0:00:02 > 0:00:05Our location this week is right in the heart of the country,
0:00:05 > 0:00:08in Britain's second most populated city.
0:00:08 > 0:00:11Today's venue has been a seat of learning for over 100 years.
0:00:11 > 0:00:15It opened in 1909 with 678 students.
0:00:15 > 0:00:18Today it has 30,000.
0:00:18 > 0:00:21So, your starter for ten - I'll have to hurry you -
0:00:21 > 0:00:25welcome to the Antiques Roadshow from - come on, yes -
0:00:25 > 0:00:27from the University of Birmingham.
0:01:19 > 0:01:22These figures show us the range of subjects
0:01:22 > 0:01:25being studied at the University of Birmingham in 1909,
0:01:25 > 0:01:30from art and philosophy to science and industry.
0:01:30 > 0:01:35So we've got Darwin, Plato, Michelangelo, Faraday,
0:01:35 > 0:01:37and Midlanders like Shakespeare,
0:01:37 > 0:01:40all important influences on the Edwardian curriculum.
0:01:42 > 0:01:45The then-mayor of Birmingham - Joseph Chamberlain,
0:01:45 > 0:01:48father of the Prime Minister, Neville - wanted to create
0:01:48 > 0:01:52a different kind of university, that would educate a generation
0:01:52 > 0:01:55that would serve the city, which was growing faster than any other.
0:01:55 > 0:01:58It was known as "the workshop of the world"
0:01:58 > 0:02:01and its industrial output was massive,
0:02:01 > 0:02:05ranging from huge anchors to tiny pins.
0:02:14 > 0:02:18The Great Hall, with its magnificent stained-glass window,
0:02:18 > 0:02:21is a celebration of the city's success.
0:02:25 > 0:02:29It's adorned with images that reflect, not only academia,
0:02:29 > 0:02:32but also the industries the students then went on to work in
0:02:32 > 0:02:34once they'd finished their degrees.
0:02:38 > 0:02:42Our visitors today will get to see more than just a traditional campus.
0:02:42 > 0:02:46The university also boasts the Barber Institute,
0:02:46 > 0:02:50which contains some of the greatest names in the history of art.
0:02:53 > 0:02:58The Lapworth - an Edwardian museum full of fascinating fossils -
0:02:58 > 0:03:01including the Dudley Bug, which was found just down the road,
0:03:01 > 0:03:05and is 425 million years old.
0:03:05 > 0:03:09And then there's the university's very own Botanical Gardens.
0:03:12 > 0:03:17So, fingers on buzzers, everyone, it's time for the team from the Antiques Roadshow
0:03:17 > 0:03:20to take on the visitors from the University of Birmingham.
0:03:20 > 0:03:24- Can you tell me if you're a duchess? - No, I'm not.
0:03:24 > 0:03:28Why on earth would I ask you such a weird question?
0:03:28 > 0:03:31Well, it's obviously something to do with that, isn't it?
0:03:31 > 0:03:35Yeah, because you know what? That's a ducal crown.
0:03:36 > 0:03:42This form is what a duke would wear - royal wedding, for instance -
0:03:42 > 0:03:45dukes and duchesses present,
0:03:45 > 0:03:48you look at what the dukes wear. That's a ducal crown.
0:03:48 > 0:03:51And how do we know it's a ducal crown?
0:03:51 > 0:03:55Because when duchesses are around, being informal,
0:03:55 > 0:03:58and they don't want to wear their formal crown,
0:03:58 > 0:04:02- they wear strawberry leaves in their hair.- Ooh, right.
0:04:02 > 0:04:08It is a wonderful piece of Victorian deliciousness.
0:04:08 > 0:04:10It's strawberries and cream, it really is.
0:04:10 > 0:04:13Basically, what we have is a cast brass,
0:04:13 > 0:04:16then you engrave the details,
0:04:16 > 0:04:20such as the strawberry leaves, into here with an engraving tool.
0:04:20 > 0:04:24Scratch it, then you file all these shapes and polish them,
0:04:24 > 0:04:28and then you gold-plate it.
0:04:28 > 0:04:31And this is called ormolu, gold-plated brass.
0:04:31 > 0:04:34Big money to buy this, so where'd you find it?
0:04:34 > 0:04:40My mother saw it in an antique shop, when I was about eight,
0:04:40 > 0:04:43and my father bought it for her,
0:04:43 > 0:04:46and she used to have it on the grand piano with daffodils in.
0:04:46 > 0:04:50Well, it's a grand thing that was on a grand piano, that's for sure.
0:04:50 > 0:04:53Matthew Boulton, that kind of quality.
0:04:53 > 0:04:57Museum quality, sort of thing, 1860,
0:04:57 > 0:05:01engraved glass, probably made either in Birmingham or Stourbridge.
0:05:01 > 0:05:05And ferns are archetypal Victorian engraved motif,
0:05:05 > 0:05:09but we have a bit of an issue here, don't we?
0:05:09 > 0:05:15If we look at it from here, all is peachy, or rosy, or strawberry.
0:05:15 > 0:05:19But if we turn it round here, we have catastrophe.
0:05:19 > 0:05:21What happened?
0:05:21 > 0:05:24- The cat knocked it over.- The cat!
0:05:24 > 0:05:27How much was your cat worth?
0:05:27 > 0:05:29To me, everything.
0:05:29 > 0:05:33Well, it's made a difference of a thousand to a hundred.
0:05:33 > 0:05:35Right.
0:05:35 > 0:05:41That cat cost you £900 on the value of this otherwise peachy thing.
0:05:41 > 0:05:44- Can we ever get these replaced? - Yeah, if you want, you could do.
0:05:44 > 0:05:48Cost you a few hundred. But I think it would be worth it.
0:05:48 > 0:05:51Mm. Absolutely.
0:05:52 > 0:05:54Arrr!
0:05:54 > 0:05:58That was a pretty pathetic attempt to imitate a lion.
0:05:58 > 0:06:02In particular, the lion that you see - the head -
0:06:02 > 0:06:05in the MGM logo.
0:06:05 > 0:06:08I understand that this was given by MGM to NATO.
0:06:08 > 0:06:11Can you tell me more about that?
0:06:11 > 0:06:13That's the story in the family.
0:06:13 > 0:06:17My aunt worked at NATO, through the '50s, '60s and '70s
0:06:17 > 0:06:21and, when they were in London, this was presented to NATO,
0:06:21 > 0:06:25because NATO had organised the use of a submarine for a film,
0:06:25 > 0:06:27but because of a disaster at sea,
0:06:27 > 0:06:31they weren't able to present the lion to the submarine,
0:06:31 > 0:06:34so instead it was presented to NATO.
0:06:34 > 0:06:38And, through NATO, it came into your family?
0:06:38 > 0:06:41When NATO moved from London to Maastricht,
0:06:41 > 0:06:45this was given to my aunt.
