0:00:02 > 0:00:05Galleries and museums often have to move as their collections grow,
0:00:05 > 0:00:06as was the case in 1980
0:00:06 > 0:00:09when the Scottish National Gallery Of Modern Art moved here,
0:00:09 > 0:00:11just a mile across the city in Edinburgh.
0:00:11 > 0:00:16Somehow, though, I doubt they'll ever move this giant artwork
0:00:16 > 0:00:18if they ever have to relocate again.
0:00:18 > 0:00:22Welcome to a return visit of the Antiques Roadshow from Edinburgh.
0:00:57 > 0:01:00Just across the road from the landscape by Charles Jencks
0:01:00 > 0:01:02is our venue for today's show,
0:01:02 > 0:01:06which houses many of Scotland's contemporary artworks.
0:01:06 > 0:01:08When the gallery opened in 1999
0:01:08 > 0:01:10as the Scottish National Gallery Of Modern Art,
0:01:10 > 0:01:13much of it was given over to a permanent
0:01:13 > 0:01:15exhibition of Sir Eduardo Paolozzi.
0:01:15 > 0:01:17Now, you might not know it from his name,
0:01:17 > 0:01:20but he is Scotland's most acclaimed sculptor
0:01:20 > 0:01:22and a favourite of many of our experts.
0:01:24 > 0:01:27Born in Edinburgh in 1924, his parents were Italian immigrants
0:01:27 > 0:01:29who ran an ice cream parlour in the city.
0:01:29 > 0:01:32Paolozzi went on to become renowned worldwide
0:01:32 > 0:01:35for his large, mechanical sculptures.
0:01:35 > 0:01:41Like this behemoth of steel - Vulcan the Roman god of fire,
0:01:41 > 0:01:44welded in the furnace and especially created for this gallery.
0:01:52 > 0:01:55This isn't Paolozzi's studio, but it's pretty close.
0:01:55 > 0:01:57It's a recreation of it with his permission,
0:01:57 > 0:02:00specially for the gallery, and it gives you an idea
0:02:00 > 0:02:03of how he worked and the kind of environment he worked in -
0:02:03 > 0:02:06full of models and clutter,
0:02:06 > 0:02:09and, in fact, his real studio was even messier than this.
0:02:12 > 0:02:15Using anything he could lay his hands on,
0:02:15 > 0:02:20junk he'd found, old toys, Paolozzi developed a new style of sculpture.
0:02:24 > 0:02:27It wasn't in sculpture that Paolozzi first came to fame.
0:02:27 > 0:02:31He took the imagery of consumerism and made it into art,
0:02:31 > 0:02:34and, as such, he's credited with inventing pop art.
0:02:34 > 0:02:38Take this collage, for example - "I was a rich man's plaything."
0:02:38 > 0:02:40It's one of a series that's accepted
0:02:40 > 0:02:44as the first examples of pop art back in 1947.
0:02:46 > 0:02:50Paolozzi gave Scotland a real claim to fame long before artists
0:02:50 > 0:02:54like Andy Warhol or Lichtenstein made their names with pop art.
0:02:55 > 0:02:58And, who knows, maybe some of his artworks will show up today.
0:02:58 > 0:03:01Outside, we've got plenty of Scottish visitors
0:03:01 > 0:03:02to keep our experts busy.
0:03:02 > 0:03:05And, remember, you can test your antiques knowledge
0:03:05 > 0:03:06with our valuation game.
0:03:06 > 0:03:08Just press the red button on your remote control
0:03:08 > 0:03:11or via our app on your smartphone or tablet.
0:03:13 > 0:03:17I think this bowl would brighten anybody's day.
0:03:17 > 0:03:18You obviously love it.
0:03:18 > 0:03:22It's absolutely gorgeous. I mean, you couldn't get a better...
0:03:22 > 0:03:26We've got honeysuckle, we've got blackberries, butterflies,
0:03:26 > 0:03:29it is absolutely beautifully painted,
0:03:29 > 0:03:32and then we turn around the outside and we see it's a punch bowl
0:03:32 > 0:03:36and here it is with a French inscription -
0:03:36 > 0:03:43"La vie est breve, un peu d'espoir, un peu de reve, bonsoir."
