0:00:02 > 0:00:04ORCHESTRA PLAYS THEME TUNE
0:00:12 > 0:00:15Last time the Antiques Roadshow visited Scarborough,
0:00:15 > 0:00:18one lucky visitor went home with some very good news.
0:00:18 > 0:00:22Their family treasure turned out to be worth £40,000!
0:00:22 > 0:00:25- Ladies, do you think this could happen to one of you today?- Hope so.
0:00:25 > 0:00:27Yes, well, stay tuned to find out.
0:00:27 > 0:00:30Welcome to the Antiques Roadshow from North Yorkshire.
0:01:12 > 0:01:16Ladies and gentlemen, it's almost time for curtain up,
0:01:16 > 0:01:18and today's theatrical setting
0:01:18 > 0:01:20is the perfect location for our Roadshow,
0:01:20 > 0:01:23with plenty of thrills and spills in store.
0:01:25 > 0:01:27For at least two centuries it's been Scarborough's passion
0:01:27 > 0:01:31for putting on a good show, combined with its traditional seaside charm
0:01:31 > 0:01:34that's made the town so popular with holidaymakers.
0:01:34 > 0:01:37And they've got quite a record in pioneering
0:01:37 > 0:01:39new forms of entertainment.
0:01:39 > 0:01:41In the early days,
0:01:41 > 0:01:43concert parties played to visitors
0:01:43 > 0:01:47right here on the beach, and then in 1839, a Gothic saloon
0:01:47 > 0:01:51with a concert hall to seat 500 was built here on the seafront
0:01:51 > 0:01:54and instantly, seaside entertainment went up-market.
0:01:54 > 0:01:57But it was so popular that from the very start,
0:01:57 > 0:01:59it couldn't cope with the demand.
0:02:01 > 0:02:05A bigger and better Scarborough Spa threw open its doors in August 1880
0:02:05 > 0:02:09and ushered in an era of spectacular music hall shows
0:02:09 > 0:02:12second only to London in popularity.
0:02:12 > 0:02:15All the big names of the day flocked to perform here,
0:02:15 > 0:02:18from Dame Nellie Melba to Ivor Novello.
0:02:18 > 0:02:21More recently, concerts from the Palm Court in Scarborough
0:02:21 > 0:02:24were regularly broadcast to millions on BBC radio,
0:02:24 > 0:02:26conducted by Max Jaffa.
0:02:26 > 0:02:30And all sorts of variety shows still take place
0:02:30 > 0:02:32and wow audiences here at The Spa.
0:02:32 > 0:02:35And with our own little bit of showbiz magic,
0:02:35 > 0:02:37in just a few hours we've gone from this...
0:02:37 > 0:02:39to this.
0:02:39 > 0:02:41IF you'd like more information about the programme
0:02:41 > 0:02:45and further details on some of the items featured in this episode,
0:02:45 > 0:02:46please log on to our website.
0:02:51 > 0:02:55So, with no further ado, it's over to our experts.
0:02:57 > 0:03:00What a lovely scene. These grey carp,
0:03:00 > 0:03:05languorously swimming through these eddies of water with chrysanthemum.
0:03:06 > 0:03:09Now, come on, you must know where this is from.
0:03:09 > 0:03:13I can only guess it's from China but I don't know anything about it all.
0:03:13 > 0:03:14Why do you say China?
0:03:15 > 0:03:17Because you said chrysanthemums.
0:03:17 > 0:03:20- Ah, also the flower of Japan. - Oh, well...
0:03:20 > 0:03:22The kiku, as it's known. Yes, yes.
0:03:22 > 0:03:24You were in the right part of the world.
0:03:24 > 0:03:25This is actually Japanese,
0:03:25 > 0:03:27a beautifully thrown pot,
0:03:27 > 0:03:29made on the potter's wheel,
0:03:29 > 0:03:30not dissimilar in size
0:03:30 > 0:03:32to what we've actually got it on,
0:03:32 > 0:03:34and I just love the decoration.
0:03:34 > 0:03:36How long have you had it?
0:03:36 > 0:03:40Well, I think it's been in the family for as long as I can remember,
0:03:40 > 0:03:43certainly from when I was in my teens,
0:03:43 > 0:03:45so that's 40-odd years.
0:03:45 > 0:03:47And to judge from your speech,
0:03:47 > 0:03:50- I would say you come from north of here.- Yes, Edinburgh.
0:03:50 > 0:03:54And is this a piece that's been in Scotland for ever, then?
0:03:54 > 0:03:56Well, my parents were living in Scotland
0:03:56 > 0:03:59- when it was given to them by a friend of theirs.- I see, OK.
0:03:59 > 0:04:01And then when my parents died,
0:04:01 > 0:04:03I brought it down to Scarborough to where we live.
0:04:05 > 0:04:07I love it because of the design.
0:04:07 > 0:04:09The Japanese really have
0:04:09 > 0:04:13this beautiful sense of leaving space.
0:04:13 > 0:04:16A design doesn't work unless it has space to work in,
0:04:16 > 0:04:18and the great English disease,
0:04:18 > 0:04:21and not just English disease, but of the late 19th century
0:04:21 > 0:04:23was everything had to be filled up.
0:04:23 > 0:04:26But the Japanese stayed true to that lovely tradition of theirs
0:04:26 > 0:04:29where everything is arranged in space,
0:04:29 > 0:04:32and so it is with these beautiful carp.
0:04:32 > 0:04:34I think it's absolutely gorgeous.
0:04:34 > 0:04:38The carp and the blue, those are done in under-glazed pigments,
0:04:38 > 0:04:40and then these other pigments,
0:04:40 > 0:04:43I guess this is an acer, isn't it, of some sort?
0:04:43 > 0:04:45That's done in over-glazed enamels.
0:04:45 > 0:04:47A high-calibre factory
0:04:47 > 0:04:49whose mark...
0:04:49 > 0:04:50Is on the bottom.
0:04:52 > 0:04:56..is on the bottom. That little spray of bamboo.
0:04:56 > 0:05:01This is the mark of the factory I would expect it to be -
0:05:01 > 0:05:02Fukagawa.
0:05:02 > 0:05:06One of the best factories in Japan at that time,
0:05:06 > 0:05:08which is around the late 19th century.
0:05:08 > 0:05:12Um... Japanese ceramics..
0:05:12 > 0:05:15you know, they're sort of through the doldrums really.
0:05:15 > 0:05:17I guess that at auction
0:05:17 > 0:05:21that's maybe be somewhere in the region of £2,000.
0:05:21 > 0:05:25Oh. Gosh! That's nice. Thank you very much.
0:05:25 > 0:05:29- Your fish have brought you good luck.- So they have.
0:05:32 > 0:05:36This is an iconic scene, First World War scene,
0:05:36 > 0:05:40of French troops, I think marching off to the trenches
0:05:40 > 0:05:44as they all appear to be singing. And it's just fantastic.
0:05:44 > 0:05:48It's very evocative of that period. Where did you find it?
0:05:48 > 0:05:52We found it in a little brocante in Saint-Valery-sur-Somme,
0:05:52 > 0:05:58at the Somme estuary, in a sort of junk/antique shop.
0:05:58 > 0:06:01- It was right above the door as you came in.- A bit dusty.
0:06:01 > 0:06:04Yeah. And we both went round the shop separately
0:06:04 > 0:06:07and when we came out, I asked Mike if he'd seen it and he said yes.
0:06:07 > 0:06:12We both decided we loved it, and went back in to ask how much it was.
0:06:12 > 0:06:16It was 1,500 euros - rather too much for an impulse purchase for us!
0:06:16 > 0:06:19And she wouldn't come down at all
0:06:19 > 0:06:22and so we left feeling very crestfallen.
0:06:22 > 0:06:25- Went back to the UK. - Went back to the UK
0:06:25 > 0:06:28and we spent all week fretting that somebody else would buy it,
0:06:28 > 0:06:32and so we ended up going back the following weekend and bought it.
0:06:32 > 0:06:35- And it was still there? - It was still there.
0:06:35 > 0:06:40I think it's fantastic. It's signed down here, Georges Leroux.
0:06:40 > 0:06:45Leroux was born in 1877 and studied in Paris.
0:06:45 > 0:06:48At the outbreak of the First World War
0:06:48 > 0:06:52he joined the army and went to the front.
