payment by about £250 and we was casually talking about antiques and | 0:27:22 | 0:27:28 | |
whatnot, old cars, and he asked me would I like to take this painting. | 0:27:28 | 0:27:31 | |
And I took the painting and that's how I acquired it. | 0:27:31 | 0:27:34 | |
Well, you brought these in earlier and I've had the chance | 0:27:34 | 0:27:37 | |
to consult with Sandra Martin from the Manchester City Art Gallery | 0:27:37 | 0:27:43 | |
and I'm afraid she tells us neither of these are actually by Lowry. | 0:27:43 | 0:27:47 | |
Yeah, well... | 0:27:47 | 0:27:50 | |
Which is not the best news, and apparently there are, even now, | 0:27:50 | 0:27:53 | |
fakers at work producing Lowrys - it's a big business when a Lowry... | 0:27:53 | 0:27:59 | |
I mean, had this been genuine it could have been £20,000 or £30,000. | 0:27:59 | 0:28:02 | |
Rupert Maas, you're on our art team today - | 0:28:07 | 0:28:09 | |
any fake Lowrys turned up so far? | 0:28:09 | 0:28:11 | |
Not as yet, but we're always on the QV for them. | 0:28:11 | 0:28:13 | |
The thing is that they were faked prodigiously | 0:28:13 | 0:28:16 | |
particularly by the Greenhalgh family, you know, local boys | 0:28:16 | 0:28:20 | |
from Bolton, Shaun Greenhalgh now doing time for faking Lowrys | 0:28:20 | 0:28:24 | |
and they're out there in their thousands, perhaps. | 0:28:24 | 0:28:27 | |
We don't really know but we do see a lot of fake Lowrys. | 0:28:27 | 0:28:30 | |
And people are increasingly turning to the internet | 0:28:30 | 0:28:32 | |
to buy paintings these days, aren't they? | 0:28:32 | 0:28:35 | |
Yes, well it seems easy but you're only looking at a photograph, | 0:28:35 | 0:28:37 | |
you can't see the actual thing | 0:28:37 | 0:28:39 | |
and it's a particularly dangerous thing to do. | 0:28:39 | 0:28:42 | |
What kind of things are being faked these days? | 0:28:42 | 0:28:44 | |
Well, Lowry has been faked - everyone knows now - | 0:28:44 | 0:28:47 | |
a lot of people do, that there are fake Lowrys out there, | 0:28:47 | 0:28:50 | |
so people - the fakers - they move on to pastures new | 0:28:50 | 0:28:53 | |
and I understand that Greek painting is being faked a bit now | 0:28:53 | 0:28:58 | |
and also progressive Indian painting. | 0:28:58 | 0:29:00 | |
They tend to target the areas which are in the sort of | 0:29:00 | 0:29:04 | |
£20,000 - £30,000 maximum range because that is the area | 0:29:04 | 0:29:07 | |
which is least researched and most remunerative. | 0:29:07 | 0:29:10 | |
Pays the most! | 0:29:12 | 0:29:13 | |
Thank you! Pays the most, but anything below that | 0:29:13 | 0:29:16 | |
is not worth doing and anything higher than that, | 0:29:16 | 0:29:19 | |
somebody's written a book about it and there's knowledge. | 0:29:19 | 0:29:21 | |
Knowledge is the faker's enemy. | 0:29:21 | 0:29:24 | |
Rupert, thanks very much. | 0:29:24 | 0:29:26 | |
You have been warned. | 0:29:26 | 0:29:28 | |
My goodness, it's dusty, so it must be old. | 0:29:28 | 0:29:33 | |
How old? | 0:29:33 | 0:29:34 | |
I don't know exactly, we've had it just over 20 years | 0:29:34 | 0:29:37 | |
but I don't know exactly how old it is. | 0:29:37 | 0:29:39 | |
And where did it come from? | 0:29:39 | 0:29:41 | |
My father bought it off somebody | 0:29:41 | 0:29:43 | |
and it's just been sitting in a warehouse ever since. | 0:29:43 | 0:29:46 | |
20 odd years ago, that would take us to around 1991? | 0:29:46 | 0:29:50 | |
Yeah, yeah. | 0:29:50 | 0:29:51 | |
-Which is exactly the date we've got on this lovely colourful sticker. -OK. | 0:29:51 | 0:29:55 | |
The year of the Ram, 1991. | 0:29:55 | 0:29:57 | |
But the thing that really interests me is this here. | 0:29:57 | 0:30:01 | |
