0:00:03 > 0:00:06"This castle hath a pleasant seat, the air nimbly
0:00:06 > 0:00:10"and sweetly recommends itself unto our gentle senses."
0:00:10 > 0:00:13It is not often I get to quote Shakespeare,
0:00:13 > 0:00:16but today's Antiques Roadshow location has links to one
0:00:16 > 0:00:20of his most famous plays, so I thought, why not?
0:00:20 > 0:00:24Welcome to the Antiques Roadshow from Cawdor Castle,
0:00:24 > 0:00:26near Inverness in the Scottish Highlands.
0:01:17 > 0:01:21This is the furthest north the roadshow will come this series.
0:01:21 > 0:01:22This castle has been home
0:01:22 > 0:01:24since the 14th century to the feudal barons
0:01:24 > 0:01:28known as the Thanes of Cawdor.
0:01:28 > 0:01:31And there was, of course, a very famous Thane of Cawdor -
0:01:31 > 0:01:33Shakespeare's Macbeth.
0:01:33 > 0:01:35But I hate to disappoint you, he never lived here
0:01:35 > 0:01:39and quite possibly the play has nothing to do with this castle.
0:01:43 > 0:01:46And yet the history has all the ingredients
0:01:46 > 0:01:48of a Shakespearean drama.
0:01:48 > 0:01:51Built as a fortress by the Third Thane of Cawdor,
0:01:51 > 0:01:54legend has it that the following instructions that came to him
0:01:54 > 0:01:55in a dream,
0:01:55 > 0:01:59he loaded his donkey and wherever the animal lay down to rest,
0:01:59 > 0:02:01there his castle should be sited.
0:02:03 > 0:02:07It is said that the donkey laid down under this tree,
0:02:07 > 0:02:12a holly tree still standing, which dates back to 1372.
0:02:12 > 0:02:17And that date tallies with when the castle keep was built around it.
0:02:19 > 0:02:23Since then, the castle's inhabitants have had their fair share of drama.
0:02:26 > 0:02:29One of the most dramatic events centres around the Eighth Thane's
0:02:29 > 0:02:31young daughter, Muriel.
0:02:31 > 0:02:33Her father's archenemy kidnapped her
0:02:33 > 0:02:37and forced her to marry his son when she was 12.
0:02:37 > 0:02:39In 1510, the couple returned to the castle
0:02:39 > 0:02:43and, remarkably, it seems they lived happily ever after.
0:02:43 > 0:02:47In fact, they are thought to be two of the castle's resident ghosts.
0:02:48 > 0:02:51The rest of the family weren't so lucky and, like many
0:02:51 > 0:02:56of Shakespeare's characters, perished in various gruesome ways -
0:02:56 > 0:02:59like being burned at the stake for witchcraft or
0:02:59 > 0:03:01murdered by their own family members,
0:03:01 > 0:03:03like the wife who was tied to a rock
0:03:03 > 0:03:06and left to drown by a husband who had tired of her.
0:03:06 > 0:03:09Thankfully, some fishermen rowed past and save her.
0:03:10 > 0:03:13Though the links between Shakespeare's Scottish play
0:03:13 > 0:03:15and Cawdor Castle are fictional,
0:03:15 > 0:03:16people still flock here,
0:03:16 > 0:03:20drawn to the possibility that this is where Macbeth lived.
0:03:24 > 0:03:26Today, the stage is set for another roadshow
0:03:26 > 0:03:28and the crowds are here to see our experts.
0:03:31 > 0:03:35- This picture is about fishing, isn't it?- Yes.
0:03:35 > 0:03:40They are in the North Atlantic somewhere in a fishing boat, I think.
0:03:40 > 0:03:42The chart is of the North Atlantic.
0:03:42 > 0:03:45- And they are lost.- They are quite lost, aren't they?- Yes.
0:03:45 > 0:03:48- It's called Out Of Their Reckoning. - Yes.
0:03:48 > 0:03:52- So, that's the clue, isn't it? And it is by Albert Starling.- Yes.
0:03:52 > 0:03:55And it is about 1890... I don't know two, four.
0:03:55 > 0:03:58I think it was in the Royal Academy in 1898.
0:03:58 > 0:04:01- 1898?- Yes, I think so. - Yes, it's about then.
0:04:01 > 0:04:03But you know what I liked about this picture was
0:04:03 > 0:04:06the rhythm of colours going around.
0:04:06 > 0:04:08We've got the lovely rhythm.
0:04:08 > 0:04:10This is almost the same green as the boy.
0:04:10 > 0:04:12And the browns and the greens and the blues
0:04:12 > 0:04:15and these dings of red in their neckerchiefs, as well.
0:04:15 > 0:04:17It's really picking this out. But, above all,
0:04:17 > 0:04:20these wonderful different light sources, this picture has.
0:04:20 > 0:04:24You've got it coming down through the open hatch above them, on to
0:04:24 > 0:04:28the chart room table and then you've got this lamp here, as well,
0:04:28 > 0:04:31separately lighting them. Beautiful. Beautiful.
0:04:31 > 0:04:33What I also liked about it is, clearly,
0:04:33 > 0:04:35the navigator is the man with the dividers here.
0:04:35 > 0:04:38He's the man who has got himself a bit lost on the chart,
0:04:38 > 0:04:41- don't you think? - Yes.- He's having to ask the old boy
0:04:41 > 0:04:44who doesn't know anything about charts where he thinks
0:04:44 > 0:04:47they are by dead reckoning - maybe to sea colour, maybe the weather.
0:04:47 > 0:04:50But he's using on his experience, you see,
0:04:50 > 0:04:53to try and help him find out where they are.
0:04:53 > 0:04:56I wondered if it was an allegory.
0:04:56 > 0:05:00Man and God, perhaps, you know, ode to the reckoning.
0:05:00 > 0:05:02Looking for some sort of wisdom.
0:05:02 > 0:05:05I think that's entirely relevant with a Victorian picture.
0:05:05 > 0:05:07A Victorian audience would have looked at that
0:05:07 > 0:05:10and picked up on those references far quicker than we do today.
0:05:10 > 0:05:13Albert Starling, well, he's...
0:05:13 > 0:05:16- He's not a great name. Not really.- No.
0:05:16 > 0:05:18But I thought it was such a successful picture that
0:05:18 > 0:05:22could not have been painted really until after this new wave
0:05:22 > 0:05:25of English artists, influenced by French painting,
0:05:25 > 0:05:28had come to Britain and started colonies like in
0:05:28 > 0:05:29Newland and Staines,
0:05:29 > 0:05:31where they are really interested in the effects
0:05:31 > 0:05:33of light in interiors.
0:05:33 > 0:05:36Now, you, I think, have brought this picture to a roadshow before,
0:05:36 > 0:05:40- is that right?- About 20 years ago.
0:05:40 > 0:05:43So, it was valued then. What they put on it?
0:05:43 > 0:05:46£2,000, I think.
0:05:46 > 0:05:48- £2,000 about 20 years ago.- Yes.
0:05:48 > 0:05:51- Well, I think we can improve on that.- Really?- Oh, yes.
0:05:51 > 0:05:54I had assumed it would have dropped in value.
0:05:54 > 0:05:56No, well, that's what people do sometimes,
0:05:56 > 0:05:58but every once in a while, a picture comes along
0:05:58 > 0:06:01that is just so lovely and has got such a wonderful light in it
0:06:01 > 0:06:04and is so accessible and readable, that so desirable domestically
0:06:04 > 0:06:07that actually, I think, that role changes around
0:06:07 > 0:06:09because it is polarized, you see.
0:06:09 > 0:06:12Everyone wants what everyone else wants now,
0:06:12 > 0:06:14and I think there'll be a bit of a crowd after this.
0:06:14 > 0:06:18- Really?- Making a value of between six and £8,000.- Wow.
0:06:18 > 0:06:21- Thank you.- Not at all.
0:06:21 > 0:06:22Thank you very much.
0:06:26 > 0:06:27So, this is a very handsome,
0:06:27 > 0:06:29sizable beastie you have brought us
0:06:29 > 0:06:32in to look at for you today.
0:06:32 > 0:06:33Are you a collector?
0:06:33 > 0:06:36No, I'm not a collector, it's actually a family piece.
0:06:36 > 0:06:37It actually belongs to my husband.