0:06:52 > 0:06:55So this is somebody painting first-hand experience
0:06:55 > 0:06:57of the front line.
0:06:59 > 0:07:03You've brought along a photograph, and this is the artist, Leroux,
0:07:03 > 0:07:06actually painting a First World War scene.
0:07:06 > 0:07:08It is. When we bought the photograph,
0:07:08 > 0:07:11we thought it was this painting behind him.
0:07:11 > 0:07:13It was only when it arrived
0:07:13 > 0:07:16we realised it was another very similar painting.
0:07:16 > 0:07:18Well, I think he would have done a series of paintings.
0:07:18 > 0:07:21You know, considering he was on the Western Front,
0:07:21 > 0:07:23it would have had a hell of an impact on his life
0:07:23 > 0:07:26and he would have been inspired to paint a series of these pictures.
0:07:26 > 0:07:30So when you bought this, how many years ago was it?
0:07:30 > 0:07:34I'd say about eight years? Yeah, probably eight years ago.
0:07:34 > 0:07:37Eight years ago? Well, I think that today,
0:07:37 > 0:07:40a painting like this would make...
0:07:40 > 0:07:43I'd certainly think £5,000 to £7,000.
0:07:43 > 0:07:45- Goodness.- My goodness.- Jolly good.
0:07:45 > 0:07:49But I think it's a wonderful, wonderful picture. Wonderful.
0:07:49 > 0:07:53What sums up the seaside more than a seaside postcard?
0:07:53 > 0:07:57Here we have one, stick of rock from Scarborough.
0:07:57 > 0:08:00And it's also a local story because in Holmfirth,
0:08:00 > 0:08:03which is back inland a bit, um,
0:08:03 > 0:08:08is, or was, the company Bamforth, James Bamforth,
0:08:08 > 0:08:12who were responsible for selling millions of postcards.
0:08:12 > 0:08:15And it was really in about 1910
0:08:15 > 0:08:20that they started employing artists to create the cards.
0:08:20 > 0:08:26And here we've got a really good array of original art work,
0:08:26 > 0:08:30postcards. What's the link?
0:08:30 > 0:08:36Well, it was my great-grandfather and this is his grandson.
0:08:36 > 0:08:39Is there a likeness? I don't know!
0:08:39 > 0:08:43You're smiling too much - you need to look a bit more serious!
0:08:43 > 0:08:46- And this artist is Douglas Tempest. - It is.
0:08:46 > 0:08:49Who was responsible for this body of work.
0:08:49 > 0:08:53What's interesting about James Bamforth and the company,
0:08:53 > 0:08:58was that he was unusual in taking on four staff artists,
0:08:58 > 0:09:01and he sort of developed, through these four artists,
0:09:01 > 0:09:03a Bamforth house style, really.
0:09:03 > 0:09:08And one of the pieces of original art work that I really love,
0:09:08 > 0:09:12is this one here, which is - when you look at it closely,
0:09:12 > 0:09:16- it's so detailed, isn't it? - It is, yeah.- Just wonderful.
0:09:16 > 0:09:18So let's just try and work out values here.
0:09:18 > 0:09:22- You've got 3,000...?- 623.
0:09:22 > 0:09:26..at let's say a couple of pounds each.
0:09:26 > 0:09:28Well, you know, that's 7,000 before you start.
0:09:28 > 0:09:30- And how many pieces of art work? - 150.
0:09:30 > 0:09:35150 at £200 a piece - well, you know, that's 30,000.
0:09:35 > 0:09:39So, you know, it's getting up towards £40,000, isn't it,
0:09:39 > 0:09:42this collection? Amazing. Amazing.
0:09:42 > 0:09:45And what you are creating is a very important archive
0:09:45 > 0:09:49- for a very influential postcard artist.- Thank you.
0:09:52 > 0:09:5725 years ago at the, shall we say the modest age of 13 years old,
0:09:57 > 0:09:59I walked into an antique fair
0:09:59 > 0:10:01and acquired my very own example.
0:10:01 > 0:10:03- Exactly the same?- Exactly the same.
0:10:03 > 0:10:05But tell me, where's yours from?
0:10:05 > 0:10:11I bought it in Whitby about six months ago at a charity shop.
0:10:11 > 0:10:15Good grief. I have to ask the question - how much?
0:10:15 > 0:10:1729.95.
0:10:17 > 0:10:20Wow. You have a seriously good eye.
0:10:20 > 0:10:22And what made you buy her?
0:10:22 > 0:10:26Um, I know that she's by Lenci because I've seen your roadshow with
0:10:26 > 0:10:32the basic/better/best, and I thought she was really beautiful and then,
0:10:32 > 0:10:34when I picked her up, I saw the mark,
0:10:34 > 0:10:37so I know she has a certain value.
0:10:37 > 0:10:40Well, you said that wonderful name.
0:10:40 > 0:10:43I mean, Lenci in the 1920s and '30s were really
0:10:43 > 0:10:46the jewel in the crown of the Italian ceramic industry,
0:10:46 > 0:10:48and if we look underneath,
0:10:48 > 0:10:51the nice thing about Lencis, they are very clearly marked.
0:10:51 > 0:10:54"Lenci, made in Italy" and the name of this piece
0:10:54 > 0:10:56which is "Angelita alla Corrida".
0:10:56 > 0:10:58Now, Lenci in the 1920s and '30s
0:10:58 > 0:11:02were really at the pinnacle of what they were doing.
0:11:02 > 0:11:06They were formed by a young lady called Helen Konig Scavini.
0:11:06 > 0:11:09And Scavini was a very well-travelled lady.
0:11:09 > 0:11:13She actually originated from Germany, ended up in Switzerland
0:11:13 > 0:11:17and married an Italian to then settle just in Turin.
0:11:17 > 0:11:20And what started out as a cottage industry,
0:11:20 > 0:11:24actually making felt dolls, by 1928,
0:11:24 > 0:11:28had grown into this wonderful ceramic firm making what are classed
0:11:28 > 0:11:31as some of the most wonderful
0:11:31 > 0:11:34- Deco figures of the period.- Right.
0:11:34 > 0:11:37They epitomise the style, the chicness,
0:11:37 > 0:11:40the whole essence of that day.
0:11:40 > 0:11:43So, 29.99?
0:11:43 > 0:11:4495.
0:11:44 > 0:11:45Oh, 29.95! Well...
0:11:45 > 0:11:47And I let them keep the 5p.
0:11:47 > 0:11:50Oh well, well done. That's good,
0:11:50 > 0:11:55because if I say we need to very comfortably move the decimal point,
0:11:55 > 0:11:59your £29.95, realistically now,
0:11:59 > 0:12:04is worth £2,500 to £3,000.
0:12:04 > 0:12:07- Good grief! Really?- Really.
0:12:07 > 0:12:10Astonished at that. That's incredible.
0:12:10 > 0:12:13- These are incredibly desired figures the world over.- Really?
0:12:13 > 0:12:16- And particularly with the Italians, they love them.- Really?
0:12:16 > 0:12:18And I have to say, I love mine as well,
0:12:18 > 0:12:20so we're both in very good company.
0:12:20 > 0:12:23That's wonderful, thank you very much.
0:12:23 > 0:12:24- My pleasure.- That's incredible.
0:12:28 > 0:12:31This is the tiniest etching I think I've ever seen.
0:12:31 > 0:12:34What do you know about it? Whose is it?
0:12:34 > 0:12:36It's my great, great, great, great, great, great...
0:12:36 > 0:12:39How many greats are we going for?
0:12:39 > 0:12:41It's our granddad's uncle's...
0:12:41 > 0:12:44- Your great grandfather's uncle - he made it.- Yeah.
0:12:44 > 0:12:46Eli Marsden Wilson.
0:12:46 > 0:12:48- Eli Marsden Wilson. - Bit of a mouthful.
0:12:48 > 0:12:51A bit of a mouthful, yes. Right, well we've established that.
0:12:51 > 0:12:56The point is, this was done for Queen Mary's doll's house.
0:12:56 > 0:12:59And here is the letter, dated 1922, September 11th,
0:12:59 > 0:13:02from Queen Mary's sister-in-law, Princess Marie Louise,
0:13:02 > 0:13:05who was the granddaughter of Queen Victoria,
0:13:05 > 0:13:09asking for the etching to be done for the doll's house.