Now, have you translated this? | 0:30:01 | 0:30:03 | |
I haven't, no, no. | 0:30:03 | 0:30:06 | |
You ought to have done, because that's going to help you date it. | 0:30:06 | 0:30:09 | |
In here, we've got a date. | 0:30:09 | 0:30:11 | |
Those two characters tell us that this was made | 0:30:11 | 0:30:14 | |
either in 1804 or in 1864. | 0:30:14 | 0:30:18 | |
-OK. -The Chinese cycle of years goes in 60-year chunks. -OK. | 0:30:18 | 0:30:23 | |
So we can say that this gong | 0:30:23 | 0:30:24 | |
almost certainly dates to either 1804 or 1864. | 0:30:24 | 0:30:30 | |
From the point of view of value, or importance, | 0:30:30 | 0:30:33 | |
it doesn't make any difference. | 0:30:33 | 0:30:35 | |
-Right, OK. -We just say it's 19th century, | 0:30:35 | 0:30:38 | |
and as far as I'm concerned, that fits perfectly with the gong. | 0:30:38 | 0:30:42 | |
OK. | 0:30:42 | 0:30:43 | |
Now the stand could be anywhere in the 19th century, | 0:30:43 | 0:30:46 | |
it's a very, very traditional Chinese stand | 0:30:46 | 0:30:49 | |
-and it is indeed a stand for a gong such as this. -Yes. | 0:30:49 | 0:30:53 | |
The only problem with it is, | 0:30:53 | 0:30:55 | |
you haven't got the little circular cushion | 0:30:55 | 0:30:58 | |
that usually sits just between the gong itself... | 0:30:58 | 0:31:01 | |
-Ah right, OK. -..and the top of the stand. -OK. | 0:31:01 | 0:31:04 | |
And the reason to have a cushion on there | 0:31:04 | 0:31:06 | |
is when you actually strike the piece, it allows it to resonate. | 0:31:06 | 0:31:09 | |
Ah. | 0:31:09 | 0:31:11 | |
So, I think this dates from the 19th century. | 0:31:11 | 0:31:14 | |
-Do you use it for anything? -No, like I said, | 0:31:14 | 0:31:16 | |
it's just been sitting there for the past 20-odd years. | 0:31:16 | 0:31:19 | |
Not for bringing the children down for early morning breakfast? | 0:31:19 | 0:31:23 | |
No, no, not even that. | 0:31:23 | 0:31:24 | |
-You've been to China, I guess. -Yes, I have, yes. | 0:31:24 | 0:31:28 | |
-And you've seen these in China? -In temples, yes. | 0:31:28 | 0:31:31 | |
-In temples. -Temples, yes. | 0:31:31 | 0:31:32 | |
They're usually tucked away | 0:31:32 | 0:31:34 | |
-either in the corner of a room or right next to the door. -OK. | 0:31:34 | 0:31:38 | |
And they strike them and they usually bring people to prayer. | 0:31:38 | 0:31:42 | |
-Right. -Just as bells do all over the world. | 0:31:42 | 0:31:45 | |
-Right. -Now, without the cushion, | 0:31:45 | 0:31:46 | |
-I'm afraid we're not going to make a great noise, are we? -OK. | 0:31:46 | 0:31:50 | |
-Let's have a go, shall we? -Sure. | 0:31:50 | 0:31:53 | |
THE GONG RESONATES | 0:31:53 | 0:31:55 | |
Huge resonance, it's still going. | 0:31:58 | 0:32:01 | |
Get a cushion and your children will have fun with this, | 0:32:01 | 0:32:04 | |
waking you up on a Sunday morning. | 0:32:04 | 0:32:07 | |
-It's a purely decorative object. -Yeah. | 0:32:07 | 0:32:10 | |
It has no collector's value. | 0:32:10 | 0:32:11 | |
-This is - the value of this lies in what it looks like. -OK. | 0:32:11 | 0:32:15 | |
To buy one of these, | 0:32:15 | 0:32:17 | |
I think you would spend... | 0:32:17 | 0:32:20 | |
-somewhere between £1,000 and maybe £2,000. -OK. | 0:32:20 | 0:32:23 | |
Yeah, interesting to know, yes. | 0:32:25 | 0:32:28 | |
When I saw this, this morning, the phrase that came to mind was | 0:32:31 | 0:32:34 | |
"hiding your light under a bushel". | 0:32:34 | 0:32:36 | |
Because out of this plain box, we have this rather magnificent plaque. | 0:32:36 | 0:32:40 | |
-And this is just the back side of it, isn't it? -Yes. | 0:32:42 | 0:32:45 | |