0:06:37 > 0:06:40He inherited it about four years ago,
0:06:40 > 0:06:43but he remembers it in the family for a very long time
0:06:43 > 0:06:46because he remembers, as a very small boy, actually sitting on him.
0:06:46 > 0:06:48- Did he?- And I think it was that at that point
0:06:48 > 0:06:49it was actually promised to him.
0:06:49 > 0:06:52- So, he's got a good memory? - He has got a very good memory.
0:06:52 > 0:06:54Like an elephant. Never forgets.
0:06:54 > 0:06:58Um, it's Japanese, bronze.
0:06:58 > 0:07:01It's made in the Meiji period,
0:07:01 > 0:07:05somewhere around sort of 1890, maybe at its latest 1910.
0:07:05 > 0:07:08It is such an impressive size compared to
0:07:08 > 0:07:12a lot of the Japanese bronzes that I have seen for that period.
0:07:12 > 0:07:14They do tend to be much smaller.
0:07:14 > 0:07:17Even a third the size of this would be considered quite a big
0:07:17 > 0:07:20bronze of that period. And really attention to detail.
0:07:20 > 0:07:23I mean, we can see the kind of movement of the animal
0:07:23 > 0:07:26as it's walking. You can see the skin, the folds.
0:07:26 > 0:07:28It has a certain sort of life to it.
0:07:28 > 0:07:31If we gently turn it over,
0:07:31 > 0:07:33and I will be very, very careful here,
0:07:33 > 0:07:36and just turn this over,
0:07:36 > 0:07:39we will see on the underside,
0:07:39 > 0:07:42just here, that we've got this double seal mark.
0:07:42 > 0:07:45I believe this is for a sculptor by the name of Seiya.
0:07:45 > 0:07:48S-E-I-Y-A.
0:07:48 > 0:07:53Who was famous for making these Japanese bronzes.
0:07:53 > 0:07:57Also, it has a wonderful patina. The colour is so very good.
0:07:57 > 0:08:00- And I like the family history. - Even though I haven't dusted it.
0:08:00 > 0:08:02I think that is all a very good thing, actually.
0:08:02 > 0:08:04I think not dusting it has preserved it in a lot of ways.
0:08:04 > 0:08:06I mean, I think people can over cleaning these
0:08:06 > 0:08:09and to the purest collector today, they want to see it like that.
0:08:09 > 0:08:11In a way, that's a discovered-in-an-attic
0:08:11 > 0:08:14type mentality. But, so, at an auction,
0:08:14 > 0:08:17it would command a presale estimate of between
0:08:17 > 0:08:19at least three to £5,000.
0:08:19 > 0:08:20Whoa!
0:08:22 > 0:08:25- Oh, wow.- So nobody will be riding it- anymore. No.
0:08:30 > 0:08:32Who designed this chair?
0:08:32 > 0:08:35ALL: Mackintosh.
0:08:35 > 0:08:37Macintosh. You see, I'm not really needed,
0:08:37 > 0:08:40cos these are all culture vultures. It's quite obvious.
0:08:40 > 0:08:44Charles Rennie Mackintosh, the great Scottish name,
0:08:44 > 0:08:47the great Glaswegian architect and designer,
0:08:47 > 0:08:52who was really very sort of popular in around about that 1890s
0:08:52 > 0:08:54through till around about 1915.
0:08:54 > 0:08:58And then he goes into a descendency.
0:08:58 > 0:09:01And it's, you know, literally in the last sort of 40,
0:09:01 > 0:09:0550 years that he has been recognised for being
0:09:05 > 0:09:07- a genius.- Yes.
0:09:07 > 0:09:11- But tell me a little bit, because these were found in Yorkshire.- Yes.
0:09:11 > 0:09:16My mother bought them in an auction sale in 1947 in Huddersfield.
0:09:16 > 0:09:21And they cost her... There were two of them. They cost her 21 guineas.
0:09:21 > 0:09:24- Which was quite a lot of money. - It was a lot of money.
0:09:24 > 0:09:27- Even in Yorkshire, that was a lot of money, wasn't it?- Yes, it was.
0:09:27 > 0:09:30I won't say any more about it. It's interesting because, you see,
0:09:30 > 0:09:32you've brought along a chair which has got me,
0:09:32 > 0:09:36if I can use a North Country term, slightly flummoxed.
0:09:36 > 0:09:38Because I've seen this chair many times
0:09:38 > 0:09:40- and it's normally about this height.- That's right.
0:09:40 > 0:09:44And I know that initially these chairs were designed
0:09:44 > 0:09:50for Ms Cranston's tea rooms in Argyle Street in 1897.
0:09:50 > 0:09:54And this is a slightly reduced version.
0:09:54 > 0:09:59Yes. My mother did have somebody look at it quite a few years ago now
0:09:59 > 0:10:04and they thought probably it was two of a set of six
0:10:04 > 0:10:08that had possibly been made as a dining set.
0:10:08 > 0:10:10Probably around the 1920s.
0:10:10 > 0:10:13Within his lifetime, which is important.
0:10:13 > 0:10:16- Let's just have a look at the chair. - All right.- Because invariably...
0:10:16 > 0:10:19I don't want to be unkind about Mackintosh chairs,
0:10:19 > 0:10:21but they're usually not very well made.
0:10:21 > 0:10:22Come down, have a look at this with me.
0:10:22 > 0:10:25What you have got here, you've got these stretches.
0:10:25 > 0:10:26Apparently,
0:10:26 > 0:10:29I talked to students who make furniture today,
0:10:29 > 0:10:32these are all in the wrong places,
0:10:32 > 0:10:34- from a stress point of view.- Yes.
0:10:34 > 0:10:40So... Mackintosh has decided that's where they should be.
0:10:40 > 0:10:43And the actual way it has been made... Let's come back up.
0:10:43 > 0:10:47Because you can see there is the fact these have been pinned in.
0:10:47 > 0:10:49- They have been pegged.- Yes.
0:10:49 > 0:10:52- So, he's staying true to sort of Arts and Crafts.- Yes.
0:10:52 > 0:10:57In so far as these are handmade, and yet, we take the seat out,
0:10:57 > 0:10:58which we can do...
0:10:58 > 0:11:01There we go, out it comes.
0:11:01 > 0:11:03- And this is all original. You've had that recovered?- Yes.
0:11:03 > 0:11:06- The original cover is underneath that cover.- Is it?
0:11:06 > 0:11:09You've got these, as you can see,
0:11:09 > 0:11:12the supports here are all screwed through.
0:11:12 > 0:11:14And the same true with the back splats.
0:11:14 > 0:11:18So, you know, there is a bit of a compromise, I think,
0:11:18 > 0:11:20the way it's been made.
0:11:20 > 0:11:24What I will say is that there will be a demand for this.
0:11:24 > 0:11:25- You've got a pair of them.- Yes.
0:11:25 > 0:11:30I think a pair of those would quite easily make
0:11:30 > 0:11:32somewhere in the region of around about four to £5,000.
0:11:32 > 0:11:35Ooooh!
0:11:35 > 0:11:36- Right.- Could you all do that again?
0:11:36 > 0:11:38THEY LAUGH
0:11:38 > 0:11:41You did that with such gusto, that was wonderful.
0:11:43 > 0:11:45The last thing I expected to see here was probably
0:11:45 > 0:11:47a collection of aboriginal material.
0:11:47 > 0:11:49Yet here it is.
0:11:49 > 0:11:52How did it come to be here?
0:11:52 > 0:11:55Well, this is a collection made by my husband.
0:11:55 > 0:11:58And when he was about 21-ish,
0:11:58 > 0:12:02he decided to go to Australia with a £10 passage.
0:12:02 > 0:12:03Right.
0:12:03 > 0:12:05And when he was there, after about three or four months
0:12:05 > 0:12:09and made enough money, just took off into the outback,
0:12:09 > 0:12:13on boats, working boats. And one was a mission boat,
0:12:13 > 0:12:17which would be delivering provisions to...one of the places
0:12:17 > 0:12:19- was Brute Island.- Yes.
0:12:19 > 0:12:24And most of what we see here is from Brute Island.
0:12:24 > 0:12:26Some of the aboriginal communities were offshore.
0:12:26 > 0:12:28You know, they spread throughout that area.
0:12:28 > 0:12:31Are we talking early '60s, mid-'60s?
0:12:31 > 0:12:35- Yes. I think he bought those in 1964.- Right.