0:13:09 > 0:13:11The famous doll's house which was,
0:13:11 > 0:13:14- I think it's now on display at Buckingham Palace.- Yes.
0:13:14 > 0:13:18It was at Windsor, but I think it's on display there now.
0:13:18 > 0:13:22But it showcases all that's best in British art, doesn't it?
0:13:22 > 0:13:25- It was designed by Edwin Lutyens, the architect.- Of course, yes.
0:13:25 > 0:13:28And many of the great manufacturers and artists of the period
0:13:28 > 0:13:31were commissioned to make miniature artefacts for it.
0:13:31 > 0:13:35And it was a complete Downton Abbey, wasn't it? Upstairs Downstairs.
0:13:35 > 0:13:38- Totally Downton, yes, absolutely. - Absolutely tremendous.
0:13:38 > 0:13:40So this tiny etching appeared there.
0:13:40 > 0:13:43Yes, and I believe the etchings are in tiny little folios
0:13:43 > 0:13:46in the library of the doll's house.
0:13:46 > 0:13:49What are these two other ones about?
0:13:49 > 0:13:53He was a conscientious objector during the First World War.
0:13:53 > 0:13:55So do we know what a conscientious objector was?
0:13:55 > 0:13:57- No.- No.
0:13:57 > 0:14:01He didn't want to go to war, so he decided he wasn't going to fight.
0:14:01 > 0:14:03Yes, he was a pacifist and...
0:14:03 > 0:14:07In the First World War of course, that was a very serious thing.
0:14:07 > 0:14:09Yes, he went to prison in 1917.
0:14:09 > 0:14:11Yes.
0:14:11 > 0:14:12He was there for two years
0:14:12 > 0:14:15and these little etchings were done whilst he was there.
0:14:15 > 0:14:18These were done, of the inside of his cell.
0:14:18 > 0:14:20What do you think of having to live in these?
0:14:20 > 0:14:22- Be rather cramped, wouldn't it?- Yes.
0:14:22 > 0:14:24And this is a picture of him actually working at his desk here.
0:14:24 > 0:14:27That's rather a nice picture, isn't it?
0:14:27 > 0:14:30Because he's got the light shining onto his desk.
0:14:30 > 0:14:34- Interesting seeing an etcher, actually at work.- Yes.
0:14:34 > 0:14:37Quite an informal pose really, but rather charming.
0:14:37 > 0:14:39We're not talking about a lot of money here,
0:14:39 > 0:14:43but we're talking about a fantastic story, about your family,
0:14:43 > 0:14:46and you must be very proud of him.
0:14:46 > 0:14:50A little etching like that with the story,
0:14:50 > 0:14:53I'd have thought about £200-£300.
0:14:53 > 0:14:55These ones I think are very interesting,
0:14:55 > 0:14:58but not anything like as much money, probably about £50 to £100 each.
0:14:58 > 0:15:00But the price is not it, is it?
0:15:00 > 0:15:03No, it's part of our family history,
0:15:03 > 0:15:06- which we're all very interested in. - Which you should be very proud of.
0:15:06 > 0:15:09Patronising or what, was that?! I don't know!
0:15:09 > 0:15:12- No, not at all! Thank you very much indeed!- Thanks.
0:15:20 > 0:15:23Our excitable glass expert Andy McConnell
0:15:23 > 0:15:26has come up with a bit of a test this week.
0:15:26 > 0:15:30Now, he scours car boots every week looking for inexpensive items
0:15:30 > 0:15:32which can turn out to be worth quite a fortune.
0:15:32 > 0:15:35So from his vast glass collection,
0:15:35 > 0:15:38we have three pieces of Swedish glass.
0:15:38 > 0:15:40One - the basic one - is worth £100,
0:15:40 > 0:15:42the better one, £400,
0:15:42 > 0:15:46and the best, £5,000.
0:15:46 > 0:15:49So, we'll see how we get on here.
0:15:49 > 0:15:51Why don't you have a guess at home?
0:16:01 > 0:16:02I like that one best.
0:16:02 > 0:16:06I think basic, better and best.
0:16:06 > 0:16:08- That's basic. - That's basic, OK.
0:16:08 > 0:16:11That's quite a modern design, I would say.
0:16:12 > 0:16:14Next best.
0:16:14 > 0:16:16Better.
0:16:17 > 0:16:20- Do you know anything about Swedish glass?- No.
0:16:20 > 0:16:22I think this is probably the most expensive one.
0:16:22 > 0:16:25Why do you think this is the £5,000 vase?
0:16:25 > 0:16:27Don't really know!
0:16:27 > 0:16:30The moulding is slightly Laliquey, but then, I don't know.
0:16:30 > 0:16:33You've been listening to Eric, haven't you?
0:16:33 > 0:16:37That's slightly coloured, but that's very unusual.
0:16:37 > 0:16:39That's just a chunky bowl to me.
0:16:39 > 0:16:41SHE LAUGHS
0:16:43 > 0:16:46Here's one of those very, very pretty pictures -
0:16:46 > 0:16:49little pictures - that you see sometimes on the Roadshow
0:16:49 > 0:16:51and you can't at first see who it's by.
0:16:51 > 0:16:55But she's such a pretty face, it's really worth looking into.
0:16:55 > 0:16:57Is it yours?
0:16:57 > 0:16:59It's my father's at the moment.
0:16:59 > 0:17:03It's been in the family for a good 40 years as far as we know.
0:17:03 > 0:17:07It was my great aunt's, who was a bit of a hoarder, bit of an eccentric,
0:17:07 > 0:17:10and when she died she had a four-storey Victorian house
0:17:10 > 0:17:13which was crammed with all sorts of things,
0:17:13 > 0:17:15so we had a week as a family to clear the house
0:17:15 > 0:17:17before we sold off the rest of the stuff.
0:17:17 > 0:17:19You had to pick what you thought was, the things you wanted.
0:17:19 > 0:17:22That's right, yes, and my dad ended up with this,
0:17:22 > 0:17:25which has been on his wall, and like I say, we think it's
0:17:25 > 0:17:29a beautiful picture, lovely portrait, but never known much about it.
0:17:29 > 0:17:31I really like the way it's painted.
0:17:31 > 0:17:34She's got such a healthy bloom in her face, hasn't she?
0:17:34 > 0:17:37- I think that's like a Breton cap or something?- Yes, yes.
0:17:37 > 0:17:39Which either makes her French, Northern French,
0:17:39 > 0:17:42or it makes her Cornish, of course, because they wore them, too.
0:17:42 > 0:17:45I think Cornish, because we know that - you know -
0:17:45 > 0:17:48there was a colony down there at Newlyn, the village of Newlyn.
0:17:48 > 0:17:50And it has that very much Newlyn feel to it,
0:17:50 > 0:17:53so let's look at it further. One of the first things I want to do,
0:17:53 > 0:17:57- is take it out of its frame, because that's not original.- No.
0:17:57 > 0:18:00We do that, carefully.
0:18:00 > 0:18:03Put that to the side, and straight away she sort of looks more natural.
0:18:03 > 0:18:05- She does, yeah. - Yeah, I think so too.
0:18:05 > 0:18:08And then you look around, you look at the side of it here
0:18:08 > 0:18:11and you notice that it's painted all the way round the edge
0:18:11 > 0:18:14and then you begin to think well, what's happened here?
0:18:14 > 0:18:20And you look again at the bottom and whoops, there's the signature.
0:18:20 > 0:18:22Ah, right. I don't think we've ever seen that.
0:18:22 > 0:18:26Yes, "S Birch" it says, which is really rather exciting, isn't it?
0:18:26 > 0:18:29- Because I think we've now found our woman.- Right.
0:18:29 > 0:18:33- Woman artist, Sara Birch, or Sarah Birch.- Oh, right!
0:18:33 > 0:18:38And she was exhibiting in the 1890s, which is plumb-on for that, I'd say.
0:18:38 > 0:18:43Value? Well, knowing who it's by, I think, helps,
0:18:43 > 0:18:48but just like that, with the signature hidden,
0:18:48 > 0:18:49just a little thing like that,
0:18:49 > 0:18:51I still think £2,000 to £3,000.
0:18:51 > 0:18:54Really? Excellent!
0:18:56 > 0:18:58Oh, well, it'll go back to Father.