Here it is here, and I don't need to tell you what it is. | 0:32:46 | 0:32:51 | |
You know what it is - what is it? | 0:32:51 | 0:32:53 | |
It's a Royal Lancastrian pottery plate. | 0:32:53 | 0:32:57 | |
It is indeed, | 0:32:57 | 0:32:59 | |
and this has been in your family or something you've bought? | 0:32:59 | 0:33:02 | |
It's from my great grandfather. | 0:33:02 | 0:33:04 | |
He was given it by a member of the Pilkington factory | 0:33:04 | 0:33:07 | |
who he was friendly with at the time. | 0:33:07 | 0:33:09 | |
Right, so was he in the pottery business as well? | 0:33:09 | 0:33:12 | |
No, he was a director of an engineering company in Swinton | 0:33:12 | 0:33:15 | |
and they became friends and this was given to him as a gift. | 0:33:15 | 0:33:19 | |
Well, what a gift it is. I mean, it's magnificent. | 0:33:19 | 0:33:22 | |
I think there's no... | 0:33:22 | 0:33:24 | |
I think highly appropriate, you know, in the Gothic surroundings | 0:33:24 | 0:33:27 | |
of Manchester Town Hall, we have here not a Gothic piece, | 0:33:27 | 0:33:31 | |
but an Arts and Crafts piece, which was a movement | 0:33:31 | 0:33:34 | |
which ran at the same time, and a little bit beyond | 0:33:34 | 0:33:36 | |
and, I mean, what a plate - | 0:33:36 | 0:33:38 | |
we've got St George and the dragon here, | 0:33:38 | 0:33:40 | |
dragons around the outside and you notice how this side is black, | 0:33:40 | 0:33:44 | |
this side is much more lustrous. | 0:33:44 | 0:33:47 | |
These lustre colours were fired at very high temperatures | 0:33:47 | 0:33:50 | |
to get the red and the lustre, | 0:33:50 | 0:33:52 | |
they almost had to burn the pattern off | 0:33:52 | 0:33:54 | |
and if they didn't control the kiln... | 0:33:54 | 0:33:56 | |
-These were coal-fired kilns - no switching a button on. -Yes. | 0:33:56 | 0:33:59 | |
Coal-fired kiln, the whole of this design could be destroyed. | 0:33:59 | 0:34:03 | |
-It is, it's magnificent. -Yeah. | 0:34:03 | 0:34:06 | |
And look at the back, I mean the back is as beautiful as it is. | 0:34:06 | 0:34:10 | |
And I mean even the way that the colours have sort of run | 0:34:10 | 0:34:13 | |
and given this lovely sort of bloom to it. | 0:34:13 | 0:34:15 | |
Here we've got the mark, here, the P and the bees for Pilkington's, | 0:34:15 | 0:34:19 | |
the Royal Lancastrian Pottery. | 0:34:19 | 0:34:21 | |
And we've also got... Have you noticed here? | 0:34:21 | 0:34:24 | |
There's another mark there as well. | 0:34:24 | 0:34:26 | |
-Have you seen that before? -I have, yes, I can't remember what it is. | 0:34:27 | 0:34:31 | |
Well that's the mark of Richard Joyce, | 0:34:31 | 0:34:33 | |
-who was one of the artists at the factory. -Right. | 0:34:33 | 0:34:36 | |
And whether it was a presentation piece | 0:34:36 | 0:34:39 | |
particularly for your great grandfather... | 0:34:39 | 0:34:41 | |
I'd like to think it was, because it is... | 0:34:41 | 0:34:43 | |
-It's not a run-of-the-mill piece, it's a special piece. -Yeah. | 0:34:43 | 0:34:47 | |
And, you know, as a consequence, it's worth a special price. | 0:34:47 | 0:34:50 | |
I think if this was to come to auction, | 0:34:50 | 0:34:53 | |
there would be no problem at it getting £10,000 to £12,000. | 0:34:53 | 0:34:58 | |
-Right. -So maybe it should go back in its box. -Yes. | 0:34:59 | 0:35:02 | |
-And back to the bank for your great grandchildren. -Definitely, yeah. | 0:35:02 | 0:35:06 | |
We've had so many people here today. | 0:35:11 | 0:35:13 | |
Do you know, by lunchtime, we'd had 3,000 people come along | 0:35:13 | 0:35:17 | |
to Manchester Town Hall, all queuing, very patiently... | 0:35:17 | 0:35:20 | |
Thank you. | 0:35:20 | 0:35:21 | |