0:06:45 > 0:06:50So she took it home, and then it was passed on to me.
0:06:50 > 0:06:53And what sort of date are we talking about here?
0:06:53 > 0:06:57It came into the family's possession in the late '60s, '70s,
0:06:57 > 0:07:03and it would've come into my aunt's possession at NATO in the 1950s.
0:07:03 > 0:07:09Right. If we look at the mark at the bottom, you can just see,
0:07:09 > 0:07:12that is the mark of Seiya,
0:07:12 > 0:07:16who's a Japanese bronze artist from about 1900,
0:07:16 > 0:07:19so we've travelled around the world a bit
0:07:19 > 0:07:23to get to this particular point, with this particular maker.
0:07:23 > 0:07:28Erm, this is as good as you get from Seiya.
0:07:28 > 0:07:31He was a very great Japanese bronze sculptor.
0:07:32 > 0:07:36He did elephants, he did lions, and he did other animals,
0:07:36 > 0:07:41but animals, particularly, were his favourite subject.
0:07:41 > 0:07:44I think if this went to auction,
0:07:44 > 0:07:48you'd get somewhere between £1,500 and £2,000
0:07:48 > 0:07:53so it was a very generous gift by MGM all that time ago,
0:07:53 > 0:07:58but having said that, in the 1950s, it wouldn't have been perhaps
0:07:58 > 0:08:00so much appreciated as it is now.
0:08:00 > 0:08:04- Glorious thing. Thank you very much, though, for bringing him.- Thank you.
0:08:06 > 0:08:10People often have to wait for hours, I'm afraid, to see our experts at the Roadshow.
0:08:10 > 0:08:13At least you're all queuing today here in the sunshine.
0:08:13 > 0:08:16People resort to all sorts of things in order to pass the time,
0:08:16 > 0:08:19like this chap here. Hello!
0:08:19 > 0:08:22- Are you just trying to pass the time, then?- Fiona!
0:08:22 > 0:08:24- How you doing?- I'm doing fine.
0:08:24 > 0:08:26Are you just playing to pass the time,
0:08:26 > 0:08:28or have you brought this along to be valued?
0:08:28 > 0:08:32A bit of both. Playing to pass the time and entertain the crowd.
0:08:32 > 0:08:35- You're doing a fine job.- And hopefully catch Fiona's attention.
0:08:35 > 0:08:38Oh, yeah, you charmer! Is this what you've brought to be valued?
0:08:38 > 0:08:42This is the beautiful violin I've brought along to value, yeah.
0:08:42 > 0:08:46- And how long have you had it? - It's been on the top of my mother's wardrobe for about ten years now,
0:08:46 > 0:08:52ten, 20 years, and I've been playing it for six months. So I'm not doing too bad, right?
0:08:52 > 0:08:55That's pretty good, I must say. Keep up the good work.
0:08:55 > 0:08:59- You're entertaining everyone marvellously.- Fantastic. - Not long now.- Take it easy.
0:09:01 > 0:09:04HE PLAYS FOLKSY TUNE, OFF-KEY
0:09:08 > 0:09:11Now, you obviously love gold, you're all wearing it.
0:09:11 > 0:09:13Look at this - rings, bracelets, pendants.
0:09:13 > 0:09:17and it seems chance has given you another one. Tell me about that.
0:09:17 > 0:09:20Well, it was, uh...
0:09:20 > 0:09:22seven years ago now?
0:09:22 > 0:09:25Wet Sunday morning, out metal-detecting as usual,
0:09:25 > 0:09:32hadn't found nothing for two to three hours, and then got a signal.
0:09:32 > 0:09:35As soon as I put the shovel in and turned over,
0:09:35 > 0:09:37- I just saw the glint of gold. - Glint of gold, yeah.
0:09:37 > 0:09:42And that was it, and picked it up, and as soon as I picked it up,
0:09:42 > 0:09:45I tried it on, it went halfway down me little finger
0:09:45 > 0:09:48and as soon as it went there, I thought, that's it,
0:09:48 > 0:09:51I've lost it, because I know it would fit the wife, perfect.
0:09:51 > 0:09:54"Fit the wife perfect". Well, that's fantastic, isn't it?
0:09:54 > 0:09:56But you didn't let her keep it, did you?
0:09:56 > 0:09:58Er, no, I, er,
0:09:58 > 0:10:00it just got the better of me,
0:10:00 > 0:10:02I couldn't decipher what it was meself.
0:10:02 > 0:10:08Um, I actually went to Worcester Museum, and Andrew Bolton at the Worcester Museum
0:10:08 > 0:10:11took one look at it and said, "I'm afraid I've got some bad news.
0:10:11 > 0:10:14"We're having to take that for Treasure Trove."
0:10:14 > 0:10:18Doesn't sound that bad to me, but anyway, as bad news goes...
0:10:18 > 0:10:22- And then gave me the good news and told me roughly what it was.- Yes.
0:10:22 > 0:10:26- That it was a 15th century gold posy ring.- Yes.
0:10:26 > 0:10:30And three years later, after backwards and forwards,
0:10:30 > 0:10:33got a letter saying that the museum no longer wished to acquire it
0:10:33 > 0:10:37- and then Anne...- Got it back. - Anne got it back.
0:10:37 > 0:10:40I think it's an absolutely wonderful ring, from my point of view.
0:10:40 > 0:10:43I, too, have the luck of the devil. I'm not out with my metal detector,
0:10:43 > 0:10:46I actually don't have one, but I share in all the excitement
0:10:46 > 0:10:50because people bring these medieval rings to the Antiques Roadshow when I'm here.
0:10:50 > 0:10:53So I am terribly excited by this.
0:10:53 > 0:10:56The inscription is "I E Adore",
0:10:56 > 0:11:00from the French "j'adore" - I love you.
0:11:00 > 0:11:03If you look closely, it's entwined with two meeting of hearts.
0:11:03 > 0:11:08Yes, absolutely. And it is a love ring from the 15th century.
0:11:08 > 0:11:12In a way, a museum report will tell you all of that,
0:11:12 > 0:11:14but perhaps what they don't tell you
0:11:14 > 0:11:18is that this is possibly the only souvenir
0:11:18 > 0:11:21of a relationship long gone, 600 years ago.
0:11:21 > 0:11:24Their lives were actually lacking
0:11:24 > 0:11:27in small, gleaming, intensely beautiful objects,
0:11:27 > 0:11:30so gold had an enormous magnetism to them,
0:11:30 > 0:11:34and it's always associated with the enduring relationships,
0:11:34 > 0:11:38because, not only is the ring the eternally renewing circle,
0:11:38 > 0:11:42it has no end and no beginning, but the gold itself is an emblem
0:11:42 > 0:11:47of what we want our relationships to be, and that's enduring for ever.
0:11:47 > 0:11:50And so here's a little message - I'm afraid, from the grave -
0:11:50 > 0:11:53but from the heart through the grave, to you,
0:11:53 > 0:11:57so, in a way, this is a most marvellous tribute, isn't it?