0:18:58 > 0:18:59Be yours one day, I hope.
0:18:59 > 0:19:02I hope so, yes. He's probably rubbing his hands at the moment!
0:19:02 > 0:19:05This is like taking a child to a sweet shop for me,
0:19:05 > 0:19:08because I really do have a passion for costume jewellery.
0:19:08 > 0:19:10Where did all this come from?
0:19:10 > 0:19:18We have a long-established shop. It's been in business since 1845,
0:19:18 > 0:19:19and still in the same family,
0:19:19 > 0:19:25and about 50 years ago we knocked through the two shops that we had,
0:19:25 > 0:19:29and everything had to be cleared, so all of this was taken upstairs
0:19:29 > 0:19:33for safe keeping, I suppose, and it never made it back down again.
0:19:35 > 0:19:38Stuff has been put in front and whenever anybody said,
0:19:38 > 0:19:41"Oh, what's in that corner?" "Oh, it's just rubbish", you know?
0:19:41 > 0:19:42Well, look at all this.
0:19:42 > 0:19:45This is all "Presents from Scarborough", and look at this,
0:19:45 > 0:19:48things like "12 shillings" I mean,
0:19:48 > 0:19:50was a lot of money in the '50s.
0:19:50 > 0:19:52That's an expensive thing.
0:19:52 > 0:19:55I mean, that's a half of the guidance in some of the pricing,
0:19:55 > 0:19:57you sort of think - well, that was expensive,
0:19:57 > 0:20:00that's nearly half somebody's wage or, you know?
0:20:00 > 0:20:03- And of course these things did go completely out of fashion.- Yeah.
0:20:03 > 0:20:07These sort of settings. I mean, I love all the doggies over there.
0:20:07 > 0:20:08And you know, all these little...
0:20:08 > 0:20:11But we have some "mother" brooches, and "baby".
0:20:11 > 0:20:15Why you would want that sort of thing, I don't know but...
0:20:15 > 0:20:18It was just very much a sentimental time. You're talking post-war.
0:20:18 > 0:20:21My parents came to Scarborough for their honeymoon just after the war.
0:20:21 > 0:20:23Oh, did they? They maybe bought one of these!
0:20:23 > 0:20:26My mum might've just been in there and got one.
0:20:26 > 0:20:28And of course here we've got swastikas on pins,
0:20:28 > 0:20:31which people might think, "Oh, my goodness".
0:20:31 > 0:20:32Quite alarming at first, yes.
0:20:32 > 0:20:37But actually of course the swastika was an auspicious Hindu symbol.
0:20:37 > 0:20:40It was actually a very good luck thing
0:20:40 > 0:20:44until of course it was sort of perverted in the Second World War.
0:20:44 > 0:20:46I guess obviously before that time, then.
0:20:46 > 0:20:48This has to be before the Second World War.
0:20:48 > 0:20:51But this has sort of come back into fashion now,
0:20:51 > 0:20:54so you're probably ahead of the trend in Scarborough,
0:20:54 > 0:20:56and there's some great things here.
0:20:56 > 0:20:59And, of course, costume jewellery really is fashionable now.
0:20:59 > 0:21:01But you know, 11/6d.
0:21:01 > 0:21:04I mean, this collection's still not worth a tremendous amount of money.
0:21:04 > 0:21:06- We're talking... - Curiosity, isn't it?
0:21:06 > 0:21:10It is, and to think that all of this was in Scarborough.
0:21:10 > 0:21:13This is what people bought when they came on their holidays
0:21:13 > 0:21:15and took home, and wore.
0:21:15 > 0:21:17And this is a remnant of those days.
0:21:17 > 0:21:19Value? I mean some of the compacts
0:21:19 > 0:21:22are probably £20-£30 now.
0:21:22 > 0:21:25Some of the brooches are going to be £30-£40.
0:21:25 > 0:21:27- Really?- So I would think...- Gosh!
0:21:27 > 0:21:30I know, it's just because it's come back into fashion.
0:21:30 > 0:21:35You're probably talking, I don't know, sort of £400-£500, actually,
0:21:35 > 0:21:39so I think you're going to have to re-price some of them.
0:21:39 > 0:21:40I think so, yes.
0:21:44 > 0:21:48If you were a sophisticated,
0:21:48 > 0:21:51highly fashionable lady living in 1760,
0:21:51 > 0:21:53this is what you'd be
0:21:53 > 0:21:54drinking your coffee out of.
0:21:54 > 0:21:56Really? Oh, 1760, it's that old?
0:21:56 > 0:21:58- It's that old!- I had no idea.
0:21:58 > 0:22:00Where did you get it?
0:22:00 > 0:22:02My father bought it in an antiques shop about 1952,
0:22:02 > 0:22:04about a year before he got married,
0:22:04 > 0:22:07just something took his fancy, paid about 30 bob for it,
0:22:07 > 0:22:10and that was just an ornament that he liked.
0:22:10 > 0:22:14He had very good taste. If you turn it over, there's the factory mark.
0:22:14 > 0:22:18It's a gold anchor mark which is the factory mark of the Chelsea factory.
0:22:18 > 0:22:22Funnily enough, it's one of the most copied marks there is.
0:22:22 > 0:22:25I've seen so many fakes of gold anchor marks. This time it's real.
0:22:25 > 0:22:27Oh, it's the real McCoy!
0:22:27 > 0:22:32It's one of the earliest English factories. It was founded in 1745.
0:22:32 > 0:22:35They started using a gold anchor mark round about 1756,
0:22:35 > 0:22:38and this is a few years after that.
0:22:38 > 0:22:40This factory made for the aristocracy.
0:22:40 > 0:22:43At the time, it was the best of the best.
0:22:43 > 0:22:46Beautifully painted, with these Rococo birds.
0:22:46 > 0:22:48They moulded it with scales all over,
0:22:48 > 0:22:51and it's a beautiful, soft glassy glaze that they used,
0:22:51 > 0:22:54it's very characteristic of Chelsea.
0:22:54 > 0:22:55A gorgeous thing.
0:22:55 > 0:22:58Would it have been mass-produced in the time, or...?
0:22:58 > 0:23:02Chelsea was never mass-produced. It was made for the aristocracy.
0:23:02 > 0:23:05Always hand-painted, made to the highest quality,
0:23:05 > 0:23:07it is the best of the best.
0:23:07 > 0:23:11Lovely thing to bring along. So, it has a value.
0:23:11 > 0:23:12Which is?
0:23:12 > 0:23:15- You see, that's the important bit, isn't it?- Of course, yes.
0:23:15 > 0:23:17But it's good to know the history as well,
0:23:17 > 0:23:19that you can examine something like that and look at it
0:23:19 > 0:23:22and tell you how it's made and when it was made and that kind of thing.
0:23:22 > 0:23:25- The history's always very good. - It's a lovely thing.
0:23:25 > 0:23:28A collector would pay, at auction, about £500 for this.
0:23:28 > 0:23:32How much?! £500? You're joking!
0:23:33 > 0:23:35Good grief!
0:23:35 > 0:23:36Don't drop it!
0:23:36 > 0:23:38LAUGHTER
0:23:38 > 0:23:40It's a really nice thing to see.
0:23:40 > 0:23:44Remember these three Swedish glass vases?
0:23:44 > 0:23:46Andy McConnell, our glass expert, set us a test,
0:23:46 > 0:23:50to work out which was the most basic, the better and the best.
0:23:50 > 0:23:52The basic being worth £100,
0:23:52 > 0:23:53the better one £400,
0:23:53 > 0:23:57and the best £5,000.
0:23:57 > 0:23:58Now this is what I reckon.
0:23:58 > 0:24:02Andy McConnell, it was a doddle, mate.
0:24:03 > 0:24:06I'm joking, I've no idea. Ah, well!
0:24:06 > 0:24:09I thought you were going to get it this time!
0:24:09 > 0:24:11I thought you were going to get it!
0:24:11 > 0:24:14OK, come on, then. So what should we be looking for?
0:24:14 > 0:24:19Well, the basic, you got right, you did, you did get that one right.
0:24:19 > 0:24:22Now this, I thought this was either the most basic or the best
0:24:22 > 0:24:24because it's different, because it's blue.
0:24:24 > 0:24:26Was that the thing?