..and all with their own little boxes and bags and things. | 0:35:21 | 0:35:25 | |
Hello - pouncing on you - what have you got in there? | 0:35:25 | 0:35:28 | |
Beatles autographs. | 0:35:28 | 0:35:30 | |
Beatles autographs? Oh, can I have a look? | 0:35:30 | 0:35:32 | |
Just a few. | 0:35:34 | 0:35:35 | |
And how did you come by these? | 0:35:35 | 0:35:37 | |
I used to work in the fan club in the '60s | 0:35:37 | 0:35:39 | |
and when I left school we used to just go up there, | 0:35:39 | 0:35:42 | |
just like for an hour, you know, just after school. | 0:35:42 | 0:35:45 | |
That is a great Scouse accent, I can tell you! | 0:35:45 | 0:35:47 | |
Yes, so we just ended up getting friendly | 0:35:47 | 0:35:51 | |
and we ended up working there | 0:35:51 | 0:35:53 | |
just like, you know, school holidays, we got a guinea a week. | 0:35:53 | 0:35:56 | |
What, and you - so you were working at the Beatles' fan club? | 0:35:56 | 0:36:00 | |
Yeah, just helping out, just cutting labels off the actual letters | 0:36:00 | 0:36:04 | |
and sending people photographs. | 0:36:04 | 0:36:07 | |
So show me these autographs, then. | 0:36:07 | 0:36:09 | |
-John Lennon. -John Lennon. | 0:36:09 | 0:36:12 | |
Ringo Starr, George Harrison | 0:36:12 | 0:36:15 | |
and Paul McCartney. | 0:36:15 | 0:36:17 | |
-"This is from us Beatles." -This is from us Beatles. | 0:36:17 | 0:36:20 | |
So who's written that then? | 0:36:20 | 0:36:22 | |
I think that looks like John Lennon's writing, that one. | 0:36:22 | 0:36:25 | |
Fantastic, and what else have you got in here? | 0:36:25 | 0:36:28 | |
Just a few - got a Christmas card | 0:36:28 | 0:36:31 | |
and actually similar type of things. | 0:36:31 | 0:36:35 | |
-And this is to you? -Yes. | 0:36:35 | 0:36:36 | |
-So a Christmas card to you from the Beatles? -Yes. | 0:36:36 | 0:36:40 | |
Hang on, hang on, let's have a look. | 0:36:40 | 0:36:42 | |
"To June, best wishes, Ringo Starr" with a little star. | 0:36:42 | 0:36:45 | |
"George Harrison, John Lennon and Paul McCartney". | 0:36:45 | 0:36:48 | |
How fantastic! | 0:36:48 | 0:36:49 | |
Now, has anyone valued this for you yet? | 0:36:49 | 0:36:52 | |
No, no, I haven't had it valued yet. I'm just waiting. | 0:36:52 | 0:36:56 | |
Brilliant. Well, we might have to go and find someone to have a look. | 0:36:56 | 0:36:59 | |
Great. | 0:36:59 | 0:37:01 | |
When I was in Manchester back in the 1970s and an undergraduate, | 0:37:01 | 0:37:05 | |
certainly we didn't have anything like this | 0:37:05 | 0:37:07 | |
to get to university and back, it was the boring bus. | 0:37:07 | 0:37:11 | |
This is what's termed as an apprentice piece, | 0:37:11 | 0:37:14 | |
but I've seen lots of apprentice pieces but this is the real McCoy. | 0:37:14 | 0:37:18 | |
Yes, it is, we know that this is the actual model | 0:37:18 | 0:37:21 | |
that the apprentices at the factory and the works | 0:37:21 | 0:37:23 | |
where they actually made these trams, | 0:37:23 | 0:37:25 | |
the apprentices made this just to prove that they could do the job. | 0:37:25 | 0:37:30 | |
And then having proved that they could do it, | 0:37:30 | 0:37:33 | |
presumably they were then allowed to go on | 0:37:33 | 0:37:35 | |
and actually be part of building the full-size ones. | 0:37:35 | 0:37:38 | |
Yes, and we have the only remaining full-size one left | 0:37:38 | 0:37:41 | |
out of the 515 that they actually made. | 0:37:41 | 0:37:44 | |
You personally or...? No, you're the Chairman of the Tramway Museum. | 0:37:44 | 0:37:48 | |
Yes, the Tramway Museum have it, it took 25 years to restore it, | 0:37:48 | 0:37:52 | |
but it is in full operating condition, | 0:37:52 | 0:37:55 | |