0:11:57 > 0:12:00And what is interesting about the ring
0:12:00 > 0:12:03is the calligraphy is very redolent of the 15th century
0:12:03 > 0:12:07and it's that that, frankly, dates the ring for us today.
0:12:07 > 0:12:11If this were offered for sale, someone would have exactly the same idea as you had,
0:12:11 > 0:12:13which was to give it to your wife here,
0:12:13 > 0:12:15and I would have thought a value of £5,000 or £6,000
0:12:15 > 0:12:19would not be inappropriate today.
0:12:20 > 0:12:22Very nice, but it's still the wife's.
0:12:22 > 0:12:25I think it is. Talk to her a bit - talk to her!
0:12:25 > 0:12:28She's got a lot of gold, look! It's everywhere!
0:12:28 > 0:12:30But that's the best one, isn't it, though?
0:12:30 > 0:12:33Brilliant, thank you so much.
0:12:45 > 0:12:47In this series of the Antiques Roadshow
0:12:47 > 0:12:51we're setting ourselves - and you - a bit of a challenge,
0:12:51 > 0:12:54to tell the difference between three antiques that look very similar.
0:12:54 > 0:12:58Now, this week, John Sandon, our ceramics specialist, has set out
0:12:58 > 0:13:03these three, rather scary, frankly - to my eyes anyway - monkey figures.
0:13:03 > 0:13:07One of them is a basic model, cheap and cheerful.
0:13:07 > 0:13:09One is rather better,
0:13:09 > 0:13:11probably worth about £1,000,
0:13:11 > 0:13:15and one is the best example, worth £10,000.
0:13:15 > 0:13:20Shortly, he'll be putting me out of my misery and telling me which is which, because, to be honest,
0:13:20 > 0:13:23they all look pretty similar to me. But first I'm going to go
0:13:23 > 0:13:27and talk to our visitors, see if they can spot which one is the best.
0:13:30 > 0:13:33Well, Miss Clara is actually owned by the Barber Institute Of Fine Arts
0:13:33 > 0:13:37at the University Of Birmingham and the Henry Barber Trust
0:13:37 > 0:13:41and she is really a star.
0:13:41 > 0:13:44We recently re-displayed this wonderful bronze
0:13:44 > 0:13:48and we found the postcards sold out. She's got quite a following.
0:13:48 > 0:13:51Well, it's no surprise, because you mentioned
0:13:51 > 0:13:52she's called Miss Clara.
0:13:52 > 0:13:54Why was she called Miss Clara, then?
0:13:54 > 0:13:59She was given that name at the end of the 1740s
0:13:59 > 0:14:03because, actually, she was - she's an Indian rhinoceros -
0:14:03 > 0:14:06and she was captured when she was quite young and brought to Europe
0:14:06 > 0:14:10by an enterprising Dutch sea captain,
0:14:10 > 0:14:13and he brought her in to Rotterdam in 1741,
0:14:13 > 0:14:17feeding her orange peel and hay
0:14:17 > 0:14:21and apparently some beer on the way over, on the boat.
0:14:21 > 0:14:24And we also know - rather strangely - that he was told
0:14:24 > 0:14:26it was good for her to inhale smoke,
0:14:26 > 0:14:30so he puffed smoke into her face and she inhaled it.
0:14:30 > 0:14:31Was that to calm her down?
0:14:31 > 0:14:34Because tobacco is a sort of mild narcotic, and it would have been...
0:14:34 > 0:14:40We understand she was very docile and very friendly to her keepers and to the public
0:14:40 > 0:14:43and she started off being exhibited in Holland,
0:14:43 > 0:14:47and then, gradually, she was shown all over Europe
0:14:47 > 0:14:51from Warsaw to Naples, and when she was in Venice
0:14:51 > 0:14:54she was painted by the Italian painter, Longhi.
0:14:54 > 0:14:59And there's a great picture of her surrounded by people with masks.
0:14:59 > 0:15:03That's right, and even some dung and things, it's quite extraordinary.
0:15:03 > 0:15:06Yes. It's difficult for us today to understand how weird she was,
0:15:06 > 0:15:08because we've got the television,
0:15:08 > 0:15:11we can turn on and we can watch wildlife channels all day.
0:15:11 > 0:15:13And we can see rhinos, and we're aware
0:15:13 > 0:15:14of the sad fate of the rhino today.
0:15:14 > 0:15:18But to them, this was... What was she?
0:15:18 > 0:15:21Absolutely, and she came to England on a number of occasions.
0:15:21 > 0:15:24She came in the 1750s three times,
0:15:24 > 0:15:29and, very sadly, she was here in 1758 when she actually died.
0:15:29 > 0:15:31So, 20 years in captivity.
0:15:31 > 0:15:34So, I think people were absolutely fascinated.
0:15:34 > 0:15:37When she went to towns, there were announcements about her arriving
0:15:37 > 0:15:42- and how to buy tickets to go and view her.- I gather he was a bit of a showman in the sense that,
0:15:42 > 0:15:45if tickets were flagging, he'd say that she was very ill
0:15:45 > 0:15:49- and shortly to die, so now's your chance to get to see her. - I didn't know that, gosh!
0:15:49 > 0:15:52Clara, well, as I say, she lasted 20 years.
0:15:52 > 0:15:56Yes, she appears in all forms of art, in porcelain,
0:15:56 > 0:16:00obviously on paintings, drawings, engravings, bronzes and clocks.
0:16:00 > 0:16:04I'm pretty sure, because she was such a hot subject of the day,
0:16:04 > 0:16:06I think it's contemporary with her.
0:16:06 > 0:16:09Now, whether it's at the end of her life,
0:16:09 > 0:16:12or it's based on the painting by Oudry - which was done in 1749 -
0:16:12 > 0:16:16- so, if it's based on that painting, he was a Frenchman.- Yes, yes.
0:16:16 > 0:16:20I think it's very likely to be, probably, '49-'50, that sort of era.
0:16:20 > 0:16:24Well, we put 1750 on the label, so that's reassuring to know.
0:16:24 > 0:16:29Excellent. When she was bought by the Barber, what was she bought as?
0:16:29 > 0:16:32Well, she was bought by our first director, Thomas Bodkin,
0:16:32 > 0:16:35and he is the one who put together our fantastic sculpture collection,
0:16:35 > 0:16:40and he bought her, actually, during World War II from Alfred Spero,
0:16:40 > 0:16:44who was the main sculpture dealer of the time,
0:16:44 > 0:16:49and he bought her in 1942 for £575.
0:16:49 > 0:16:57I mean, I think £575 equates today to roughly £18,000.
0:16:57 > 0:17:01So that's, you know, it's not a hugely expensive bronze,
0:17:01 > 0:17:04that, actually, particularly one of this stature.
0:17:04 > 0:17:06Where does she come from?