0:12:35 > 0:12:39It was very unusual for someone that young to actually be
0:12:39 > 0:12:42drawn into this culture and what it represents.
0:12:42 > 0:12:46It was very much white Australia in those days.
0:12:46 > 0:12:49And what he was seeing, what he was collecting,
0:12:49 > 0:12:52was little-known at that point.
0:12:52 > 0:12:55Now, these pieces, as we say, have various functions.
0:12:55 > 0:12:58I like best the woomera, which was a throwing stick.
0:12:58 > 0:13:03You used it for throwing a spear, which I am not going to demonstrate.
0:13:03 > 0:13:08But a spear slots on and effectively you are using it
0:13:08 > 0:13:11to flick, to extend the power of your arm.
0:13:12 > 0:13:15Digging stick, rhythm stick, one of those.
0:13:15 > 0:13:18Um, according to my husband, it's a rhythm stick.
0:13:18 > 0:13:22- We have the pair of those. - Yeah, they usually are a pair.
0:13:22 > 0:13:24- That's a message.- A message stick.
0:13:24 > 0:13:28I mean, it is literally that, it's a way of conveying information
0:13:28 > 0:13:32relating to landscape, it's relating to food,
0:13:32 > 0:13:34it's relating to where waterholes are.
0:13:34 > 0:13:36Um, this is a map in a way.
0:13:36 > 0:13:38And, therefore, when you come to something like this,
0:13:38 > 0:13:41which I think is wonderful, which is the bark painting,
0:13:41 > 0:13:43you've got the symbolism of the animal,
0:13:43 > 0:13:46which of course related very strongly to the tribe
0:13:46 > 0:13:49that painted this. Everything has a meaning.
0:13:49 > 0:13:53So, we've got things that are very traditional, tribal responses,
0:13:53 > 0:13:59cultural responses to ideas that are millennia old.
0:13:59 > 0:14:02I mean, aboriginal culture is 50,000 years old.
0:14:02 > 0:14:05At the same time, of course, you've got people him
0:14:05 > 0:14:08beginning to travel and beginning to buy this stuff.
0:14:08 > 0:14:12And what is so exciting to me about this is one sees these things
0:14:12 > 0:14:15but they often don't have a story.
0:14:15 > 0:14:17You are in a rare position to be able to say,
0:14:17 > 0:14:20"I know he bought these, where he bought them
0:14:20 > 0:14:22"and, more important, when he bought them."
0:14:22 > 0:14:25And so we can date these things precisely to that period.
0:14:25 > 0:14:28They were made when he was there, they weren't old things.
0:14:28 > 0:14:32Now, the photograph I can see is not Australia, but it shows here.
0:14:32 > 0:14:36This was one of the occasions where he decided to fly from Darwin
0:14:36 > 0:14:39to Borneo area.
0:14:39 > 0:14:42Yeah. The best piece inevitably is the bark painting.
0:14:42 > 0:14:45I mean this... I can't say who did it, it's impossible.
0:14:45 > 0:14:48But with the provenance, with the dating and everything
0:14:48 > 0:14:51that you know about this, this is a wonderful early piece.
0:14:51 > 0:14:56And it is going to be worth something like £1,000.
0:14:56 > 0:14:58The other pieces, obviously, much less,
0:14:58 > 0:15:02although the woomera, again, with this style of painting,
0:15:02 > 0:15:05again is going to be several hundred pounds.
0:15:05 > 0:15:07And all that value has to do with the fact that you know
0:15:07 > 0:15:09- when they were made.- Yes.
0:15:09 > 0:15:11It is so crucial to have that evidence.
0:15:11 > 0:15:13All I can say is, I wish I had gone there
0:15:13 > 0:15:16when I was 20 and I could have bought things like this.
0:15:16 > 0:15:17But I didn't.
0:15:17 > 0:15:19- Thank you anyway.- OK, thank you.
0:15:21 > 0:15:24It's great that so many people are turning out at such a damp day,
0:15:24 > 0:15:26and it is not just the grown-ups.
0:15:29 > 0:15:32This should be a busload of youngsters who have come to
0:15:32 > 0:15:34see us from a local school.
0:15:34 > 0:15:38- Right behind you!- There, there!
0:15:38 > 0:15:39Hello there.
0:15:39 > 0:15:43- ALL: Hello!- Hey!
0:15:43 > 0:15:4450 points!
0:15:44 > 0:15:48- 50 points? You get 50 points for spotting me?- Yeah.
0:15:48 > 0:15:51So, you're from St Thomas's School, is that right? In Keith.
0:15:51 > 0:15:55And you have been studying, I'm told, about ancient artefacts
0:15:55 > 0:15:58and how to tell if something is fake or if it's real. Is that right?
0:15:58 > 0:16:00ALL: Yes.
0:16:00 > 0:16:02That should give the experts a run for their money.
0:16:04 > 0:16:07Where on earth have you come from this morning with these?
0:16:07 > 0:16:09- Four o'clock in the morning start. - What?!
0:16:09 > 0:16:11It's not one of the most desirable films.
0:16:11 > 0:16:13Not at all, it was dreadful.
0:16:16 > 0:16:21Prince Charlie. That is a splendid document.
0:16:21 > 0:16:2322 carat gold. Today's prices,
0:16:23 > 0:16:28- £28.93 a gram.- A gram?!
0:16:28 > 0:16:32We've got... I mean, it must be thousands of pounds worth
0:16:32 > 0:16:33of gold in them.
0:16:33 > 0:16:37It is a little Chinese coin which dates from the early Ming Dynasty.
0:16:37 > 0:16:40So, you have brought along something significantly old.
0:16:40 > 0:16:43I think, in this rather gloomy weather,
0:16:43 > 0:16:47it might be rather nice to cheer you up and say seven to £9,000.
0:16:47 > 0:16:49Oh, my gosh!
0:16:49 > 0:16:52- Does it make you feel better, though?- It makes me feel warmer.
0:16:52 > 0:16:54THEY LAUGH
0:16:55 > 0:16:59So, tailor-made costumes, Le Grand Chic.
0:16:59 > 0:17:02- Yes. - This was a very fashionable time -
0:17:02 > 0:17:051913. How did you get these?
0:17:05 > 0:17:10As far as I can work out, on my father's side of the family,
0:17:10 > 0:17:14since his great-aunt, so she was a Victorian lady,
0:17:14 > 0:17:17and when she died, things were passed down to various members
0:17:17 > 0:17:20and these are some of the things my father took.
0:17:20 > 0:17:23So do you know anything about this great-aunt?
0:17:23 > 0:17:26She lived in a grand old house in the park in Nottingham with her
0:17:26 > 0:17:28two sisters, I believe.
0:17:28 > 0:17:31And they were all very fashion conscious when they were younger.
0:17:31 > 0:17:35And I think they probably used some of the paper patterns to
0:17:35 > 0:17:38make their own Paris fashions at home.
0:17:38 > 0:17:40Well, that was the thing, this was a period
0:17:40 > 0:17:43when Paris, everyone looked to Paris to set the trends.
0:17:43 > 0:17:45And, of course, people did this.
0:17:45 > 0:17:47They looked at this, they had the paper patterns
0:17:47 > 0:17:50and they could become this beautiful young lady.
0:17:50 > 0:17:51That's right, yes.
0:17:51 > 0:17:54I imagine them floating around Nottingham looking very glamorous.
0:17:54 > 0:17:57Elegant women of the early 20th century.
0:17:57 > 0:17:59This is the Art Nouveau period,
0:17:59 > 0:18:01woman are dressing... I mean, wonderful colours.
0:18:01 > 0:18:03- That's right. - And that's what these give us.
0:18:03 > 0:18:06They show us exactly what styles, cos we know the dates to them.
0:18:06 > 0:18:08Yeah, they're all dated.
0:18:08 > 0:18:10They're fascinating.
0:18:10 > 0:18:13If these were split up,
0:18:13 > 0:18:16which would be such a shame,
0:18:16 > 0:18:19if they were sold, that's what some people would do.
0:18:19 > 0:18:21- They would frame them.- Yeah.
0:18:21 > 0:18:24In value terms, I mean,
0:18:24 > 0:18:28each book is going to be worth conservatively
0:18:28 > 0:18:29£100 to £200.
0:18:29 > 0:18:32But I think as a collection,
0:18:32 > 0:18:35they are going to be, you know,
0:18:35 > 0:18:39- between £1,000 and £2,000.- Yep.