we have occasionally run it in Heaton Park | 0:37:55 | 0:37:58 | |
and we take it to other places to actually operate it | 0:37:58 | 0:38:01 | |
but it costs a lot of money to hire suitable horses to run it. | 0:38:01 | 0:38:05 | |
-So we have one full-size. -Mm. | 0:38:05 | 0:38:07 | |
-And one apprentice model and that's it. -Yes. | 0:38:07 | 0:38:10 | |
And what makes this one so unusual? | 0:38:10 | 0:38:12 | |
I see it's got... On the front, it's called something patent. | 0:38:12 | 0:38:15 | |
It's an Eades patent - | 0:38:15 | 0:38:17 | |
instead of having two staircases and two driving points, | 0:38:17 | 0:38:21 | |
this only has one staircase and one driving point, | 0:38:21 | 0:38:23 | |
and when it got to the terminus, | 0:38:23 | 0:38:26 | |
the driver could lock the brakes onto the truck on it. | 0:38:26 | 0:38:30 | |
Unlock the body and then the tram would do this. | 0:38:30 | 0:38:33 | |
-Wow! -The whole body was designed on a turntable, | 0:38:35 | 0:38:38 | |
so it could turn round | 0:38:38 | 0:38:40 | |
and set off back in the direction they'd just come from. | 0:38:40 | 0:38:42 | |
-So obviously horse-drawn. -Yes. -So one, or two horses. | 0:38:42 | 0:38:46 | |
Usually two horses side by side and when it came to a hilly area, | 0:38:46 | 0:38:49 | |
they'd keep extra horses at the bottom of the hill | 0:38:49 | 0:38:52 | |
and they'd put on a trace horse on the front to pull it up the hill. | 0:38:52 | 0:38:55 | |
That is amazing. I mean, what a lovely bit of engineering. | 0:38:55 | 0:38:58 | |
Rather than like a train, you had to build a turntable, | 0:38:58 | 0:39:01 | |
which would have been huge and very expensive. | 0:39:01 | 0:39:04 | |
Just a little cunning design like this got round the problem. | 0:39:04 | 0:39:07 | |
And they also didn't have to lay extra track to build turning circles | 0:39:07 | 0:39:10 | |
and it just saved an awful lot of money. | 0:39:10 | 0:39:13 | |
Now these, I understand, were introduced in, what, the 1870s? | 0:39:13 | 0:39:16 | |
It's mid 1870s and they ran through till the... | 0:39:16 | 0:39:20 | |
last ones operated early in 1903. | 0:39:20 | 0:39:22 | |
And that was because they were phased out | 0:39:22 | 0:39:24 | |
because no more horse-drawn? | 0:39:24 | 0:39:26 | |
Yes, the electric trams came in and they gradually replaced | 0:39:26 | 0:39:29 | |
the lighter-weight tracks that these ran on | 0:39:29 | 0:39:32 | |
with heavier-weight tracks for the electric trams | 0:39:32 | 0:39:35 | |
and all the overhead wiring that was required for the electric ones. | 0:39:35 | 0:39:38 | |
And I think you've brought along a picture showing Piccadilly. | 0:39:38 | 0:39:43 | |
Yes, this picture of Piccadilly shows lots and lots of trams in it, | 0:39:43 | 0:39:47 | |
and every single one of them is one of these trams. | 0:39:47 | 0:39:50 | |
And you see congestion, even back then. | 0:39:50 | 0:39:52 | |
Exactly, definitely, it was quite bad then. | 0:39:52 | 0:39:55 | |
-And the only one left? -Yeah. | 0:39:55 | 0:39:56 | |
You can't reproduce it, really historic, | 0:39:56 | 0:40:00 | |
such an ingenious way of turning it around. | 0:40:00 | 0:40:03 | |
I really love it and it's part of Manchester's history. | 0:40:03 | 0:40:06 | |
-Exactly, very much so. -I would have thought... | 0:40:06 | 0:40:09 | |
well, if Manchester Corporation didn't buy it back, | 0:40:09 | 0:40:11 | |
any collector would pay £12,000 to £15,000 for it. | 0:40:11 | 0:40:14 | |
So a fantastic piece. | 0:40:14 | 0:40:16 | |
Well, we are delighted to own it and we're even more delighted | 0:40:16 | 0:40:20 | |
because we actually have the full-size version as well. | 0:40:20 | 0:40:23 | |