0:24:26 > 0:24:30No, colour doesn't cost anything. Glass is cheap, sand is cheap,
0:24:30 > 0:24:32so weight and colour, generally speaking,
0:24:32 > 0:24:35you can't go on that, thickness of glass and so on.
0:24:35 > 0:24:39This is a stereotype, really, it's Girda Stromberg.
0:24:39 > 0:24:44Girda Stromberg - was the first great lady glass designer.
0:24:44 > 0:24:46And later, she was '30s, modernism.
0:24:46 > 0:24:48This glass - in my opinion - would be better
0:24:48 > 0:24:50without the moose on it - it never was.
0:24:50 > 0:24:54Another designer came along later, took the shape
0:24:54 > 0:24:58and applied this old, you know, cliche to it, so that's £100.
0:24:58 > 0:25:02About 1955, Runa Strand for Stromberg, standard piece.
0:25:04 > 0:25:05The better one, then?
0:25:07 > 0:25:11Ah! Yes, this is ONLY the better one, but it's my favourite.
0:25:11 > 0:25:14Look at that! I mean, wait a minute.
0:25:14 > 0:25:17There they are, look, my boys, look at them.
0:25:17 > 0:25:18They're very weird.
0:25:18 > 0:25:21But what about this strange horse which is in profile
0:25:21 > 0:25:23but you can see his rear end at the same time?
0:25:23 > 0:25:25What's going on here with these creatures?
0:25:25 > 0:25:27It's cave paintings, isn't it, really?
0:25:27 > 0:25:29I think the nearest thing to it.
0:25:29 > 0:25:32It's like they're carved out.
0:25:32 > 0:25:36You feel how thick that's in there, at least a quarter of an inch in.
0:25:36 > 0:25:40It's as if they've been ground out of those by his fingernails.
0:25:40 > 0:25:42And they're extremely expressive.
0:25:42 > 0:25:45They're not supposed to look like a poodle,
0:25:45 > 0:25:48they're supposed to look like nothing on earth.
0:25:48 > 0:25:51- So when was this made?- '55.
0:25:51 > 0:25:54And why - given how much you love it - is this only worth £400?
0:25:54 > 0:25:57Because it's just coming on, it's coming on.
0:25:57 > 0:26:00It's... None left Sweden. They were a Swedish phenomenon.
0:26:00 > 0:26:03And Swedes are a bit up to here with glass
0:26:03 > 0:26:08so its value has been restricted by its lack of presence in the market.
0:26:08 > 0:26:12I bought it for £350, but I wouldn't sell it for 1,000.
0:26:12 > 0:26:15- Because you really like it? - Because I think it's just, you know.
0:26:15 > 0:26:17I mean, they all look like me!
0:26:17 > 0:26:20they're all kind of demented nit-wits on there, you know?
0:26:20 > 0:26:23Yours words, Andy, I wouldn't possibly comment!
0:26:23 > 0:26:28So this is the best one, then, for £5,000. So talk me through it.
0:26:28 > 0:26:30Victor, Victor, Vicke Lindstrand
0:26:30 > 0:26:33was the greatest designer in the world - other than Rene Lalique -
0:26:33 > 0:26:35in the 1930s.
0:26:35 > 0:26:39He came into Orrefors as a book illustrator
0:26:39 > 0:26:45and that illustrative nature of his work is evident here.
0:26:45 > 0:26:50He went on holiday to Kenya in the early '50s and it's there,
0:26:50 > 0:26:54and this contemporary form is very compelling.
0:26:54 > 0:26:58The two-sided nature of the vase - and there are only 20 of them known.
0:26:58 > 0:27:01When I've talked about these to other people,
0:27:01 > 0:27:03they've said, "You've got one?"
0:27:03 > 0:27:06It's the only one that's outside a museum or major collection.
0:27:06 > 0:27:10It's a rarity. 20 are known, and this is one of them.
0:27:10 > 0:27:13And the last time one came to the market,
0:27:13 > 0:27:17which was seven, eight years ago, it went for £5,500.
0:27:17 > 0:27:20A little bird told me that you brought up the most expensive vase -
0:27:20 > 0:27:23which I now know is this one - cradled in your lap on the train
0:27:23 > 0:27:26all the way from your home in Sussex, up here to Scarborough.
0:27:26 > 0:27:30I wish it had been that one, because carrying this on the train up here
0:27:30 > 0:27:32was one of my most nerve-racking experiences!
0:27:32 > 0:27:36I must admit, I laid a couple of eggs on the way up.
0:27:36 > 0:27:39I was slightly worried that it wouldn't make it
0:27:39 > 0:27:42and that would have been really embarrassing!
0:27:42 > 0:27:44I mean, you know what I'm like.
0:27:44 > 0:27:48We're glad that it did, even if I got it wrong AGAIN.
0:27:48 > 0:27:51If you've got some Swedish glass at home, you'd like to see it, Andy.
0:27:51 > 0:27:54Please, please bring your Swedish glass in.
0:27:54 > 0:27:56So have a look at our website...
0:27:58 > 0:28:00You can see the venues where we're going to be this series.
0:28:00 > 0:28:02Bring it along.
0:28:09 > 0:28:14We see a lot of Robert Thompson - Mousy Thompson - furniture
0:28:14 > 0:28:16especially in North Yorkshire,
0:28:16 > 0:28:19but I've never ever seen anything like this.
0:28:19 > 0:28:21Here's his mouse, quite clearly.
0:28:21 > 0:28:24It's a very well-carved mouse, long tail, good whiskers.
0:28:24 > 0:28:27But there has to be a story with this,
0:28:27 > 0:28:30looks like a flying helmet, clearly this RAF plaque.
0:28:30 > 0:28:33This must be a family piece. Can you tell me more about it?
0:28:33 > 0:28:37Yes, it is indeed. The plaque sits in my mother's house.
0:28:37 > 0:28:42It was commissioned by her mother and father, directly to Robert Thompson
0:28:42 > 0:28:45to make the plaque in memory of their son, Brian,
0:28:45 > 0:28:47who died in the Battle of Britain.
0:28:47 > 0:28:51He was a Spitfire pilot and his Spitfire was shot down.
0:28:51 > 0:28:53He was actually shot in the back.
0:28:53 > 0:28:56So he wasn't killed, he was mortally wounded.
0:28:56 > 0:29:00And he actually had to bail out by flying the Spitfire upside down
0:29:00 > 0:29:03and releasing himself because he was paralysed.
0:29:03 > 0:29:07So he had the sangfroid to turn his plane upside down,
0:29:07 > 0:29:10- open the hood.- Yes. - And more or less fall out.
0:29:10 > 0:29:13Yes, correct, and he was Thomas Brian Kirk.
0:29:13 > 0:29:17And he died nine months later from his injuries, and I have here
0:29:17 > 0:29:22the flying helmet he was wearing at the time that he was shot down.
0:29:22 > 0:29:24This is his Spitfire pilot's helmet.
0:29:24 > 0:29:27This is his Spitfire pilot's helmet and my mother has this too.
0:29:27 > 0:29:31They went to Robert Thompson and they asked him if they would do a plaque
0:29:31 > 0:29:35with his squadron, which was Tiger Squadron, 74 Squadron,
0:29:35 > 0:29:37and Robert Thompson was really proud to do it
0:29:37 > 0:29:41and my mother said he spent a great deal of time and care
0:29:41 > 0:29:45and I think that's why the mouse is so beautifully carved.
0:29:45 > 0:29:48And I think this was done around about 1942.
0:29:48 > 0:29:52You know, you hear about the number of Aces etc,
0:29:52 > 0:29:54but there are so many stories like that one never hears about.
0:29:54 > 0:29:58- Yes.- Just a very personal story, very emotive, as you say, to you.
0:29:58 > 0:30:01It's very difficult for us in the 21st century
0:30:01 > 0:30:04- to even begin to understand what they went through.- Indeed.
0:30:04 > 0:30:08I'm sure we're sort of celebrating a war hero, which he was, certainly.
0:30:08 > 0:30:10- Yes.- I mean, most extraordinary.
0:30:10 > 0:30:13My father was in the RAF during the Second World War
0:30:13 > 0:30:16so I can sort of vaguely understand what this must mean to you
0:30:16 > 0:30:18and what I think is so nice, it's not in a museum
0:30:18 > 0:30:21or in an RAF squadron mess.