0:18:39 > 0:18:43- Which is not much money, really, for a fabulous resource.- No.
0:18:43 > 0:18:46I think we have decided as a family they are either something
0:18:46 > 0:18:48we want to keep just because they are so beautiful
0:18:48 > 0:18:51or that somebody could take them and use them.
0:18:51 > 0:18:54Well, I certainly think the London College Of Fashion
0:18:54 > 0:18:55or Edinburgh...
0:18:55 > 0:18:59It's something that would be of tremendous interest to them.
0:18:59 > 0:19:01Lovely.
0:19:01 > 0:19:02# Couldn't be nicer
0:19:02 > 0:19:05# Couldn't be sweeter Couldn't be better
0:19:05 > 0:19:06# Couldn't be smarter
0:19:06 > 0:19:10# Couldn't be cuter Baby, than you are
0:19:10 > 0:19:15# Your eyes, your pose, that cute, fantastic nose
0:19:15 > 0:19:18# You are mighty like a knockout
0:19:18 > 0:19:20# You are mighty like a rose... #
0:19:23 > 0:19:27We're in the Highlands of Scotland, it's pouring with rain,
0:19:27 > 0:19:31you've brought me an umbrella stand, but where are the umbrellas?
0:19:31 > 0:19:34- They were taken out and left at home.- Very sensible.
0:19:34 > 0:19:37- Apart from the ones I've got with me today.- Well, I'm glad you did
0:19:37 > 0:19:42because it is the most magnificent Wemyss Ware umbrella stand.
0:19:42 > 0:19:48Um, trademark cabbage roses, but it is absolutely smothered with them.
0:19:48 > 0:19:49It is a showstopper piece.
0:19:49 > 0:19:52This wouldn't have been a tuppeny ha'penny bit from the corner shop,
0:19:52 > 0:19:56this certainly was something they had specially commissioned.
0:19:56 > 0:19:59Every single part of it, smothered in cabbage roses,
0:19:59 > 0:20:03almost certainly by the head decorator Karel Nekola.
0:20:03 > 0:20:07They've got his signature of just that kind of extra sort of life that
0:20:07 > 0:20:08they've got to them.
0:20:08 > 0:20:11So, has it always been in the hall with umbrellas in it?
0:20:11 > 0:20:16I've had it for the last nine years. I acquired it after my aunt died.
0:20:16 > 0:20:19And she'd had it since 1943.
0:20:19 > 0:20:24A house where she was working, when the lady of the house died,
0:20:24 > 0:20:26she was offered some items from the house
0:20:26 > 0:20:28and this was one of the items she chose.
0:20:28 > 0:20:32Well, Wemyss was always very popular with the upper-class, shall we say.
0:20:32 > 0:20:34The late Queen Elizabeth, the Queen Mother,
0:20:34 > 0:20:37was a great fan of Wemyss and had a very fine collection of Wemyss.
0:20:37 > 0:20:39This is something she would've liked to have
0:20:39 > 0:20:42because it is a real collector's piece.
0:20:42 > 0:20:46Everything about it says, "Look at me, I am a great piece of Wemyss."
0:20:46 > 0:20:47And a date?
0:20:47 > 0:20:50Turn-of-the-century, 1890, 1900.
0:20:50 > 0:20:51All right.
0:20:51 > 0:20:55Wemyss umbrella stands are rather rare,
0:20:55 > 0:20:59and, if this came on the market, I think a comfortable auction
0:20:59 > 0:21:02estimate would be between three and £5,000.
0:21:03 > 0:21:04Right.
0:21:04 > 0:21:05And it could well do better
0:21:05 > 0:21:08because it is a piece a collector would kill for.
0:21:08 > 0:21:14- You sound speechless.- Yeah, I am. I thought two to 300.
0:21:19 > 0:21:21When jewellery is brought onto the roadshow,
0:21:21 > 0:21:23- it usually is because it has a story.- Yes.
0:21:23 > 0:21:25And when I opened the box,
0:21:25 > 0:21:28and saw this beautiful picture of this girl, I thought,
0:21:28 > 0:21:31- "Who is she?" - Well, she was my father's sister.
0:21:31 > 0:21:35Unfortunately, she passed away
0:21:35 > 0:21:38- in 1918 because she developed croup. - Oh, gosh!
0:21:38 > 0:21:44So this little miniature was made after she died for my grandmother.
0:21:44 > 0:21:49And my mother inherited it when my grandmother passed away.
0:21:49 > 0:21:52- And the name of your family? - It's Macintosh.- It's Macintosh?- Yes.
0:21:52 > 0:21:56- So, you from these parts? - Yes, originally from Nairn.
0:21:56 > 0:21:59- Right.- So, I have been away for quite a number of years.
0:21:59 > 0:22:02But I've recently come back to my roots.
0:22:02 > 0:22:05There is such a resemblance between, I think, you and your aunt.
0:22:05 > 0:22:06Yes, do you think so?
0:22:06 > 0:22:09There is a real resemblance and that's what's
0:22:09 > 0:22:10so beautiful about jewellery.
0:22:10 > 0:22:14- Is to see the history behind it, the family history behind it.- Yes.
0:22:14 > 0:22:19It is beautifully set with the bow at the top there set in rubies.
0:22:19 > 0:22:22And it is silver and gold with diamonds.
0:22:22 > 0:22:25It is about 1910, that sort of period, so I think
0:22:25 > 0:22:29it's been put into a slightly earlier mount.
0:22:29 > 0:22:33- I see.- Because you said that she died in 1918.- Yes.- It is sort of...
0:22:33 > 0:22:37The actual mount itself was made in about 1900.
0:22:37 > 0:22:42Beautiful. But also what I love is this colour, these amethysts.
0:22:42 > 0:22:44Now, tell me about these.
0:22:44 > 0:22:48Well, my mother told me that it was a tiara originally
0:22:48 > 0:22:54and it was then broken down and made into this necklace,
0:22:54 > 0:22:57which can be a brooch, as well, and the drop earrings.
0:22:57 > 0:22:59But I don't know if that is true or not.
0:22:59 > 0:23:03Yeah, I think it actually started off life as a brooch pendant
0:23:03 > 0:23:04and a pair of earrings.
0:23:04 > 0:23:06Usually you do find a lot of jewellery
0:23:06 > 0:23:10is broken up with families from original tiaras,
0:23:10 > 0:23:12but this would have started as it is.
0:23:12 > 0:23:15Made in around about 1860, 1870.
0:23:15 > 0:23:17That's quite early, isn't it?
0:23:17 > 0:23:21Yes, with this lovely setting around the side, the claw setting in gold.
0:23:21 > 0:23:25- That's right. - I love this colour amethyst.
0:23:25 > 0:23:29Which, of course, used to be worn to ward off drunkenness.
0:23:29 > 0:23:32Oh! Oh, right.
0:23:32 > 0:23:34And to instil a sober mind.
0:23:34 > 0:23:36- I better wear it then. - Well, exactly.
0:23:36 > 0:23:41Absolutely. And of course, it is the birth stone for February.
0:23:41 > 0:23:45My father said that the amethyst was actually the stone that
0:23:45 > 0:23:48- was from the Macintosh clan. - Oh, wow.
0:23:48 > 0:23:52And so that is quite poignant, really, to have that in the family.
0:23:52 > 0:23:56- Well, you have brought it back home, haven't you?- I certainly have.
0:23:56 > 0:23:58Which is just fabulous.
0:23:58 > 0:24:01Well, I mean, you know, it isn't about the money,
0:24:01 > 0:24:04but if we were to put a value on it, I would say
0:24:04 > 0:24:08the lovely little pendant brooch, it's probably
0:24:08 > 0:24:11a couple of hundred, £300, something like that.
0:24:11 > 0:24:14And this beautiful set here, again,
0:24:14 > 0:24:17- we're sort of at seven to £900 the set.- That's lovely.
0:24:17 > 0:24:19But I'm just so thrilled.
0:24:19 > 0:24:22I've got a daughter, so she loves antique jewellery,
0:24:22 > 0:24:24so she will be getting it all in the end.
0:24:24 > 0:24:27- Fantastic. And it will be worn around Scotland.- Oh, yes, I hope so.
0:24:27 > 0:24:28Perfect.
0:24:30 > 0:24:34We have got an absolutely lovely drawn by Laura Knight here.
0:24:34 > 0:24:36- Yes, it is nice. - When did you get it?