Don't ask me to value that! | 0:40:23 | 0:40:25 | |
This is really nice - I mean, I like wheel engraving, | 0:40:25 | 0:40:28 | |
it's one of the most delicate forms of glass decoration. | 0:40:28 | 0:40:32 | |
What you do is that the engraver holds the glass | 0:40:32 | 0:40:35 | |
against rotating copper discs, | 0:40:35 | 0:40:38 | |
which they put a kind of abrasive slimy stuff on, | 0:40:38 | 0:40:43 | |
and scratch the decoration onto the glass, | 0:40:43 | 0:40:46 | |
and I think that works well, don't you? | 0:40:46 | 0:40:49 | |
Well, it's come out beautifully, | 0:40:49 | 0:40:51 | |
I think the engraving is absolutely first class. | 0:40:51 | 0:40:54 | |
So it's Stourbridge, that's where it was made, the glass. | 0:40:54 | 0:41:01 | |
And it dates from about 1870-1880 so did you have it as a child? | 0:41:01 | 0:41:07 | |
No, my sister and I were clearing a friend's house out after she died, | 0:41:07 | 0:41:13 | |
and it was just lying in a box with some glasses | 0:41:13 | 0:41:16 | |
and it just caught my eye, I thought how beautiful it was. | 0:41:16 | 0:41:19 | |
So you said, "I'll have that". | 0:41:19 | 0:41:21 | |
I said, "Oh, can I have it?" and she said, "Yes". | 0:41:21 | 0:41:24 | |
-So how long ago's that? -About 10 or 15 years ago. | 0:41:24 | 0:41:28 | |
So it's about 130 years old. | 0:41:28 | 0:41:31 | |
The downer on it is that this isn't silver. | 0:41:31 | 0:41:34 | |
-Oh. -If it was silver, it would be worth pots of money, | 0:41:34 | 0:41:37 | |
but as it is, we're talking about Greek revival, | 0:41:37 | 0:41:40 | |
Stourbridge made, wheel-engraved claret jug. | 0:41:40 | 0:41:43 | |
Claret jug that's worth £500, which is not bad value, eh? | 0:41:43 | 0:41:49 | |
Very good, and how much would it be worth with the claret in it? | 0:41:49 | 0:41:52 | |
Oh, let's go and find out, shall we? | 0:41:52 | 0:41:54 | |
Right, we'll meet after the show. | 0:41:54 | 0:41:57 | |
Ah, here you are. | 0:41:59 | 0:42:01 | |
-Can I interrupt? I saw this lady earlier on. -Yes. | 0:42:01 | 0:42:04 | |
Have you spoken about what this is worth yet? | 0:42:04 | 0:42:07 | |
Not quite, we were just about to do that. | 0:42:07 | 0:42:09 | |
Well, come on then, put me out of my misery, | 0:42:09 | 0:42:11 | |
and put you out of your misery, as well. | 0:42:11 | 0:42:13 | |
It's a wonderfully personal little collection, | 0:42:13 | 0:42:16 | |
very, very pertinent, I love it | 0:42:16 | 0:42:19 | |
and I think this is going to make between £3,000 to £5,000 at auction. | 0:42:19 | 0:42:23 | |
-You're joking. -Absolutely not. -Oh, that's wonderful. | 0:42:23 | 0:42:27 | |
-Is that a surprise? -Very much so - didn't think... | 0:42:27 | 0:42:31 | |
Didn't think that much at all. | 0:42:31 | 0:42:32 | |
Thank you, John, Paul and Ringo. | 0:42:32 | 0:42:35 | |
It is, yeah, that's lovely. | 0:42:35 | 0:42:38 | |
It's years since I've seen any of these on a Roadshow. | 0:42:40 | 0:42:43 | |
They're really sweet little things. Where did you get them? | 0:42:43 | 0:42:46 | |
My mother left them to me. | 0:42:46 | 0:42:48 | |
And you know what they are, or...? | 0:42:48 | 0:42:51 | |
Very little, I think are they Royal Worcester? | 0:42:51 | 0:42:53 | |
Absolutely, they're Royal Worcester | 0:42:53 | 0:42:55 | |
and it'll say so on the bottoms. | 0:42:55 | 0:42:57 | |
Let's have a look. | 0:42:57 | 0:42:58 | |
This one here, yeah, we've got a Royal Worcester mark just there | 0:42:58 | 0:43:03 | |
and there's a date code and it will date them | 0:43:03 | 0:43:05 | |
to around about the end of the 19th century. | 0:43:05 | 0:43:08 | |
Right. | 0:43:08 | 0:43:09 | |
They'll be about 1898, somewhere around there, | 0:43:09 | 0:43:12 | |