0:17:06 > 0:17:09In Germany, there are porcelain rhinos.
0:17:09 > 0:17:14The French fashion for animal bronzes,
0:17:14 > 0:17:16and the clocks are French,
0:17:16 > 0:17:20lead me to think that it's more likely to be French.
0:17:20 > 0:17:24The quality of the bronze is absolutely fabulous. I'd err on the French side rather than the German.
0:17:24 > 0:17:31Interesting, we label her saying, "French-German, we're not quite sure, circa 1750,"
0:17:31 > 0:17:33so that's very interesting to know.
0:17:33 > 0:17:37I think, bearing in mind that clock groups with Clara on,
0:17:37 > 0:17:41can make several hundred thousand pounds,
0:17:41 > 0:17:44um, I think she's probably worth
0:17:44 > 0:17:46maybe as much as £200,000.
0:17:46 > 0:17:48- Interesting. - I think it's a really exceptional...
0:17:48 > 0:17:51Do you think it's the novelty value, the fact that it's Clara?
0:17:51 > 0:17:56Absolutely. It's a fabulous bronze, I think it's a fantastic story.
0:17:56 > 0:17:58She's as much a draw today as she was in the 18th century.
0:17:58 > 0:18:02We may have to go back and change our insurance valuations anyway.
0:18:02 > 0:18:06- I think it's a wonderful thing. - Thank you very much indeed. - Thank you.
0:18:11 > 0:18:15- One is basic, one is better, one is best.- OK.
0:18:15 > 0:18:18Put them in the right order. Have a go.
0:18:18 > 0:18:20- One of them's worth 10,000, so be careful!- OK.
0:18:20 > 0:18:24It's sort of matte in colour, it looks older.
0:18:24 > 0:18:28- OK.- This one's very detailed. - It's got very sharp teeth.
0:18:28 > 0:18:30I think I'll go with that.
0:18:30 > 0:18:32That is the best.
0:18:32 > 0:18:36God, this is tough.
0:18:36 > 0:18:39That's the basic, that's the better and that's the best.
0:18:39 > 0:18:41Best, better, basic.
0:18:41 > 0:18:44Yeah, why not?
0:18:44 > 0:18:46Best, basic, better.
0:18:48 > 0:18:50Well, John Sandon will tell you later on.
0:18:55 > 0:19:00- Some jewels scream "wear me". - Really?
0:19:00 > 0:19:02And this screams out to me, "I want to be worn".
0:19:02 > 0:19:05Yeah, I know, I haven't worn them... Once or twice.
0:19:05 > 0:19:08- You have only once or twice? - Once or twice, yes.
0:19:08 > 0:19:12- Why?- I don't know, maybe I didn't have the right occasion or whatever,
0:19:12 > 0:19:13was scared or...
0:19:13 > 0:19:15Well, it's definitely your colour.
0:19:15 > 0:19:19So tell me, how did you get this then?
0:19:19 > 0:19:22I got it from my mother, who got it from her mother.
0:19:22 > 0:19:27My mother was Italian, like me. Her mother was English.
0:19:27 > 0:19:31I never knew whether it was something English, French or whatever,
0:19:31 > 0:19:34- that's what was my curiosity. - Ah, OK.
0:19:34 > 0:19:40Well, the jewel is quintessentially 1905 Edwardian,
0:19:40 > 0:19:44we call it the garland style, these festoons of wreaths
0:19:44 > 0:19:47and laurel wreaths that the designs were taken from.
0:19:47 > 0:19:51Look how it moves, and it is so light.
0:19:51 > 0:19:53I mean, it is absolutely adorable.
0:19:53 > 0:19:58Now, this would be worn - we would call this a "devant de corsage"
0:19:58 > 0:20:01- which means it would be worn at the front of the bodice.- Mm.
0:20:01 > 0:20:05So then you still had a little bit of a drop here
0:20:05 > 0:20:07for these beautiful drops here to move.
0:20:07 > 0:20:10- Because it's all about this movement, isn't it?- Yes, yes.
0:20:10 > 0:20:11English.
0:20:11 > 0:20:16- So, English... It was definitely then your...grandmother?- Yes.
0:20:16 > 0:20:19Well, that would absolutely fit.
0:20:19 > 0:20:23Made of platinum and this emerald...
0:20:23 > 0:20:24fabulous emerald,
0:20:24 > 0:20:27and it could possibly have come from Colombia
0:20:27 > 0:20:29which is where the best emeralds come from.
0:20:29 > 0:20:34Platinum was when you could really make jewellery come alive,
0:20:34 > 0:20:39because it is very strong and it doesn't tarnish like silver
0:20:39 > 0:20:41and 1900 was really when you were starting to see
0:20:41 > 0:20:44platinum being used because they were able
0:20:44 > 0:20:48to get the melting point as high as required to work with it.
0:20:48 > 0:20:51And you've got here the milgrain setting,
0:20:51 > 0:20:54all the tiny details of the little balls of the milgrains
0:20:54 > 0:20:58going around the diamonds, so these are all diamonds here,
0:20:58 > 0:21:00which are cushion-shaped diamonds,
0:21:00 > 0:21:03and that again is indicative of the period.
0:21:04 > 0:21:10You have the two emeralds on either side which are set in yellow,
0:21:10 > 0:21:11so that is very good
0:21:11 > 0:21:18because emeralds need sometimes that warmth of the yellow around.
0:21:18 > 0:21:20I just think, if it went to an auction today,
0:21:20 > 0:21:23I think you would be looking in the region of about
0:21:23 > 0:21:25£15,000 to £20,000.
0:21:30 > 0:21:32Oh, well, I won't wear it!
0:21:32 > 0:21:36You won't wear it? You should wear it even more!
0:21:36 > 0:21:38It's a joy, absolute joy for me to see this, really,
0:21:38 > 0:21:40- thank you very much. - Thank you, thank you.
0:21:40 > 0:21:41Enjoy it, wear it.
0:21:41 > 0:21:45- All right. She will, she will. - OK, thank you.
0:21:47 > 0:21:50Well, they say you can't judge a book by its cover,
0:21:50 > 0:21:53and this is actually a rather splendid cover,
0:21:53 > 0:21:56this lovely marbled card cover but you peel back
0:21:56 > 0:21:58this piece of tissue paper
0:21:58 > 0:22:02and there's this absolutely glorious painting of a little cottage.
0:22:02 > 0:22:06Now, what's your relationship with this little painting?
0:22:06 > 0:22:10Well, it's a family item. It came from my parents.
0:22:10 > 0:22:12Beyond that, I don't know.
0:22:12 > 0:22:14I'm hoping to find out
0:22:14 > 0:22:19whether it's a commercial item or a one-off or what.
0:22:19 > 0:22:23Well, it's got tiny, tiny writing round here,
0:22:23 > 0:22:25that looks as if it's been written by a little mouse.