0:24:36 > 0:24:40Probably in the '60s, late '60s,
0:24:40 > 0:24:43I think. I was a ladies' hairdresser.
0:24:43 > 0:24:47And the picture belonged to Robert Wright,
0:24:47 > 0:24:49who had a small gallery in Cambridge.
0:24:49 > 0:24:53And his wife suddenly got the bright idea of paying for her
0:24:53 > 0:24:56hairdos in pictures,
0:24:56 > 0:25:00which I was delighted at because I was interested in pictures.
0:25:00 > 0:25:02And she brought that as one of them.
0:25:02 > 0:25:05And I think it cost me about £60.
0:25:05 > 0:25:08And how much were you charging for a hairdo in the '60s?
0:25:08 > 0:25:13A permanent wave or something like that was six or seven pounds.
0:25:13 > 0:25:16- Right.- Which is about 50 now.
0:25:16 > 0:25:19- 60.- So this was ten hairdos, basically.- Yes.
0:25:19 > 0:25:21We had a great sort of relationship.
0:25:21 > 0:25:23She'd say, "How am I doing?"
0:25:23 > 0:25:26And I'd say, "Another few pounds to go."
0:25:26 > 0:25:28And I got them.
0:25:28 > 0:25:31- The great thing here is you got two for the price of one.- Yes.
0:25:31 > 0:25:34Because if I turn it over, on the back,
0:25:34 > 0:25:37we have got another figure.
0:25:37 > 0:25:41Yes. It was a rehearsal, apparently, for the ballet
0:25:41 > 0:25:43Narcissist, which Nijinsky was dancing.
0:25:43 > 0:25:47And she had gone down to the rehearsal room and sketched him
0:25:47 > 0:25:49and this was one of the nymphs in the ballet.
0:25:49 > 0:25:51Well, of course,
0:25:51 > 0:25:54Laura Knight was famous for her ballet...
0:25:54 > 0:25:56- And circus.- Yes.
0:25:56 > 0:25:59So, you have that and by extraordinary contrast,
0:25:59 > 0:26:02really, you have got this by Josef Herman.
0:26:02 > 0:26:05Which was also from Mrs Wright.
0:26:05 > 0:26:11I had two or three watercolours as well by Josef Herman,
0:26:11 > 0:26:12but I haven't got them.
0:26:12 > 0:26:15I just kept that one because I liked the Madonna and child.
0:26:15 > 0:26:17- It's a very sensitive picture, actually.- Yes.
0:26:17 > 0:26:22Josef Herman, born in 1911, he was a Polish Jewish refugee.
0:26:22 > 0:26:25Left Poland, I think, in 1939
0:26:25 > 0:26:29and eventually finds himself in London and moves to Wales.
0:26:29 > 0:26:31And I think he died in 1999.
0:26:31 > 0:26:34So, you know, not so long ago.
0:26:34 > 0:26:38And I do think some of the grittiness and the darkness
0:26:38 > 0:26:43of traumatic experience is perhaps brought out in his pictures.
0:26:43 > 0:26:46And they're often very dark, I think, his pictures.
0:26:46 > 0:26:48But here this is a very light, sensitive picture.
0:26:48 > 0:26:52Yes, I liked it straight away, so I bought it.
0:26:52 > 0:26:53So, how many weeks haircutting was this?
0:26:53 > 0:26:56Well, I suppose that was about five or six really.
0:26:56 > 0:26:59Well, I think you have done incredibly well, actually.
0:26:59 > 0:27:02Yeah, I do, I think the Laura Knights,
0:27:02 > 0:27:04two for the price of one,
0:27:04 > 0:27:07they are very sensitive, they are very nicely, beautifully drawn.
0:27:07 > 0:27:12And we know what the subject is, which also helps.
0:27:12 > 0:27:17And I think that's worth somewhere around two to £3,000,
0:27:17 > 0:27:19maybe a shade more.
0:27:19 > 0:27:21Good gracious! I thought it might have been about 100.
0:27:21 > 0:27:24- That wouldn't have been a very good...- No.
0:27:24 > 0:27:26You should've kept hair cutting.
0:27:26 > 0:27:30My elder daughter is getting it so she will be thrilled to know.
0:27:30 > 0:27:31And the Herman.
0:27:31 > 0:27:35Herman has done very well, too, and I think proportionally,
0:27:35 > 0:27:38oddly enough, I think it has probably done slightly better.
0:27:38 > 0:27:41And I can see that easily making £3,000.
0:27:41 > 0:27:44Oh, gosh, that's splendid.
0:27:44 > 0:27:46Very good news.
0:27:48 > 0:27:51I'm intrigued to know how long you've had these.
0:27:51 > 0:27:55- Er, since January this year. - This year?- This year.
0:27:55 > 0:27:58I went to my very first-ever auction,
0:27:58 > 0:28:00held in the local cattle market.
0:28:00 > 0:28:05- My mother used to do reproduction dolls...- Oh, right.
0:28:05 > 0:28:07..right from making the actual...
0:28:07 > 0:28:10with the moulds and everything else, you know.
0:28:10 > 0:28:15So, I saw these at the auction and knew that they were antique.
0:28:15 > 0:28:18- That's a clever idea.- I didn't know anything else about them,
0:28:18 > 0:28:19other than they weren't reproduction.
0:28:19 > 0:28:22- So, your mother taught you something?- Yes.
0:28:22 > 0:28:26- Um, the little one, of course, is unstrung.- Mmm.
0:28:26 > 0:28:27- She's a little German doll...- Yes.
0:28:27 > 0:28:31- ..and she has a number at the back of her head...- Yes.
0:28:31 > 0:28:35- ..which you probably looked at. - Yes.- Which is 192.- 192, yes.
0:28:35 > 0:28:40Now that tells me that she is either a Kammer Reinhardt,
0:28:40 > 0:28:43- or a JD Kestner.- Right.
0:28:43 > 0:28:49But, either way, she's German, she's around 1880 and very collectable.
0:28:49 > 0:28:53- Would you like to know how much I paid for her?- For her, yes.- £12.
0:28:53 > 0:28:56- What?- £12, I paid for her.
0:28:56 > 0:28:58Well, she's going to be worth, even in that condition,
0:28:58 > 0:29:03no clothes, unstrung, 200 to 300, plus.
0:29:03 > 0:29:05SHE LAUGHS Oh, dear.
0:29:05 > 0:29:08Now...
0:29:08 > 0:29:14this one has wonderful paperweight eyes and a closed mouth.
0:29:14 > 0:29:20- Now, collectors like closed mouths. - Yes.- Original mountain goat hair.
0:29:20 > 0:29:22I recognised her the moment I saw her.
0:29:22 > 0:29:26I don't need to turn her around, but underneath here...
0:29:26 > 0:29:30- Now, that's the bit that really puzzled me...- Yes.
0:29:30 > 0:29:32..because all the markings I was looking for,
0:29:32 > 0:29:33I was looking for a name.
0:29:33 > 0:29:37- It puzzles me why the name's not there.- Right.
0:29:37 > 0:29:40- That is a stamp here, which has worn off.- Mmm.
0:29:40 > 0:29:44- And I think it's been worn off on purpose.- Yes.
0:29:44 > 0:29:48It would've had "Bebe Jumeau...
0:29:48 > 0:29:50"BTESGDG,"
0:29:50 > 0:29:54which means "sans garantie du governement,"
0:29:54 > 0:29:57which means, without guarantee of the government,
0:29:57 > 0:30:01so that is the right thing to put on a Bebe Jumeau
0:30:01 > 0:30:03and...
0:30:03 > 0:30:05then...
0:30:05 > 0:30:06her body.
0:30:06 > 0:30:08OWNER LAUGHS
0:30:08 > 0:30:11Here we have a little plaque,
0:30:11 > 0:30:14and, sadly, nothing inside.
0:30:14 > 0:30:16Nothing inside, no.
0:30:16 > 0:30:20- Now, this would've had a phonograph in it.- Really?
0:30:20 > 0:30:24- And the phonograph would have been saying, "Mama, papa."- Wow.
0:30:24 > 0:30:30And it would have had a key wind movement, and then she would...
0:30:30 > 0:30:34- Really?- ..be walking, saying, "Mama, papa."
0:30:34 > 0:30:39- Yes?- 1893, onwards, they were making these phonograph dolls in Paris,
0:30:39 > 0:30:43by Jumeau, which actually means twin.