but what's important about these ones is the decoration | 0:43:12 | 0:43:16 | |
and who they're painted by - have you had a look at this closely? | 0:43:16 | 0:43:19 | |
-Not really, no. -Because if you look at either of them, | 0:43:19 | 0:43:23 | |
-you see there - the signature? -Oh, yes. | 0:43:23 | 0:43:26 | |
It says "Baldwin" - Charles Baldwin was the son of a piano tuner | 0:43:26 | 0:43:32 | |
but he went into painting | 0:43:32 | 0:43:33 | |
and he painted on Royal Worcester porcelain. | 0:43:33 | 0:43:36 | |
At the beginning of the 20th century he went into... | 0:43:36 | 0:43:39 | |
I think he gave up and went into watercolours, | 0:43:39 | 0:43:41 | |
he exhibited at the RA, but Royal Worcester collectors, | 0:43:41 | 0:43:45 | |
-when they see things by Baldwin, they get excited. -Oh, right. | 0:43:45 | 0:43:48 | |
This particular shape of vase comes in two sizes | 0:43:48 | 0:43:51 | |
because I looked at them and I thought... | 0:43:51 | 0:43:53 | |
and then I remembered, it's only the large ones | 0:43:53 | 0:43:55 | |
-which should have covers. -Right. | 0:43:55 | 0:43:57 | |
These ones are almost exactly the same | 0:43:57 | 0:44:00 | |
but the large ones came with covers. | 0:44:00 | 0:44:01 | |
These small ones were made and sold without covers. | 0:44:01 | 0:44:05 | |
So, all is looking pretty sunny about them. | 0:44:05 | 0:44:08 | |
Fantastic. | 0:44:08 | 0:44:10 | |
I don't suppose you know this one's cracked? | 0:44:10 | 0:44:13 | |
I thought there was a little hairline crack on one of them, yes. | 0:44:13 | 0:44:17 | |
Yeah, it looks little, but it runs all the way round the outside here. | 0:44:17 | 0:44:20 | |
-Round up there and up into the rim. -Oh, what a shame. | 0:44:20 | 0:44:24 | |
So effectively you've got a couple of vases, | 0:44:24 | 0:44:27 | |
you've got one in really good order, one with a crack, | 0:44:27 | 0:44:30 | |
-almost invisible but it's still there. -Yeah. | 0:44:30 | 0:44:32 | |
And that makes a huge difference to the price. | 0:44:32 | 0:44:35 | |
But if you put them into auction they would make £3,500 or £4,000. | 0:44:35 | 0:44:38 | |
-Really? -Yeah. -Wow. | 0:44:38 | 0:44:41 | |
They're that sought after, even in that condition. | 0:44:41 | 0:44:44 | |
Fantastic, I'll make sure I get them insured now. | 0:44:44 | 0:44:47 | |
Earlier on, Fiona and Rupert were having a conversation about fakes, | 0:44:47 | 0:44:51 | |
and fake Lowrys, and here we have a wonderful Lowry | 0:44:51 | 0:44:57 | |
with a covering letter, | 0:44:57 | 0:44:59 | |
which gives really good provenance to the picture. | 0:44:59 | 0:45:02 | |
The picture really speaks for itself | 0:45:02 | 0:45:04 | |
because it is just typical Lowry | 0:45:04 | 0:45:06 | |
and beautifully painted. | 0:45:06 | 0:45:08 | |
So how come you have the painting and the letter? | 0:45:08 | 0:45:10 | |
Well, my father was an amateur artist in Manchester, | 0:45:10 | 0:45:13 | |
something of a junior contemporary of Lowry | 0:45:13 | 0:45:16 | |
and a very big fan of Lowry, and he collected several scrapbooks | 0:45:16 | 0:45:21 | |
of art gallery catalogues, newspaper cuttings, | 0:45:21 | 0:45:23 | |
anything he could lay his hands on, to do with Lowry | 0:45:23 | 0:45:26 | |
and he did use to meet up with Lowry occasionally | 0:45:26 | 0:45:29 | |
and at some point told Lowry about the scrapbooks. | 0:45:29 | 0:45:33 | |
Lowry was interested, wanted to borrow them, | 0:45:33 | 0:45:36 | |
ended up keeping them far too long, really, | 0:45:36 | 0:45:38 | |
and so when he returned them, | 0:45:38 | 0:45:40 | |
he was a bit embarrassed about how long he'd had them, | 0:45:40 | 0:45:42 | |