0:22:25 > 0:22:27And I'm going to...
0:22:27 > 0:22:31I can't really read it very clearly with that, but fortunately
0:22:31 > 0:22:37you have made a translation, so what it says is, "Beneath is a residence,
0:22:37 > 0:22:42"cheerful though small. Give it what name you please except Liberty Hall.
0:22:42 > 0:22:45"Tis wire fenced and airy and some people say
0:22:45 > 0:22:49"The guest who once enters can ne'er get away.
0:22:49 > 0:22:53"Pray, lift the latch gently and peep in with care,
0:22:53 > 0:22:57"Lest the tenants you fright and their premises tear."
0:22:57 > 0:23:01Well, shall we do what it says? It says "lift the latch gently".
0:23:01 > 0:23:06I can see there's a little tiny bit of cord here
0:23:06 > 0:23:12and I'm going to lift the latch gently...and what have we caught?
0:23:12 > 0:23:13We've caught two mice.
0:23:13 > 0:23:15We've caught two mice, two country mice.
0:23:15 > 0:23:19But it also gives us an idea of the intricacy
0:23:19 > 0:23:23of this extraordinary bit of scissor work.
0:23:23 > 0:23:27So here we have something that I'm sure was made by hand.
0:23:27 > 0:23:33I would imagine that it was done by a lady of leisure,
0:23:33 > 0:23:35and she created this, what we call a "peep".
0:23:35 > 0:23:39And I would've thought that it was done in the early part
0:23:39 > 0:23:42of the 19th century sometime,
0:23:42 > 0:23:43the 1830s, 1840s.
0:23:43 > 0:23:47Absolutely charming, incredibly commercial.
0:23:47 > 0:23:50And I would say today it's worth between £300 and £500.
0:23:51 > 0:23:54My word, that does surprise me.
0:23:56 > 0:23:59What a wonderful thing you've brought us here today.
0:23:59 > 0:24:01- This is quite amazing. - You're very welcome.
0:24:01 > 0:24:03It's things like this that I absolutely love.
0:24:03 > 0:24:06What do you know about it, and where's it from?
0:24:06 > 0:24:09Well, it's been in the family for quite some time.
0:24:09 > 0:24:13I believe that it was either bought for, or by, my great grandmother.
0:24:13 > 0:24:18- We had some relatives go over to Chicago, Boston area, around there. - Exactly.
0:24:18 > 0:24:23But that would be sort of the late 1790s, maybe early 1800s.
0:24:23 > 0:24:26Whether they sent it across or not, I have no idea.
0:24:26 > 0:24:28But it's been in the family for quite a long time.
0:24:28 > 0:24:31- So they sent it across the sea? - I think so,
0:24:31 > 0:24:33or maybe when it was fashionable in London,
0:24:33 > 0:24:35- it was bought in London. - Yeah.
0:24:35 > 0:24:37That fits in more with what I think that this is.
0:24:37 > 0:24:42I mean, people think that these are tribal things,
0:24:42 > 0:24:47maybe Indians of the Great Lakes or something like that.
0:24:47 > 0:24:49I think they could've been made by those people,
0:24:49 > 0:24:52- but I think they were made for Western fashion.- Yes, yes.
0:24:52 > 0:24:56Because, you see, in 1824 I think it is,
0:24:56 > 0:24:58the Hawaiian king and queen visited England
0:24:58 > 0:25:01and their attendants wore feathered robes
0:25:01 > 0:25:04- for part of their cultural heritage. - Oh, right, yeah.
0:25:04 > 0:25:09- And that started the fashion for people wearing these pelerines, as they're called.- Yes.
0:25:09 > 0:25:12Feathered capes. And as you can see,
0:25:12 > 0:25:16it's got pieces down the front, but it's a cape at the back
0:25:16 > 0:25:21with lovely feathers there, which are from the peacock.
0:25:21 > 0:25:24- Yes.- And there are no peacocks in America.- Right.
0:25:24 > 0:25:29So there is a conundrum deciding where these were made,
0:25:29 > 0:25:32and some were made, I believe, in South Africa
0:25:32 > 0:25:37- by Indian or Chinese craftspeople. - Yeah.
0:25:37 > 0:25:40Some believe that the people from the Great Lakes
0:25:40 > 0:25:43and the Iroquois made them for the Boston ladies,
0:25:43 > 0:25:47New England and so on, to wear in the evening.
0:25:47 > 0:25:52You've got feathers from a variety of birds, but often these feathers
0:25:52 > 0:25:55- were traded and so on, like they traded beads.- Yeah.
0:25:55 > 0:25:58You know, they were like jewels to certain people.
0:25:58 > 0:26:02- In fact, they've got four of these in the Smithsonian.- Mm-hmm?
0:26:02 > 0:26:05- You know, the Smithsonian? - I've heard of it, yes.
0:26:05 > 0:26:07Which is a big American institute,
0:26:07 > 0:26:14- a wonderful museum of ethnographical and American social history.- Mm-hmm.
0:26:14 > 0:26:19- And two of them in that collection are in the Ethnographic Department. - Oh, right.
0:26:19 > 0:26:22And two are in the Department of Social History and Fashion,
0:26:22 > 0:26:27- so even they're not sure exactly where to place them in a category. - Yep.
0:26:27 > 0:26:31But I think it's the most spectacular thing.
0:26:31 > 0:26:34It's lined with goose or duck down,
0:26:34 > 0:26:37it's a very hard thing to value because they're so rare.
0:26:37 > 0:26:40They don't survive. Feathers get eaten and destroyed,
0:26:40 > 0:26:43they fall apart, but this is in amazing condition.
0:26:43 > 0:26:47I love it and it's difficult to value
0:26:47 > 0:26:51because it's very hard to be specific about where it was made.
0:26:51 > 0:26:54But I would value that at about £1,000
0:26:54 > 0:26:57and if one could be more specific
0:26:57 > 0:27:01as to where it was made, it could be even higher.
0:27:01 > 0:27:04- Right.- What do you intend to do with it?
0:27:04 > 0:27:08Well, stay in the family, see if I can do a bit more research on it, but eventually it's going
0:27:08 > 0:27:11to go somewhere, some museum or wherever,
0:27:11 > 0:27:15- if we can find out where... - Well, the Smithsonian have got four, so maybe...
0:27:15 > 0:27:17- I don't think the British Museum have got any.- Oh, right.
0:27:17 > 0:27:22- They would love a donation! - We'll see what we can do at some time in the future.
0:27:22 > 0:27:24- Thank you very much.- My pleasure.
0:27:28 > 0:27:30So what super pots, aren't they?
0:27:30 > 0:27:34They scream Winchcombe Pottery to me, but of course they're not
0:27:34 > 0:27:37made in Winchcombe but they're made out in Africa, in Nigeria.
0:27:37 > 0:27:40- Yes, that's correct. - How did you come by them?
0:27:40 > 0:27:43I bought them in 1966.