0:30:43 > 0:30:46It was started in the 1860s by Emile Jumeau,
0:30:46 > 0:30:49and it was one of the best factories in France
0:30:49 > 0:30:52- for bisque dolls, which is what she is.- Yes.
0:30:52 > 0:30:57Um, she's absolutely stunning. What did you pay for her?
0:30:57 > 0:31:00- Do you really want to know? - Of course I do!
0:31:00 > 0:31:02I paid £50 for her.
0:31:02 > 0:31:06I think you've got this year's bargain.
0:31:06 > 0:31:12We are talking about, in excess of between £3,000 and £4,000.
0:31:12 > 0:31:14Really?
0:31:14 > 0:31:16SHE LAUGHS
0:31:19 > 0:31:21- You are joking? - Yes, I am actually!
0:31:21 > 0:31:22THEY LAUGH
0:31:22 > 0:31:24Wow.
0:31:24 > 0:31:28I'm so thrilled for you. You are brilliant.
0:31:33 > 0:31:34Well, it will come as little surprise
0:31:34 > 0:31:37- that I'm holding a piece of wonderful Clarice Cliff.- Really?
0:31:37 > 0:31:39But what's your story with it?
0:31:39 > 0:31:42It belonged to my late uncle in and aunt.
0:31:42 > 0:31:43When I cleared their house out,
0:31:43 > 0:31:46my father grabbed that and shoved it in our display cabinet.
0:31:46 > 0:31:48It's a really nice example.
0:31:48 > 0:31:51The shape is actually called Bonjour,
0:31:51 > 0:31:55and the pattern is called Seven Colour Way, or Pastel Secrets.
0:31:55 > 0:31:57But have you ever thought there's something not quite right
0:31:57 > 0:31:59with this biscuit box?
0:31:59 > 0:32:02Yes, because I thought the lid didn't go to the biscuit box.
0:32:02 > 0:32:04Quite right. Well spotted, you.
0:32:04 > 0:32:06I'm going to be out of a job at this rate.
0:32:06 > 0:32:10And the interesting thing is how these lids get mis-married.
0:32:10 > 0:32:14Whenever a china retailer or shop that would've sold the wares
0:32:14 > 0:32:17got their delivery, they were often sent in wooden crates,
0:32:17 > 0:32:20packed with straw, heavy pieces at the bottom
0:32:20 > 0:32:22and getting slowly lighter as they come to the top.
0:32:22 > 0:32:25And I have a vision of a wonderful china retailers,
0:32:25 > 0:32:27maybe in Aberdeen or Inverness,
0:32:27 > 0:32:29where the girls would've been unpacking the crates,
0:32:29 > 0:32:32chatting away, having some fun and thinking,
0:32:32 > 0:32:35"We'll stick that lid on that one. It looks all right."
0:32:35 > 0:32:38What you've actually got is a lid to a biscuit box
0:32:38 > 0:32:40in a pattern called Alton.
0:32:40 > 0:32:42So, somewhere, out there,
0:32:42 > 0:32:46in this area is someone who's got your lid and you've got theirs.
0:32:46 > 0:32:49- Mmm.- So, what's it worth?
0:32:49 > 0:32:50As it stands,
0:32:50 > 0:32:54- it's worth £230.- Oh, wow. Really?
0:32:54 > 0:32:55That's a surprise.
0:32:55 > 0:33:00Go and find the person who's got the right one, do a bit of a swap,
0:33:00 > 0:33:03you'll both end up with biscuit barrels worth £500.
0:33:03 > 0:33:06Oh, really? Oh, wow. That's fantastic.
0:33:06 > 0:33:09- The hunt is on.- The hunt is on, yes. The hunt is on.
0:33:15 > 0:33:19It's a very unusual compendium in the shape of a cube.
0:33:19 > 0:33:22What do you know about it?
0:33:22 > 0:33:26Well, Sir James Reid was born in Ellon,
0:33:26 > 0:33:31- and he was a physician to Queen Victoria.- Yes.
0:33:31 > 0:33:34And his daughter came back to Ellon and stayed there
0:33:34 > 0:33:37and my husband's grandad
0:33:37 > 0:33:40was gardening for the daughter and she gave them this.
0:33:40 > 0:33:43- That's rather nice, isn't it? - Yes, it is rather.
0:33:43 > 0:33:47- Do you find it a pleasing thing? - Yes, yes. Very nice.
0:33:47 > 0:33:50I think it's a great object and, as I said, it's a cube
0:33:50 > 0:33:52in green leather
0:33:52 > 0:33:56with these wonderful silver corners and silver handle.
0:33:56 > 0:34:01And the hallmark is London, 1896.
0:34:02 > 0:34:06And the maker is a man called George Sumner.
0:34:06 > 0:34:10He was a London silversmith, best known for making things like,
0:34:10 > 0:34:12believe it or not, photograph frames.
0:34:12 > 0:34:14But this is the sort of thing you'd get on the edge
0:34:14 > 0:34:17of a leather photograph frame, so it all fits in, doesn't it?
0:34:17 > 0:34:19- Yes, yes. - So, let's drop the front.
0:34:19 > 0:34:23Now, normally one would have expected to see a fixed...
0:34:23 > 0:34:24- clock movement in there.- Right.
0:34:24 > 0:34:30In this instance, we have a Swiss Goliath watch...
0:34:30 > 0:34:32Signed by the retail jeweller,
0:34:32 > 0:34:34and that will be a nice eight-day movement,
0:34:34 > 0:34:37absolutely in period with the case.
0:34:37 > 0:34:39Pop that back in,
0:34:39 > 0:34:42shut it up and then the rest,
0:34:42 > 0:34:47as we turn the clock round, are the various sides.
0:34:47 > 0:34:50So, we're going to go to this one first,
0:34:50 > 0:34:52which is a calendar, the knob is missing,
0:34:52 > 0:34:54but you set the date against the day
0:34:54 > 0:34:57- and then you can read it throughout the month.- OK.
0:34:57 > 0:35:02The next one is a rather nice aneroid barometer.
0:35:02 > 0:35:07And then the final side is a lovely curved mercury thermometer,
0:35:07 > 0:35:10giving the temperature in Fahrenheit.
0:35:11 > 0:35:14And back we go to the clock and the calendar again.
0:35:16 > 0:35:19A lovely, lovely compendium. Much desired.
0:35:19 > 0:35:22If it were solid silver, it would be a fortune,
0:35:22 > 0:35:27but even like this, it's still going to make about £2,000.
0:35:30 > 0:35:32Really?
0:35:32 > 0:35:36- Oh, oh, that's super. But I won't part with it.- Good.
0:35:36 > 0:35:39Keep it wound up, keep it used, which is what it should be.
0:35:39 > 0:35:40Yes, I will.
0:35:42 > 0:35:44Now, every once in a while on the roadshow,
0:35:44 > 0:35:48you get a wonderful moment and, for me, this is one of them.
0:35:48 > 0:35:51This painting is by Evelyn Dunbar,
0:35:51 > 0:35:55and it looks to me like it was done sometime around the 1950s.
0:35:55 > 0:35:59And it's an extraordinary dream.
0:35:59 > 0:36:02You get an artist who the market's never heard of, really,
0:36:02 > 0:36:04or doesn't deal in,
0:36:04 > 0:36:08because they're not available to sell, and she is one of them.
0:36:08 > 0:36:13And yet, her connection to this country, and to the landscape,
0:36:13 > 0:36:17and her influence on other artists and the fact that she was
0:36:17 > 0:36:22a war artist in the second war, one of the only female war artists,
0:36:22 > 0:36:26officially, who represented the women's role at wartime,
0:36:26 > 0:36:28and the connection to you is that
0:36:28 > 0:36:30you're Evelyn Dunbar's nephew, aren't you?
0:36:30 > 0:36:32- And she painted you? - That is correct, yes.
0:36:32 > 0:36:35- One of the last things she did. - Let's have a look.
0:36:35 > 0:36:38That's a terrific picture, isn't it? Look at that. How old were you here?
0:36:38 > 0:36:39Coming up to 14.
0:36:39 > 0:36:43That louche period in your teens and I like the sort of shape
0:36:43 > 0:36:46of this jumper and your feet pushed into those slippers.
0:36:46 > 0:36:48She dashed it off in a couple of days.
0:36:48 > 0:36:50I think it's extremely successful. I like that very much.