0:30:21 > 0:30:24It's actually in your private family home
0:30:24 > 0:30:26- which is so important, so wonderful.- Yes.
0:30:27 > 0:30:31I mean, we obviously normally value things on the Antiques Roadshow,
0:30:31 > 0:30:32but you can't value this.
0:30:32 > 0:30:35This is a personal history, personal story.
0:30:35 > 0:30:38I've never seen a plaque like this. It must be almost a one-off.
0:30:38 > 0:30:40- A wonderful tribute to him. - Thank you.
0:30:40 > 0:30:42Thank you very much indeed.
0:30:43 > 0:30:46So, two lovely ladies, one scent bottle.
0:30:46 > 0:30:47What's the story?
0:30:47 > 0:30:49You brought it here today because you wanted to find out what?
0:30:49 > 0:30:53Well, whether it was worth anything or the history of it, really.
0:30:53 > 0:30:56It came from Germany, I think.
0:30:56 > 0:31:00Did it? And what was the family relationship there?
0:31:00 > 0:31:05Well, our grandfather. Not our, but my husband's grandfather,
0:31:05 > 0:31:08he came from Germany
0:31:08 > 0:31:10and so he...
0:31:10 > 0:31:12He moved over here to...
0:31:12 > 0:31:16- Yes, marry my grandmother, you see. - Yes, how lovely.
0:31:16 > 0:31:18Well, that's very good.
0:31:18 > 0:31:22So the Roadshow's coming and you thought, "Let's look out something."
0:31:22 > 0:31:25Tell me about that. How did that happen?
0:31:25 > 0:31:29I just suddenly remembered, we were bringing some glass, Bohemian glass,
0:31:29 > 0:31:33and I just remembered about the little scent bottle,
0:31:33 > 0:31:37so I asked mum, where was it, and she couldn't remember at all.
0:31:37 > 0:31:40Popped up in the attic and found it.
0:31:40 > 0:31:44But, as a child, I thought it was much bigger than it is now.
0:31:44 > 0:31:47Yes, I know that does happen, doesn't it?
0:31:47 > 0:31:49It's pretty big in its importance.
0:31:49 > 0:31:52It's a most fascinating scent bottle. It really is a stunner.
0:31:52 > 0:31:55- It's made of silver.- Silver?
0:31:55 > 0:31:57Silver-gilt actually.
0:31:57 > 0:32:01And it's painted enamel work.
0:32:01 > 0:32:03Oh, on top of the silver?
0:32:03 > 0:32:06- On top of the silver, absolutely. - Oh, I see.
0:32:08 > 0:32:10You've probably already guessed that it's Russian.
0:32:10 > 0:32:12Did you think of it as Russian before?
0:32:12 > 0:32:16- Not really, but I thought Germany, perhaps.- Yes.
0:32:16 > 0:32:18But it might have been.
0:32:18 > 0:32:21Yes, I mean, the biggest signal to the fact that it is Russian
0:32:21 > 0:32:23is the inscription on the lid
0:32:23 > 0:32:25which stands for a firm called Ovchinnikov,
0:32:25 > 0:32:28which is the most wonderfully exotic name.
0:32:28 > 0:32:33It was a very important competitor of Faberge in Moscow
0:32:33 > 0:32:37and this is the sort of background for it, really.
0:32:37 > 0:32:40It's pre-revolutionary Russian goldsmith's work,
0:32:40 > 0:32:43and if we wanted any substantiation for that,
0:32:43 > 0:32:47we can see on the base here, the maker's mark and the hallmark
0:32:47 > 0:32:51for late 19th-century and early 20th-century Russia.
0:32:51 > 0:32:54But in a way it's worth also looking about the meaning of this object.
0:32:54 > 0:32:56It's far more than simply decorative.
0:32:56 > 0:32:59It's painted with musk roses
0:32:59 > 0:33:02and this is a covert emblem of love.
0:33:02 > 0:33:05The rose is one of the attributes of Venus.
0:33:05 > 0:33:06It always stands for love
0:33:06 > 0:33:09and what better to give somebody that you love,
0:33:09 > 0:33:12than a scent bottle that she's going to wear all the time?
0:33:12 > 0:33:15And if you can afford it, what better to do
0:33:15 > 0:33:20than go to one of the most celebrated silver manufacturers
0:33:20 > 0:33:22- in Moscow at the time?- I see. Yes.
0:33:22 > 0:33:27So we're probably looking for a bride in your family
0:33:27 > 0:33:30in the late 19th century, early 20th century,
0:33:30 > 0:33:32whose husband could afford to shop
0:33:32 > 0:33:34at what was a very grand establishment.
0:33:34 > 0:33:36We know it's a grand establishment
0:33:36 > 0:33:40because above the name Ovchinnikov is this double-headed imperial eagle
0:33:40 > 0:33:45which is a sign that they had the warrant of Nicholas and Alexandra.
0:33:45 > 0:33:49And so that's the clientele of Ovchinnikov
0:33:49 > 0:33:51and it's wonderful that the fitted box survives.
0:33:51 > 0:33:52It's a stunning combination.
0:33:52 > 0:33:56There's an enormous boom in Russian works of art. Huge.
0:33:56 > 0:33:59I think it's worth at least £3,000.
0:33:59 > 0:34:01No?
0:34:03 > 0:34:05- It's amazing, it's amazing. - Isn't it?
0:34:08 > 0:34:10Well, I saw you wheeling this into the hall this morning,
0:34:10 > 0:34:13and from side on, it looked just like
0:34:13 > 0:34:15a painted pine,
0:34:15 > 0:34:18late 19th-century chest of drawers,
0:34:18 > 0:34:21but actually it's a refrigerator.
0:34:21 > 0:34:24- Yep.- How does it work?
0:34:24 > 0:34:29Ice, block of ice from your ice man is put in here and it's convection
0:34:29 > 0:34:33so your hot air rises, cold air goes down there and it goes in,
0:34:33 > 0:34:37cools the bottom chamber and because it's zinc-lined, it just stays cold.
0:34:37 > 0:34:43By the 1830s, ice boxes, so insulated boxes for holding ice,
0:34:43 > 0:34:45were pretty much commonplace
0:34:45 > 0:34:49and there were all sorts of companies in America making them,
0:34:49 > 0:34:52and that's where this starts to fit in,
0:34:52 > 0:34:56cos this is by the Eddy Refrigerator Company, Boston, Massachusetts.
0:34:56 > 0:35:00And conveniently it says here that the firm was established in 1847.
0:35:00 > 0:35:04The interesting thing about this, is that its date is 1919.
0:35:04 > 0:35:09By the 1920s, a lot of electric refrigerators were being made.
0:35:10 > 0:35:14So this was quite an old-fashioned concept by then, wasn't it?
0:35:14 > 0:35:15Yes, I think so.
0:35:15 > 0:35:18It was dying out and probably a lot of them don't exist now
0:35:18 > 0:35:20cos they were thrown out when the electric ones came in.
0:35:20 > 0:35:23I can imagine, it would have been so deeply old-fashioned.
0:35:23 > 0:35:24As far as the style goes,
0:35:24 > 0:35:29it's this pine that's painted, or scumbled to look like it's oak,
0:35:29 > 0:35:33which was a very common thing to do with furniture in the 19th century.
0:35:33 > 0:35:37So the interior is lined with zinc and then these slates...
0:35:37 > 0:35:39Gosh, it's actually really cold in there, isn't it?
0:35:39 > 0:35:43Ice cold in there, yes. Even without ice it's really, really cold.
0:35:43 > 0:35:46Yes, yes.
0:35:46 > 0:35:48So where did this one come from?
0:35:48 > 0:35:50A friend of mine was clearing an out-building,
0:35:50 > 0:35:54asked for a hand so I went in and we cleared out everything and when
0:35:54 > 0:35:57we got to the back there was just a lot of other furniture, Victorian,
0:35:57 > 0:35:58and this as well.
0:35:58 > 0:36:03Took it home, cleaned it and liked it, that's it.
0:36:03 > 0:36:06And so does it come from somewhere near Scarborough?
0:36:06 > 0:36:10Filey. The building was on Primrose Valley which is a holiday resort
0:36:10 > 0:36:13and I think it was part of a hotel, maybe.
0:36:13 > 0:36:15Yes, if you were on holiday you would certainly want
0:36:15 > 0:36:20a bit of ice in your cold drink on a hot summer day by the sea.