0:27:43 > 0:27:46What were you doing in Nigeria?
0:27:46 > 0:27:50I was working, I was working for rug designers
0:27:50 > 0:27:52and I was travelling extensively.
0:27:52 > 0:27:55- I saw these pots and I just thought they were lovely.- Yes.
0:27:55 > 0:27:59And I was told that there was a famous lady potter,
0:27:59 > 0:28:05she was the first lady Nigerian potter, and I noticed that
0:28:05 > 0:28:09I particularly liked her work, so I just bought a few.
0:28:09 > 0:28:12- And you went and saw her potting? - Yes, I've seen her at the wheel.
0:28:12 > 0:28:14- Good Lord. This is Ladi Kwali. - That's right.
0:28:14 > 0:28:17- These are marked, are they, Ladi Kwali?- Yes, that's right.
0:28:17 > 0:28:22- Yes, you've got "LK" for Ladi Kwali and the Abuja mark.- Yes, yes.
0:28:22 > 0:28:24They're lovely pots. It's a super mug, isn't it?
0:28:24 > 0:28:28And it's inspired by Winchcombe,
0:28:28 > 0:28:31- where Michael Cardew was originally the potter.- Yes, yes.
0:28:31 > 0:28:35- And he went over to Nigeria to train potters over there.- That's right.
0:28:35 > 0:28:38And one of his great pupils was Ladi Kwali.
0:28:38 > 0:28:42Now this has got an inscription on it, "Hassan"...
0:28:42 > 0:28:46and "Katsina Governor".
0:28:46 > 0:28:48Governor, yes.
0:28:48 > 0:28:51Now, he was the Governor of Nigeria.
0:28:51 > 0:28:53I was told that it was made for him,
0:28:53 > 0:28:57but he hadn't turned up to buy it, so I bought it.
0:28:57 > 0:29:01- Ooh!- I just liked it, it's just beautiful.
0:29:01 > 0:29:03How much did you pay for it?
0:29:03 > 0:29:05I can't really remember,
0:29:05 > 0:29:08but it would've been a nominal amount, probably £10.
0:29:08 > 0:29:12- Yes, yes. - For each of these items, really.
0:29:12 > 0:29:16Well, now, Ladi Kwali's pots are very collectable.
0:29:16 > 0:29:19She's one of the great world potters,
0:29:19 > 0:29:22and a mug like that I suppose is going to be
0:29:22 > 0:29:24a couple of hundred pounds.
0:29:24 > 0:29:27A mug like this, especially made for the Governor,
0:29:27 > 0:29:30is going to be probably double that,
0:29:30 > 0:29:32and the coffee pot probably the same.
0:29:32 > 0:29:36The total value of all this must be, I suppose, £1,000.
0:29:36 > 0:29:40Gosh, that's much more than I expected, but they're lovely.
0:29:40 > 0:29:44- Yes.- And they will become family heirlooms.- Oh, yes, of course.
0:29:57 > 0:29:59Do you remember earlier on,
0:29:59 > 0:30:02our ceramics specialist John Sandon set us a challenge to work out
0:30:02 > 0:30:07which of these three monkey figurines is the basic model,
0:30:07 > 0:30:10the better model worth about £1,000
0:30:10 > 0:30:13and the best model worth...say, £10,000?
0:30:13 > 0:30:14Now, I had a bit of a go,
0:30:14 > 0:30:17our visitors here have had a bit of a go.
0:30:17 > 0:30:21John, I have set these in the order in which I think they are,
0:30:21 > 0:30:24so basic, better, best.
0:30:25 > 0:30:27But they all look very similar to me.
0:30:27 > 0:30:31First, what are these all about? They're rather strange, aren't they?
0:30:31 > 0:30:33Yes. This is the conductor from the monkey band.
0:30:33 > 0:30:36The first monkey band was made for the King of Saxony.
0:30:36 > 0:30:39Augustus III was famous for his lavish banquets.
0:30:39 > 0:30:42One story goes that a guest made fun of his prized orchestra.
0:30:42 > 0:30:44They said they played like performing monkeys.
0:30:44 > 0:30:48The King laughed at that and someone thought it would be a nice idea
0:30:48 > 0:30:51to make a full orchestra, as monkeys, out of porcelain
0:30:51 > 0:30:53to set out on his table at the banquet.
0:30:53 > 0:30:57And these were created at Meissen in 1753.
0:30:57 > 0:30:59Of course, Meissen, the finest porcelain.
0:30:59 > 0:31:02- Did these become fashionable, then?- Yes.
0:31:02 > 0:31:06Madame de Pompadour bought a set of 18 monkey bands from Meissen in 1753
0:31:06 > 0:31:08and that set the whole fashion.
0:31:08 > 0:31:11Every palace in Europe wanted a set.
0:31:11 > 0:31:13It seems a very odd thing to collect.
0:31:13 > 0:31:16To be honest, I don't think they're particularly attractive,
0:31:16 > 0:31:21but presumably there were many made, and that's why we've got these three models here.
0:31:21 > 0:31:25Yes. These are the conductors. Singers and musicians would form the set
0:31:25 > 0:31:26and they were copied everywhere.
0:31:26 > 0:31:29In England, they were copied at Chelsea and Derby. They were copied in France,
0:31:29 > 0:31:34and especially in Dresden, where many little factories all made copies.
0:31:34 > 0:31:35That's why there are so many about.
0:31:35 > 0:31:41The only way I could judge them was trying to look at the fineness of the painting
0:31:41 > 0:31:43and of the detail of the faces.
0:31:43 > 0:31:46To begin with, you need to literally weigh the evidence,
0:31:46 > 0:31:49and I'd like to hold them and feel the weight.
0:31:49 > 0:31:51Oh, I see. I didn't do that.
0:31:51 > 0:31:55- But try these two, that one there... - Very light.
0:31:55 > 0:31:58- And this one. - Little bit heavier.
0:31:58 > 0:32:00Indeed. Meissen is heavier porcelain,
0:32:00 > 0:32:05so that tells us this is more dense, so Meissen is going to be heavier.
0:32:05 > 0:32:09That's the heaviest. OK. Keep me in suspense, right.
0:32:09 > 0:32:11You did the right thing, looking at the detail,
0:32:11 > 0:32:14how carefully they're modelled and painted.
0:32:14 > 0:32:17Here, his face is quite fierce and he has
0:32:17 > 0:32:19details in the teeth.
0:32:19 > 0:32:23But when you look at these teeth and the modelling there, there's more to it.
0:32:23 > 0:32:27Every little streak of the hair is carefully painted.
0:32:27 > 0:32:31That is a sign of quality, so one can distinguish there is a difference here.
0:32:31 > 0:32:35This actually is the basic one because this is the copy.
0:32:35 > 0:32:39This one is too light, it isn't the quality of Meissen.
0:32:39 > 0:32:42This was made by a notorious faker in France, called Samson.