0:36:50 > 0:36:53- You look ever so bored. - THEY LAUGHED
0:36:53 > 0:36:57But this painting is clearly a deeply psychological thing,
0:36:57 > 0:37:00done in a very, very modernist way.
0:37:00 > 0:37:04And I find it so full of levels of meaning,
0:37:04 > 0:37:06I hardly know where to start and certainly I need a guide.
0:37:06 > 0:37:08It's your picture, help me.
0:37:08 > 0:37:12Well, it's very much a love gift from Eve to her husband, Roger,
0:37:12 > 0:37:14- Dr Roger Folley.- Is that him?
0:37:14 > 0:37:17That's correct, yes. He was a poet.
0:37:17 > 0:37:20But they met and married during the war.
0:37:20 > 0:37:25And shortly after their marriage, Rodge went into the RAF,
0:37:25 > 0:37:30and served his time in Mosquitoes, night fighters.
0:37:30 > 0:37:36The war, as it did with so many people, changed him psychologically
0:37:36 > 0:37:41and he developed an emotional distance,
0:37:41 > 0:37:46which although their marriage remained extremely happy,
0:37:46 > 0:37:49there was a gulf caused by that,
0:37:49 > 0:37:53which I think is probably common to so many service people at that time,
0:37:53 > 0:37:56which Eve sought to bridge.
0:37:57 > 0:38:00And, in painting this, I think she was reaching out to him,
0:38:00 > 0:38:03to offer the fruits that life had to offer,
0:38:03 > 0:38:06which he was prone to reject.
0:38:06 > 0:38:09- It's a psychodrama, isn't it? - Yes, it is. Exactly.
0:38:09 > 0:38:10A psychological landscape.
0:38:10 > 0:38:13It's almost a mapping of their relationship.
0:38:13 > 0:38:16- She seems to be very, very connected, doesn't she?- Exactly.
0:38:16 > 0:38:18Very connected, grounded
0:38:18 > 0:38:22and earthed almost by this extraordinary sheet
0:38:22 > 0:38:27carrying these, these rather Cezanne vegetables and she's like,
0:38:27 > 0:38:30putting them at his feet and he's disdaining them,
0:38:30 > 0:38:34he's not sure, he's got a quizzical expression on his face.
0:38:34 > 0:38:36He's holding what is perhaps one of his poems
0:38:36 > 0:38:37and he's just not getting it.
0:38:37 > 0:38:41He doesn't sit in this landscape where she is so much of it.
0:38:41 > 0:38:44Yes, she was a very earthy personality.
0:38:44 > 0:38:49Um, tremendous sense of humour, very ebullient.
0:38:49 > 0:38:52I think that's all utterly fascinating and to me,
0:38:52 > 0:38:54how do you value
0:38:54 > 0:38:59what is perhaps an unknown artist to the market's masterpiece?
0:38:59 > 0:39:04Because this is such an extraordinary picture. Er...
0:39:05 > 0:39:09- You can't put six figures on it. I'd love to.- Mm-hm.- It should be.
0:39:09 > 0:39:10There isn't any precedent,
0:39:10 > 0:39:13I don't think there are any sold at auction.
0:39:13 > 0:39:18Nonetheless, I'd be very surprised if people didn't...
0:39:18 > 0:39:22- get that it's worth between 40 and £60,000.- Mm-hm.
0:39:23 > 0:39:25That's my feeling on it.
0:39:25 > 0:39:29Well, I'm delighted by your valuation, obviously, but the whole
0:39:29 > 0:39:33rationale behind it would reject anything to do with the financial.
0:39:33 > 0:39:36This is purely emotional and personal.
0:39:36 > 0:39:38Some things are just completely beyond money.
0:39:38 > 0:39:40- That's right.- This is one of them. - Yes, yes.
0:39:40 > 0:39:42- Thank you.- Thank you.
0:39:47 > 0:39:50Two very different jewels with two very different meanings,
0:39:50 > 0:39:53but what's the meaning of them to you? Tell me about them.
0:39:53 > 0:39:57They're family heirlooms, heirlooms that I've inherited.
0:39:57 > 0:40:01So they're precious for that reason. The brooch belonged to my mother
0:40:01 > 0:40:03and the pendant came from my grandmother
0:40:03 > 0:40:05and she gave it to me when I was 21.
0:40:06 > 0:40:10The brooch was a gift to my mother. There's a little bit of a story.
0:40:10 > 0:40:12My father was keeper of the Indian section
0:40:12 > 0:40:15- at the Victoria and Albert Museum. - Really?
0:40:15 > 0:40:18And people would come to him for advice about their possessions
0:40:18 > 0:40:21and things perhaps that they wanted to buy.
0:40:21 > 0:40:24And there was a Hungarian dealer called Imre Schwaiger
0:40:24 > 0:40:25who came to him for advice.
0:40:25 > 0:40:29- Obviously, my father must have given him very good advice.- Yes.
0:40:29 > 0:40:32Because then he said to him, "Well, I must pay you for this."
0:40:32 > 0:40:35My father said, "No, no, no. This is all part of the museum service
0:40:35 > 0:40:38"and I wouldn't dream of taking any remuneration."
0:40:38 > 0:40:40So Imre Schwaiger said,
0:40:40 > 0:40:43"Perhaps you would do me the honour of having dinner in town with me
0:40:43 > 0:40:45"and please bring your wife."
0:40:45 > 0:40:48So they met at some grand restaurant in London
0:40:48 > 0:40:50and when my mother was shown to her place,
0:40:50 > 0:40:53- there was this jewel box sitting where she was to sit.- Good heavens.
0:40:53 > 0:40:55And Imre Schwaiger said to my father,
0:40:55 > 0:40:57"This is nothing to do with you.
0:40:57 > 0:41:01"It's entirely between your wife and myself." So my mother was thrilled.
0:41:01 > 0:41:03I should think she jolly well was, actually!
0:41:03 > 0:41:05A magnificent display
0:41:05 > 0:41:07of coloured diamonds evoking the leaves,
0:41:07 > 0:41:09- vine leaves, aren't they?- Yes.
0:41:09 > 0:41:12And what's marvellous is the way in which it's drawn.
0:41:12 > 0:41:14First of all, it's a drawing of vine leaves
0:41:14 > 0:41:17and the leaves are divided in the sense of the veining of them.
0:41:17 > 0:41:21And hanging below is a magnificent cluster of coloured grapes
0:41:21 > 0:41:24in various stages of ripeness because they're natural pearls,
0:41:24 > 0:41:27Stunning thing. You can take this away, can't you?
0:41:27 > 0:41:29Yes, you can. You can take the pearls off.
0:41:29 > 0:41:32- Yes, for a sort of dress-down Friday diamond brooch.- That's right.
0:41:32 > 0:41:36An absolutely beautiful object and it presumably dates from the late 19th century.
0:41:36 > 0:41:40It's naturalistic to the finest degree because one can see
0:41:40 > 0:41:43the very sensitive use of, perhaps not valuable diamonds
0:41:43 > 0:41:45because of their colour...
0:41:45 > 0:41:48and the very sensitive use of these coloured pearls
0:41:48 > 0:41:51A wonderful thing, but a different story to this one here.
0:41:51 > 0:41:54- Do you like this one?- I do.
0:41:54 > 0:41:58It's very different and I can't imagine my grandmother wearing it
0:41:58 > 0:42:00- because she was a very dowdy little lady.- Yes.
0:42:00 > 0:42:04- It's quite Baroque.- It is.- But I don't know anything more about it.
0:42:04 > 0:42:06- No. Did you like it when you are given it?- Oh, yes.
0:42:06 > 0:42:09- Good.- I used to wear it to dances. - How wonderful!
0:42:09 > 0:42:12Well, it's a very interesting jewel. It's actually in the 16th century
0:42:12 > 0:42:15Italian taste, a neo-Renaissance jewel.
0:42:15 > 0:42:18This was a very high point of fashion in London
0:42:18 > 0:42:21in the 19th century and a number of Neapolitan craftsmen
0:42:21 > 0:42:26came to London to make jewellery for a very elevated clientele,
0:42:26 > 0:42:29- a sort of elite, really, an artistic elite.- So he's Italian?