0:36:20 > 0:36:24Well, it might surprise you to know that in the 1920s,
0:36:24 > 0:36:30these were being sold in the States for anything between 400 and 700,
0:36:30 > 0:36:34so quite a sort of prized possession
0:36:34 > 0:36:37and I'm going to ask you, do you think the value now
0:36:37 > 0:36:39is greater or lower than that?
0:36:39 > 0:36:43Er, probably lower, but I still think it's quite unique.
0:36:43 > 0:36:45Well, it's certainly unique.
0:36:45 > 0:36:48I don't really know many refrigerators
0:36:48 > 0:36:50that have woodworm(!)
0:36:50 > 0:36:51THEY LAUGH
0:36:51 > 0:36:54It helps with the cooling.
0:36:54 > 0:36:57And certainly it's the kind of object now that I mean most people
0:36:57 > 0:37:00wouldn't even give it house room, let alone giving you a tenner for it
0:37:00 > 0:37:03but it is such an interesting object of social history,
0:37:03 > 0:37:07and I'm sure there's someone who would pay over £100 for it.
0:37:07 > 0:37:08Definitely. Hope so.
0:37:12 > 0:37:17You've involved me in a little bit of time travel here
0:37:17 > 0:37:20and it's actually a love story.
0:37:20 > 0:37:21Now who is Nazi?
0:37:21 > 0:37:25Nazi was my husband's aunt
0:37:25 > 0:37:27but she died when she was 22.
0:37:27 > 0:37:32- Nazi was her nickname that her fiance gave her.- Right.
0:37:32 > 0:37:35Give the fiance's name, because this is one of his works.
0:37:35 > 0:37:38It is, and he was Billy Hughes.
0:37:38 > 0:37:40Has anybody heard of Billy Hughes?
0:37:40 > 0:37:43- Well, I've got to admit, I haven't. - No, no.- But why not?
0:37:43 > 0:37:47- I don't know why. - Because he's a talent.- Yes.
0:37:47 > 0:37:49Now let's have a see what we've got.
0:37:49 > 0:37:52Well, first of all we've got two photographs,
0:37:52 > 0:37:55and if we can just put those photographs like so,
0:37:55 > 0:37:58there's a couple here.
0:37:58 > 0:38:01Yes, that's Billy Hughes and Marjorie.
0:38:01 > 0:38:03Marjorie, but her pet name was Nazi?
0:38:03 > 0:38:05Nazi, yes.
0:38:05 > 0:38:11- And this is a wonderful self cartoon of Billy Hughes himself.- Yes.
0:38:11 > 0:38:14- So he's obviously got a sense of humour.- Yes.
0:38:14 > 0:38:16But what about this?
0:38:16 > 0:38:18She is divine.
0:38:18 > 0:38:22What we're looking at is very much the tip of the iceberg
0:38:22 > 0:38:25because here is yet another volume.
0:38:25 > 0:38:28Let's have a look at what we've got here.
0:38:28 > 0:38:31First of all, these are all hand painted.
0:38:31 > 0:38:37I mean, there's the look of a lady, quite frankly, that is...
0:38:37 > 0:38:38I think demure might be the world.
0:38:38 > 0:38:40And it says to what on there?
0:38:40 > 0:38:44It says, 'To Columbine from Pierrot'.
0:38:44 > 0:38:46- Ah, well every Columbine should have a Pierrot.- Yes.
0:38:46 > 0:38:51All these pictures, all these drawings have been painted
0:38:51 > 0:38:54- and been given to the love of his life.- Yes.
0:38:54 > 0:38:57Just look at this one here. I mean, that's spontaneous.
0:38:57 > 0:39:00- Look, that girl is a raver, isn't she?- Mm, yes, she is.
0:39:00 > 0:39:03- She is doing the Charleston.- Yes.
0:39:03 > 0:39:07There's a minimum of pen and ink there, but so much movement,
0:39:07 > 0:39:09but it goes on.
0:39:09 > 0:39:12I mean, let's have a look at another album here.
0:39:12 > 0:39:17And if I dare, just again,
0:39:17 > 0:39:19it's a case of less is more.
0:39:19 > 0:39:21Look at that!
0:39:21 > 0:39:25I mean, anybody who understands Art Deco would see almost Modigliani
0:39:25 > 0:39:28or a Hagenauer bronze in that image,
0:39:28 > 0:39:31and these are 1920s.
0:39:31 > 0:39:34- 1920s, yes.- And look at this one.
0:39:34 > 0:39:35I love that.
0:39:35 > 0:39:38I think it's so cheeky, so cheeky.
0:39:38 > 0:39:40I would love to have met this man.
0:39:40 > 0:39:42He had a sense of humour.
0:39:42 > 0:39:45And look at that!
0:39:45 > 0:39:49I mean, that is the ultimate cocktail, isn't it?
0:39:49 > 0:39:52So, you know, you've brought along
0:39:52 > 0:39:54a very, very exciting
0:39:54 > 0:39:57sort of folio, if you will.
0:39:57 > 0:40:03And a glimpse into a life long gone because what year did she die?
0:40:03 > 0:40:06- It would be early 1920s.- Early 1920s.
0:40:06 > 0:40:0822, it's no age at all, is it?
0:40:08 > 0:40:11No. Well, she died from exposure.
0:40:11 > 0:40:14She went for a walk in the local wood
0:40:14 > 0:40:17and tripped and fell and hit her head and she died.
0:40:17 > 0:40:20And all Kirkbymoorside were out looking for her,
0:40:20 > 0:40:21but they couldn't find her.
0:40:21 > 0:40:24So a tragedy, a tragic death as well.
0:40:24 > 0:40:28- Yes, very tragic, yes. - Whatever happened to Billy?
0:40:28 > 0:40:34Well, Billy went as assistant to the librarian in Salisbury.
0:40:34 > 0:40:37- And do we know any more after that?- No.
0:40:37 > 0:40:40I'll tell you what, somebody does.
0:40:40 > 0:40:42Yes. Somebody will, yeah.
0:40:42 > 0:40:44So, having looked at the folio
0:40:44 > 0:40:48and having never come across Billy Hughes,
0:40:48 > 0:40:53I've got to find myself putting a valuation on what I've seen so far.
0:40:53 > 0:40:57And I wouldn't hesitate, I wouldn't hesitate to say
0:40:57 > 0:41:00somewhere in the region of at least a couple of thousand pounds.
0:41:03 > 0:41:05But, you know, having said that,
0:41:05 > 0:41:10how on earth have I got the nerve to put a price on a labour of love?
0:41:10 > 0:41:12Yeah.
0:41:23 > 0:41:26Well, here's a picture postcard of Scarborough
0:41:26 > 0:41:29and it's wonderful to see a bit of local colour,
0:41:29 > 0:41:32and what colour, it's pearlescent, isn't it?
0:41:32 > 0:41:34It's like the inside of an oyster or something,
0:41:34 > 0:41:35the colour in this picture.
0:41:35 > 0:41:37I think he's looked at Turner,
0:41:37 > 0:41:39but he's painted a picture of Scarborough.
0:41:39 > 0:41:40It's by Robert Pearson.
0:41:40 > 0:41:42What can you tell me about it?
0:41:42 > 0:41:47I've had this painting since 1972.
0:41:47 > 0:41:51I was living in Macclesfield at the time, and I am a Scarborian
0:41:51 > 0:41:54so I was driving past a shop,
0:41:54 > 0:41:56a gallery, I think it must have been, one evening,
0:41:56 > 0:41:58and the light was on this and I thought,
0:41:58 > 0:42:01"That looks rather nice" and carried on driving.
0:42:01 > 0:42:05A couple of days later I took my girlfriend, who is now my wife,
0:42:05 > 0:42:09and I said, "Just have a look at this painting, I rather like it."
0:42:09 > 0:42:13I suddenly realised it was a picture of my home town
0:42:13 > 0:42:16and I said to Margaret, "I'm going to have that"
0:42:16 > 0:42:22so we went in and I said, "I'm going to give him £30 for it."
0:42:22 > 0:42:25- Now, we're talking 1972 which was... - That's plenty of money.
0:42:25 > 0:42:27It was quite a bit of money in my pocket then,
0:42:27 > 0:42:30and I said, "I rather like that painting in the window."
