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