0:32:42 > 0:32:45And they copied all the things that Meissen made,
0:32:45 > 0:32:49and made different versions of it. So this Samson copy
0:32:49 > 0:32:51has on the back of it Samson's mark.
0:32:51 > 0:32:53Meissen used a crossed swords as a mark.
0:32:53 > 0:32:55That's Samson's version, which is a cross
0:32:55 > 0:32:59with a little line through the middle, it's not a crossed swords at all.
0:32:59 > 0:33:03- OK, so this is the basic one. - So that's the basic one. - So let's put him here, right.
0:33:03 > 0:33:09- He's worth £100 as a jolly good fake from 100 years ago. - OK, got that wrong!
0:33:09 > 0:33:12These two are both from the Meissen factory
0:33:12 > 0:33:15and, in the 18th century, when Meissen first made it,
0:33:15 > 0:33:17they were very proud of their porcelain.
0:33:17 > 0:33:20They left quite a bit of white showing.
0:33:20 > 0:33:25What I like about this one here is the base is left fairly plain and white.
0:33:25 > 0:33:27This one has got more colouring there.
0:33:27 > 0:33:32The colouring came in in the 19th century, so these are both made at Meissen.
0:33:32 > 0:33:36This one was made in about 1830 or 1840,
0:33:36 > 0:33:40but this one is the early example, so this is the best one.
0:33:40 > 0:33:45- You got it right.- Hurrah! Sheer luck. - Slipped up on those.
0:33:45 > 0:33:46But this is the best one.
0:33:46 > 0:33:52This was made in the 1750s. The quality for the King's own banqueting table,
0:33:52 > 0:33:56and it really jumps out, the quality, and these are jolly rare.
0:33:56 > 0:33:59Are they? At least one out of three's not too bad, John.
0:33:59 > 0:34:02And you did get the best one right, which is this one,
0:34:02 > 0:34:05and today this is worth £10,000.
0:34:05 > 0:34:08Goodness me! Well, there you are. If you happen to have
0:34:08 > 0:34:12one of these characters from a monkey orchestra at home, now, having listened to John,
0:34:12 > 0:34:18you'll know what to look for, and you can work out if yours is basic, better or best.
0:34:26 > 0:34:29When we think of Brazil, we think of beautiful women,
0:34:29 > 0:34:32we think of sunny beaches and the carnival,
0:34:32 > 0:34:36but rarely do we think about pocket watches.
0:34:36 > 0:34:41But we have here a lovely pocket watch that's been bought in Brazil.
0:34:41 > 0:34:44Yes. My grandfather.
0:34:44 > 0:34:46- He was the buyer?- Yes.
0:34:46 > 0:34:48And do you remember your grandfather?
0:34:48 > 0:34:52I do, actually, yes. He died when he was 102.
0:34:52 > 0:34:56- 102?!- Yes.- And do you know when your grandfather bought the watch?
0:34:56 > 0:35:00I think he bought it when he was about 40 years old.
0:35:00 > 0:35:04OK, so that would place it in around the 1920s.
0:35:04 > 0:35:05Yes.
0:35:05 > 0:35:08Yeah, that makes perfect sense because Gondolo and Labouriau were
0:35:08 > 0:35:14Patek's agents from the latter part of the 19th century through to 1927.
0:35:14 > 0:35:17What do you know about Patek Philippe?
0:35:17 > 0:35:20We know it's a Swiss brand, very famous for watches.
0:35:20 > 0:35:24- They are the MOST famous company for watches.- Oh.
0:35:24 > 0:35:28In the 20th century, they brought watchmaking to a level
0:35:28 > 0:35:29that no-one else has achieved,
0:35:29 > 0:35:33and they are still the greatest watchmaker in the world today.
0:35:33 > 0:35:37And Patek Philippe made a small number of pocket watches
0:35:37 > 0:35:40and wrist watches for the South American market.
0:35:40 > 0:35:43And they were only retailed by a company called
0:35:43 > 0:35:47- Gondolo and Labouriau in Rio. - Oh.
0:35:47 > 0:35:51And they were very exclusive. And when they made them,
0:35:51 > 0:35:54they had to fulfil four criteria,
0:35:54 > 0:35:58and that was all to do with the movement.
0:35:58 > 0:36:00And within the movement...
0:36:01 > 0:36:06..is a series of wheels
0:36:06 > 0:36:10in the train of wheels, and the wheel train has to be solid gold.
0:36:10 > 0:36:14And the way that you regulate the watch has to be done
0:36:14 > 0:36:18in a very special way, using a special micron adjuster.
0:36:18 > 0:36:21And it had to fulfil all those criteria before it could be
0:36:21 > 0:36:25retailed by Gondolo and Labouriau, who were very pernickety
0:36:25 > 0:36:29about the fact that they would only sell Patek's best quality watches.
0:36:29 > 0:36:32So your grandfather had fantastic taste.
0:36:33 > 0:36:37What's nice about this watch is that it comes with its original
0:36:37 > 0:36:40travelling box as well, and it's in super condition.
0:36:40 > 0:36:46The dial isn't in particularly good condition, but it can be cleaned up.
0:36:46 > 0:36:50It's something that I think that, if a collector were ever to
0:36:50 > 0:36:53acquire it, that's something that he could do.
0:36:53 > 0:36:56We should talk about value.
0:36:56 > 0:36:59Highly desirable, but what's really special is the size.
0:36:59 > 0:37:03It's just that step up from a normal Gondolo pocket watch
0:37:03 > 0:37:07and it makes all the difference when it comes to collectors.
0:37:07 > 0:37:10So, today a collector would have to pay
0:37:10 > 0:37:13between £6,000 and £7,000 for it.
0:37:13 > 0:37:15Oh...
0:37:16 > 0:37:19- You're lucky ladies. - Yes, very nice.
0:37:21 > 0:37:24This is almost a first for me.
0:37:24 > 0:37:29- I don't do paintings. In fact, I'm pleased to call them flatware.- OK!
0:37:29 > 0:37:32THEY LAUGH
0:37:32 > 0:37:37But this thing is something else. It's a very interesting
0:37:37 > 0:37:41and appealing gouache painting.
0:37:43 > 0:37:47It's by Bernard Leach, who is credited as being
0:37:47 > 0:37:50the father of English studio pottery.
0:37:50 > 0:37:55He was not just a great potter, but he was a great philosopher.
0:37:55 > 0:38:00And I think, most important of all, teacher.
0:38:01 > 0:38:08He was born in Hong Kong, he went to Japan and he met a young
0:38:08 > 0:38:13potter called Shoji Hamada, and they set up a pottery
0:38:13 > 0:38:17in St Ives in Cornwall in 1920.
0:38:19 > 0:38:25This is dated 1921,
0:38:25 > 0:38:30so this is a very early bit of Leach.
0:38:30 > 0:38:34And then we've got his monogram, "BL", in the middle there.