0:42:29 > 0:42:32Yes. I happen to know by the handwriting of this jewel,
0:42:32 > 0:42:34the sort of painting of it, if you like, that this is actually made
0:42:34 > 0:42:36by a man called Ernesto Rinzi
0:42:36 > 0:42:40who had a workshop just behind Regent Street in Argyle Street
0:42:40 > 0:42:43- and made all kinds of very colourful jewels there...- Right.
0:42:43 > 0:42:47..in homage to the Renaissance. This is, of course, enamelled gold.
0:42:47 > 0:42:50We can hardly see any gold at all because of the beautiful palette
0:42:50 > 0:42:52of enamel colours and pearls
0:42:52 > 0:42:55and black-and-white agates centring on it.
0:42:55 > 0:42:58It's a jewel of no particular intrinsic value.
0:42:58 > 0:43:01It's only about the gold and a few pearls and certainly not the agate.
0:43:01 > 0:43:04Here we have two jewels saying two very different stories
0:43:04 > 0:43:07and, in a funny way, it's going to be jolly difficult to value them.
0:43:07 > 0:43:08Which one do you value most?
0:43:08 > 0:43:12- Well, I think this one.- That's where you really are?- I think so.
0:43:12 > 0:43:15- Absolutely.- Yes.- There's colour and excitement.
0:43:15 > 0:43:19And so I think for all of that, the gift from the gentleman
0:43:19 > 0:43:23who wanted to reward your father by a gently and very elegantly
0:43:23 > 0:43:28circuitous route gave, effectively, you something
0:43:28 > 0:43:31that's probably worth £8,000 today.
0:43:31 > 0:43:33- Oh, really.- Yes.- Right.
0:43:33 > 0:43:36And then, surprisingly...
0:43:36 > 0:43:38Well, you'd say no intrinsic value, no diamonds,
0:43:38 > 0:43:42nothing much to hang your hat on, might be hundreds.
0:43:42 > 0:43:46- And I'm afraid you be very wrong. It's thousands again.- No?! Really?
0:43:46 > 0:43:48Yes, absolutely. This is very collectable,
0:43:48 > 0:43:51- very exciting mood in 19th-century jewellery.- Gosh.
0:43:51 > 0:43:55- So I think without any problem at all, £3,000 for that.- Wow.
0:43:55 > 0:43:57I never expected that.
0:43:57 > 0:44:00- That's actually my daughter's now so she'll be very pleased.- Good.
0:44:00 > 0:44:02That's marvellous. Well, I'm thrilled.
0:44:05 > 0:44:09This is one of the most extraordinary things I've ever seen
0:44:09 > 0:44:14- in 45...I don't know how many years looking at furniture.- Oh. Right.
0:44:14 > 0:44:17- What I think is very odd is that you've carefully studded this for us...- Yes.
0:44:17 > 0:44:21..to get our initials on the top. AR, Antiques Roadshow.
0:44:21 > 0:44:26- Was that you?- No. I'd never even thought of that!
0:44:27 > 0:44:29What does that mean to you?
0:44:29 > 0:44:34Well, it was bought by two spinster great-aunts of my mother.
0:44:34 > 0:44:38And they, we think, bought it in about 1880 through a friend
0:44:38 > 0:44:40who was a Quaker in Birmingham.
0:44:40 > 0:44:44It's always been known in the family as the Queen Anne chest.
0:44:44 > 0:44:48Now, I have no idea whether it genuinely is or not,
0:44:48 > 0:44:50but I have known it all my life...
0:44:50 > 0:44:53She was queen, let's say circa 1700, so that's...
0:44:53 > 0:44:56- 300.- A long time ago. 300 years ago.
0:44:56 > 0:44:58It is the most extraordinary thing.
0:45:00 > 0:45:03The initials of a queen, Anne Regina.
0:45:03 > 0:45:07- A queen's crown, I think, there. - Right.- Let's examine it.
0:45:07 > 0:45:10Let's get this drawer open. What have we got here?
0:45:10 > 0:45:13Well, that is just magic, isn't it? Magic.
0:45:13 > 0:45:16Quilted silk drawer lining.
0:45:16 > 0:45:19It's the only one that's still got that in it.
0:45:19 > 0:45:23- And I've never seen that before. - Oh, right.- Never. Ever.
0:45:23 > 0:45:27- And then look at the drawer lining here.- Yes. That's lovely.
0:45:27 > 0:45:30It's lined with marbled paper. Hand-painted paper...
0:45:30 > 0:45:33and silk lining.
0:45:33 > 0:45:37- That suggests to me it was made for somebody quite important.- True. Yes.
0:45:37 > 0:45:41I mean, it's the most extraordinary thing on a pine carcass
0:45:41 > 0:45:43with a very, very thin leather.
0:45:43 > 0:45:47You can just see on the edge here, the leather's very thin.
0:45:47 > 0:45:50It's less than a millimetre. So whoever did that tanning was very skilled.
0:45:50 > 0:45:52Yes. I mean, it does get polished occasionally,
0:45:52 > 0:45:55but I'm not the world's best housewife.
0:45:55 > 0:45:59- I don't want you to polish it any more.- Oh.- Just love it and touch it.
0:45:59 > 0:46:00It's...
0:46:00 > 0:46:04- an incredibly rare piece...- Is it?
0:46:04 > 0:46:08- ..of late-17th early 18th-century furniture.- Heavens.
0:46:08 > 0:46:12I've never seen a chest of drawers made clearly with the handles on the side,
0:46:12 > 0:46:15the runners underneath, the skids... We've got them on these little blocks
0:46:15 > 0:46:17to keep it off the wet grass at the moment,
0:46:17 > 0:46:20- but skids like skis underneath... - That's what they're for!
0:46:20 > 0:46:24So it can be dragged along a cobbled floor or something, up the stairs...
0:46:24 > 0:46:26- Oh, I see.- ..for the progress.
0:46:26 > 0:46:30Now, the thing is, is it a royal progress?
0:46:30 > 0:46:32- Well, she did travel around quite a lot.- She did.
0:46:32 > 0:46:33Until she got vastly overweight.
0:46:33 > 0:46:35HE CHUCKLES
0:46:35 > 0:46:38One of the most precious things she would have had, apart from her jewellery...
0:46:38 > 0:46:42- This is not a jewellery chest, obviously.- No. Quite. - It's made for clothes. Silks.
0:46:42 > 0:46:45Her undies, for example. Silk dresses.
0:46:45 > 0:46:47Those exotic, wonderfully embroidered clothes
0:46:47 > 0:46:50- that we sometimes see on the Antiques Roadshow.- Yes.
0:46:50 > 0:46:51I've never seen one.
0:46:51 > 0:46:53Ever.
0:46:53 > 0:46:55Have you ever had it valued?
0:46:55 > 0:47:00It's been valued at about sort of £600. Nothing very vast.
0:47:00 > 0:47:03- I don't know what it's worth.- Right.
0:47:03 > 0:47:06- But I have to try and come up with a figure.- Right.
0:47:06 > 0:47:08And I think that it could be worth...
0:47:10 > 0:47:13- ..£20,000.- What?!
0:47:13 > 0:47:14Heavens above.
0:47:15 > 0:47:20And if it realised £30,000, I wouldn't be surprised.
0:47:20 > 0:47:23- Heavens.- There is no guide mark at all.
0:47:23 > 0:47:25I had no idea.
0:47:25 > 0:47:29Well, the next stage is to try and research this.
0:47:29 > 0:47:33- It would be a wonderful research project for someone, a student in a university or something.- Right.
0:47:33 > 0:47:37Just to see if there's any old inventories where there's
0:47:37 > 0:47:41any record of the Queen, Queen Anne, having a leather chest of drawers.
0:47:41 > 0:47:43It may be... If you can prove that,
0:47:43 > 0:47:46then my valuation may prove to be conservative...
0:47:46 > 0:47:50because every museum in England or Scotland would want to own it.
0:47:50 > 0:47:53I'm not sure if you've made my day or terrified me.
0:47:55 > 0:47:57What an incredible find.
0:47:57 > 0:48:00Let's hope someone will delve into its history and enlighten us.
0:48:00 > 0:48:04It's brightened what has been, I have to say, a rather damp
0:48:04 > 0:48:07and drizzly day here at Cawdor Castle.
0:48:07 > 0:48:09Typical Scottish weather.
0:48:09 > 0:48:12Now, before you all write in and complain, I can say that. Come on. I'm Scottish.
0:48:12 > 0:48:16Until next time, from the whole Antiques Roadshow team, bye-bye.