0:42:30 > 0:42:33I said, "How much is it?"
0:42:33 > 0:42:35He said, "£225."
0:42:35 > 0:42:38I said, "Right, I'll have it!"
0:42:38 > 0:42:39Marvellous.
0:42:39 > 0:42:43And that was it, I fell in love with it
0:42:43 > 0:42:44and it's been in our family ever since.
0:42:44 > 0:42:47- You didn't hesitate? You absolutely knew your mind?- No hesitation.
0:42:47 > 0:42:50It was the last penny out of my bank account.
0:42:50 > 0:42:51That's the way to buy pictures.
0:42:51 > 0:42:54- It really is. It's got to be love, got to be passion.- Yeah.
0:42:54 > 0:42:56Well, I must say it's great fun.
0:42:56 > 0:42:59I love it because it's like a postcard.
0:42:59 > 0:43:01I can say, "That's my room. That's where I'm staying, actually."
0:43:01 > 0:43:03Yes, at the Grand Hotel, yes.
0:43:03 > 0:43:06And I love the footbridge here which I know was built in 1824
0:43:06 > 0:43:09cos I walked over it this morning.
0:43:09 > 0:43:10Then, what is biggest of all,
0:43:10 > 0:43:13perhaps they even paid for the picture it seems to me,
0:43:13 > 0:43:16is the Grand Hotel and nothing grander than that.
0:43:16 > 0:43:20- It looks like some vast Indian palace, doesn't it?- Mm, yes.
0:43:20 > 0:43:22I rather like it as well because you're looking inland, of course,
0:43:22 > 0:43:26- towards the west, and there's a big sunset, it's like a Turner.- Yes.
0:43:26 > 0:43:29And you've got a big bustle here of working boats which must be
0:43:29 > 0:43:31going into the harbour over here, I suppose.
0:43:31 > 0:43:35There's a bit of artistic licence with the amount of boats around.
0:43:35 > 0:43:37- Possibly, yes, yes. - Perhaps even for then.
0:43:37 > 0:43:40It seems to have the atmosphere of Turner and Grimshaw mixed up.
0:43:40 > 0:43:42Well, of course, Turner came here,
0:43:42 > 0:43:44and Grimshaw lived here for a while, didn't he?
0:43:44 > 0:43:47And they painted locally and actually you're quite right,
0:43:47 > 0:43:50there is an entirely autonomous...
0:43:50 > 0:43:53It's on its own, little region of painters,
0:43:53 > 0:43:56and they don't go to London, they don't get into the dictionaries
0:43:56 > 0:43:58because they don't exhibit in London.
0:43:58 > 0:44:00But local people know who they are
0:44:00 > 0:44:03- because their pictures are hanging all over their homes.- Yes.
0:44:03 > 0:44:06Anyway, great fun. It cost you £225.
0:44:06 > 0:44:08- What do you think now?- Um...
0:44:10 > 0:44:14Oh, I would hazard a guess at about 2,000?
0:44:14 > 0:44:17- I was going to say three, so about right.- Yes.
0:44:17 > 0:44:21That's good because it'll cost me more in the insurance now, won't it?
0:44:21 > 0:44:22It probably will,
0:44:22 > 0:44:25but I think it's absolutely lovely and a great thing to have.
0:44:25 > 0:44:27- It's very atmospheric.- Truly so.
0:44:30 > 0:44:34What's a feminine person like you
0:44:34 > 0:44:38doing with a big, heavy, aggressive thing like this?
0:44:38 > 0:44:42Well, it belongs to my dad, actually, it's not mine,
0:44:42 > 0:44:46and it was passed down to him by his dad who acquired it through
0:44:46 > 0:44:50some spinster ladies, some elderly spinster ladies, who gave it to him
0:44:50 > 0:44:54because he was a solicitor in Scarborough town, so that's how.
0:44:54 > 0:44:56- Oh, I see, amazing. - I don't know anything more.
0:44:56 > 0:45:00I actually can't believe what I'm looking at.
0:45:00 > 0:45:02This is absolutely superb.
0:45:02 > 0:45:05It's a Fijian Buli Buli,
0:45:05 > 0:45:09and this is a thing of rare beauty.
0:45:09 > 0:45:13I mean, it is really what us collectors look for.
0:45:13 > 0:45:15I mean, this is the best I've ever seen.
0:45:15 > 0:45:17- Really?- Yeah.- Wow.
0:45:17 > 0:45:20I mean, it is for caving in skulls, of course,
0:45:20 > 0:45:22and it would do that with some ferocity.
0:45:22 > 0:45:25Actually they have often found
0:45:25 > 0:45:30people's skulls on these islands in Fiji and Tonga and places like that
0:45:30 > 0:45:33and the skulls are caved in, and it's not surprising, is it?
0:45:33 > 0:45:40It has a beautifully domed head covered in raised carved studs
0:45:40 > 0:45:44underneath which is chip carved.
0:45:44 > 0:45:46It's made of iron wood and, when I look,
0:45:46 > 0:45:48I can see the patina of age in there
0:45:48 > 0:45:52and I would say this is probably 18th, early 19th century
0:45:52 > 0:45:55and it's absolutely superb.
0:45:55 > 0:45:58The chip carving goes all the way down the shaft.
0:45:58 > 0:46:01I've only ever seen them with plain shafts,
0:46:01 > 0:46:05so this one is as good as it gets.
0:46:05 > 0:46:10The colour is superb, and the colour would have been as important
0:46:10 > 0:46:13to the owner as, say, the colour of someone's tie today.
0:46:13 > 0:46:16It said who the tribesman was.
0:46:16 > 0:46:20It's a prestige object as well as a weapon.
0:46:20 > 0:46:23The man who owned this would have carried this with a swagger.
0:46:23 > 0:46:28It said who he was, and I've never seen one this long, either.
0:46:28 > 0:46:34Normally they're a good six, seven, eight inches shorter than this.
0:46:34 > 0:46:36I mean, it just takes my breath away.
0:46:36 > 0:46:41- I'm really beside myself with excitement.- Great!
0:46:41 > 0:46:44It's just, you know, I just want to throw my collection away.
0:46:44 > 0:46:48That's the truth of the matter.
0:46:48 > 0:46:52I know dealers with one they thought was the best thing they'd ever had,
0:46:52 > 0:46:57- and it was half as good as this and I'm not joking.- Wow.
0:46:57 > 0:46:59- Had you any idea what a rare thing you...?- No.
0:46:59 > 0:47:03How did it find its way from the middle of the Pacific
0:47:03 > 0:47:05to Scarborough?
0:47:05 > 0:47:07It's just unbelievable.
0:47:07 > 0:47:12And with an unbelievable object comes an unbelievable price.
0:47:12 > 0:47:14OK.
0:47:14 > 0:47:16Do you know what, I'm thinking about this.
0:47:16 > 0:47:21The market place for this sort of thing is more in Paris,
0:47:21 > 0:47:26Rue des Beaux Arts, or in Brussels in the Sablon and in New York.
0:47:26 > 0:47:28But they get very excited
0:47:28 > 0:47:31and they've got galleries that deal in this sort of stuff
0:47:31 > 0:47:34and a nice one of these would be 8,000 to 10,000.
0:47:34 > 0:47:38This, I would stick my neck out and say,
0:47:38 > 0:47:42if you had to buy this in the Sablon in Brussels,
0:47:42 > 0:47:44I think it would cost you between
0:47:44 > 0:47:4530,000
0:47:45 > 0:47:50and maybe 35.
0:47:50 > 0:47:53- Wow, that's amazing. - I really think it could make that.
0:47:53 > 0:47:57It is the best I've ever seen and I really mean that.
0:47:57 > 0:47:59I can only dream.
0:47:59 > 0:48:04Oh, wow, I'm so happy and my dad's going to be absolutely thrilled.
0:48:04 > 0:48:05That's fantastic. Thank you so much.
0:48:08 > 0:48:11Wow, that is an incredible valuation!
0:48:11 > 0:48:13Wouldn't it be wonderful to think that that club had made its way
0:48:13 > 0:48:18across the seas all the way from Polynesia here to Scarborough?
0:48:18 > 0:48:20We can dream, can't we?
0:48:20 > 0:48:23From the Antiques Roadshow until next week, bye-bye.
0:48:48 > 0:48:52Subtitles by Red Bee Media Ltd