0:38:36 > 0:38:38Where did you get it from?
0:38:38 > 0:38:41- We won it in a raffle. - Oh, come on!
0:38:41 > 0:38:43In St Ives.
0:38:43 > 0:38:47It was 1977, we were on holiday, we went into one of the local
0:38:47 > 0:38:52art galleries, they had a raffle with 100 tickets at £25 each.
0:38:52 > 0:38:58- Oh, serious money.- Serious money, so we thought, "£25 is worth a gamble."
0:38:58 > 0:39:00- Sure. - "We'll get something."
0:39:00 > 0:39:03And then we went home at the end of the holiday
0:39:03 > 0:39:05and then a couple of months later they wrote and said,
0:39:05 > 0:39:08"You've won this painting by Bernard Leach."
0:39:08 > 0:39:13I think what he's looking at here is a bit of folk pottery.
0:39:13 > 0:39:18And I guess he probably brought this thing back with him from Japan.
0:39:18 > 0:39:23And he's actually given an amazingly good interpretation
0:39:23 > 0:39:25of the pot, I think.
0:39:25 > 0:39:28You didn't keep any of the paperwork, did you, that went with it,
0:39:28 > 0:39:32- when you...?- We got a letter from the art gallery.- You've got that?
0:39:32 > 0:39:34- We have... - In this envelope? OK.
0:39:34 > 0:39:37We have the raffle ticket and the letters.
0:39:37 > 0:39:40- OK. Ah, "Grand Draw". - That's it.
0:39:40 > 0:39:44"Penwith Special Draw. This ticket entitles the holder to one
0:39:44 > 0:39:48"work from the draw, order of selection to be decided by lot.
0:39:48 > 0:39:52"£25. Work on view in the Penwith Gallery..."
0:39:53 > 0:39:56Well, I've got £25 in my pocket, actually.
0:39:56 > 0:39:57THEY LAUGH
0:39:57 > 0:40:02Leach is greatly revered. You know, he's mega,
0:40:02 > 0:40:05and you're not going to find another one of those.
0:40:05 > 0:40:08Where are you going to go and find another Bernard Leach painting?
0:40:08 > 0:40:10You're just not.
0:40:10 > 0:40:13I think if you were to sell that today - I know you're not going to
0:40:13 > 0:40:19but were you to - one would think in the order of £6,000 to £9,000.
0:40:19 > 0:40:21OK.
0:40:21 > 0:40:24- It wasn't bad for 25 quid. - No, not at all.
0:40:28 > 0:40:33I think we'd agree that the British summer can be just truly glorious,
0:40:33 > 0:40:37and this oil painting of two bathers by the sea,
0:40:37 > 0:40:40bright summer's day, is just such a splendid image.
0:40:40 > 0:40:42Tell me where you got it from?
0:40:42 > 0:40:44Well, it's quite a simple story, really.
0:40:44 > 0:40:48My wife and I were in a second hand shop about ten years ago
0:40:48 > 0:40:52and my wife spotted it first and she just immediately fell in love
0:40:52 > 0:40:54with it and had to have it, basically.
0:40:54 > 0:40:57We just immediately... There was no decision to be made,
0:40:57 > 0:41:01it was there to be had, so... And the rest is history.
0:41:01 > 0:41:04Was it sold to you as by anyone, of any date?
0:41:04 > 0:41:08Yeah, it was in amongst several other pictures at the time.
0:41:08 > 0:41:12There was nothing there to sell itself so, no, we just sorted it out
0:41:12 > 0:41:14- and bought it. - And how much did it cost?
0:41:14 > 0:41:16About £20.
0:41:16 > 0:41:18- So you're enjoying it now? - Yeah.
0:41:18 > 0:41:21Obviously, it's a wonderful subject, but tell me,
0:41:21 > 0:41:23have you done any further research on the picture?
0:41:23 > 0:41:25I know my wife's looked on the internet
0:41:25 > 0:41:30and she'd noticed that the artist in question had exhibited
0:41:30 > 0:41:32at The Academy, but that's about all we know.
0:41:32 > 0:41:35The writing at the bottom, "R Wheelwright", gives it away.
0:41:35 > 0:41:41Roland Wheelwright, who was born in Queensland, Australia, in 1870.
0:41:41 > 0:41:44But actually, he's much better known for his British pictures,
0:41:44 > 0:41:46and so he arrives in England
0:41:46 > 0:41:49and starts painting up at the British School of Art
0:41:49 > 0:41:54under Hubert von Herkomer, and he paints very commercial pictures.
0:41:54 > 0:41:58This dates to about 1920, maybe 1923.
0:41:58 > 0:42:02Throughout his career, he exhibits almost 41 pictures
0:42:02 > 0:42:05at the Royal Academy, so he was a very, very commercial artist.
0:42:05 > 0:42:11I think such a wonderful summer image like this is probably inspired
0:42:11 > 0:42:14by the great pictures of Dame Laura Knight from the Newlyn School.
0:42:15 > 0:42:18Great colour, great light, super subject.
0:42:18 > 0:42:21Now, this painting was probably painted in situ.
0:42:21 > 0:42:25We call it "en plein air", i.e. the artist literally painting
0:42:25 > 0:42:29outside and fresh, free paint straight onto the canvas.
0:42:29 > 0:42:33You almost feel they're about to jump in, but is it too cold?
0:42:33 > 0:42:35I think it would be, yes.
0:42:35 > 0:42:38There was a picture exhibited at the Royal Academy called
0:42:38 > 0:42:41"The Bathing Pool", 1923,
0:42:41 > 0:42:44and I suspect, with a little bit more work, we might be able
0:42:44 > 0:42:47to pin this picture down as that Royal Academy exhibit.
0:42:47 > 0:42:49Oh.
0:42:49 > 0:42:52Really wonderful picture and such a commercial painting.
0:42:52 > 0:42:56Just the sort of picture that we would all see prints on cards,
0:42:56 > 0:42:59greetings cards, and pictures don't get much more commercial than this
0:42:59 > 0:43:06for specialists like me. And your £20 has gone up hugely.
0:43:06 > 0:43:10This picture would certainly make £10,000 to £15,000 at auction.
0:43:12 > 0:43:13She's got a good eye!
0:43:13 > 0:43:15HE LAUGHS
0:43:15 > 0:43:18Wow, that's amazing.
0:43:19 > 0:43:22Well, thank you. Thank you very much.
0:43:23 > 0:43:26All day while we've been at the University of Birmingham,
0:43:26 > 0:43:30we've been looked on by the great heroes of literature, art,
0:43:30 > 0:43:32philosophy and science.
0:43:32 > 0:43:36You know, I think, with the objects that have been brought in today,
0:43:36 > 0:43:37we've done them proud.
0:43:37 > 0:43:39We've had a wonderful day here at the university.
0:43:39 > 0:43:42From the whole Roadshow team, until next time, bye-bye.