and he gave this little picture as a present. | 0:45:42 | 0:45:45 | |
It's explained in the covering letter. | 0:45:45 | 0:45:47 | |
And I've got a transcript of the letter here | 0:45:47 | 0:45:49 | |
and I think it's just absolutely fantastic. | 0:45:49 | 0:45:52 | |
"Dear Mr Kay, I have this day left your book in Bloom Street | 0:45:52 | 0:45:57 | |
"and offer you my sincerest apologies for the delay. | 0:45:57 | 0:46:01 | |
"I do hope you will forgive me. | 0:46:01 | 0:46:03 | |
"Do try and forgive me, please, yours sincerely, LS Lowry." | 0:46:03 | 0:46:07 | |
And then we have, | 0:46:07 | 0:46:08 | |
"PS - I have put inside the parcel a very tiny oil sketch | 0:46:08 | 0:46:13 | |
"which I hope you will like". | 0:46:13 | 0:46:15 | |
It's interesting that we have this letter, | 0:46:15 | 0:46:18 | |
because it's dated 1955 so we can actually put a date on the painting | 0:46:18 | 0:46:23 | |
and do you know - I have seen big Lowrys, I've seen a lot recently - | 0:46:23 | 0:46:29 | |
when I look at that, if I wanted a Lowry, that is what I would like. | 0:46:29 | 0:46:33 | |
Why? We've got here a street scene in Manchester, | 0:46:33 | 0:46:38 | |
Salford with the factory buildings, | 0:46:38 | 0:46:41 | |
we've got the smoke coming out of the chimney, | 0:46:41 | 0:46:44 | |
we've got these children - | 0:46:44 | 0:46:46 | |
and I do get annoyed when people start talking about | 0:46:46 | 0:46:48 | |
"matchstick men and matchstick dogs," | 0:46:48 | 0:46:51 | |
because, in fact, | 0:46:51 | 0:46:53 | |
he was much more than that. | 0:46:53 | 0:46:55 | |
It was the way the flicks of paint - the legs, the boots | 0:46:55 | 0:46:59 | |
on the children walking up the street there - it's just fantastic. | 0:46:59 | 0:47:04 | |
And where are the albums, the scrapbooks? | 0:47:04 | 0:47:06 | |
The albums are now in the Lowry Centre | 0:47:06 | 0:47:09 | |
as part of the Lowry Collection. | 0:47:09 | 0:47:11 | |
They were donated after he died about ten years ago. | 0:47:11 | 0:47:14 | |
That is fantastic. | 0:47:14 | 0:47:16 | |
And did Lowry and your father have tea together or...? | 0:47:16 | 0:47:19 | |
-Well, they used to meet at parties. -Really? | 0:47:19 | 0:47:21 | |
And my father visited Lowry's house several times. | 0:47:21 | 0:47:24 | |
So they did know each other, although not well. | 0:47:24 | 0:47:27 | |
I think he must have really liked him, | 0:47:27 | 0:47:29 | |
to give something like that, it's so personal. | 0:47:29 | 0:47:32 | |
And, you know, it's a small picture. | 0:47:32 | 0:47:36 | |
What would something like that be worth today, | 0:47:36 | 0:47:39 | |
with this information as well? | 0:47:39 | 0:47:41 | |
Well, and I'm saying this conservatively, | 0:47:41 | 0:47:45 | |
I think that that would make | 0:47:45 | 0:47:47 | |
in the region of £30,000 to £50,000 at auction. | 0:47:47 | 0:47:51 | |
Quite amazing! Not that we've any intention of getting rid of it. | 0:47:51 | 0:47:55 | |
No, but I just think it's wonderful. | 0:47:55 | 0:47:57 | |
It's everything in a big picture, in a small picture, | 0:47:57 | 0:48:01 | |
and it ticks every box, absolutely beautiful. | 0:48:01 | 0:48:03 | |
What are the chances of that? | 0:48:08 | 0:48:10 | |
One minute I'm talking about fake Lowrys with Rupert Maas | 0:48:10 | 0:48:13 | |
and the next minute, the real deal comes along! | 0:48:13 | 0:48:16 | |
Mind you, Lowry was a local lad, so maybe we could have expected it. | 0:48:16 | 0:48:19 | |
Anyway, we've had a great day here at Manchester Town Hall. | 0:48:19 | 0:48:22 | |
I hope you've enjoyed it. Until next time, bye-bye. | 0:48:22 | 0:48:26 |