0:03:43 > 0:03:46Which in English means,
0:03:46 > 0:03:52"Life is short, a little hope, a little dream, good night."
0:03:52 > 0:03:53Oh, lovely.
0:03:53 > 0:03:57So, as you're having your punch, having a sip,
0:03:57 > 0:03:59you could make a little toast,
0:03:59 > 0:04:03and it's decorated with this amazing bough of flowers in the middle,
0:04:03 > 0:04:07and on the back we've got the mark here, "DW" and "Leaf".
0:04:07 > 0:04:10Dolly Watson, Leaf was her personal mark,
0:04:10 > 0:04:13and Dolly Watson was the sister-in-law of Elizabeth Amour
0:04:13 > 0:04:16who had the Bough Pottery in Edinburgh.
0:04:16 > 0:04:20But Dolly worked on her own and the little 18 there is for 1918
0:04:20 > 0:04:25and I have to say this is the finest piece of her work I've seen.
0:04:25 > 0:04:26How did it come into your family?
0:04:26 > 0:04:30Well, we bought it in an antique shop in Edinburgh
0:04:30 > 0:04:33about 15 years ago, and the people who sold it to us
0:04:33 > 0:04:37didn't really know terribly much about it, you know?
0:04:37 > 0:04:39So, we've had it all these years,
0:04:39 > 0:04:42and that's more or less all I can tell you.
0:04:42 > 0:04:46Well, you are obviously a lady of taste because you picked
0:04:46 > 0:04:49a really good example, you could not... When collectors are looking
0:04:49 > 0:04:51for something, they're always looking for the best example.
0:04:51 > 0:04:53This is one of the best pieces I've ever seen.
0:04:53 > 0:04:56It's a classic piece of Scottish Arts and Crafts pottery,
0:04:56 > 0:04:59and I know that you're not going to sell it
0:04:59 > 0:05:01because you bought it as a present,
0:05:01 > 0:05:04but, if this did come up for auction,
0:05:04 > 0:05:07I think £800 to £1,000.
0:05:07 > 0:05:08Really? Yeah.
0:05:08 > 0:05:10Because it's just super, super quality,
0:05:10 > 0:05:12and, you know, who wouldn't want to have that?
0:05:12 > 0:05:14- Thank you very much. - Thank you very much.
0:05:14 > 0:05:17- Look after it and love it. - Will do.
0:05:17 > 0:05:20I'm looking at a little leather-bound sketchbook
0:05:20 > 0:05:22and I see on the front page here it says,
0:05:22 > 0:05:26"The Reverend. E. Hicks", are you a relation of Reverend E. Hicks?
0:05:26 > 0:05:28Unfortunately not.
0:05:28 > 0:05:34I came across it about a year ago at a vintage fair and, like,
0:05:34 > 0:05:36some person had it in his hand before me
0:05:36 > 0:05:39and I was just, "Wow, that's just pretty beautiful."
0:05:39 > 0:05:44So I was just... Luckily, I got it for like £15.
0:05:44 > 0:05:45Fantastic, you got it.
0:05:45 > 0:05:47And it says here,
0:05:47 > 0:05:53"Thirty thousand miles and smaller sketches on the Greater Britain,"
0:05:53 > 0:05:55and overleaf it says,
0:05:55 > 0:06:00"A child's paint box were all the tools available,"
0:06:00 > 0:06:03and so these little sketches were made
0:06:03 > 0:06:06- with really very rudimentary materials.- Yeah, yeah.
0:06:06 > 0:06:09And the Reverend Hicks, he leaves from England.
0:06:09 > 0:06:12Now, he says that he's on the Greater Britain.
0:06:12 > 0:06:15I wonder if he actually meant the Great Britain.
0:06:15 > 0:06:19And the Great Britain was the ship that was doing the Australia run.
0:06:19 > 0:06:21Oh, right, yeah, yeah.
0:06:21 > 0:06:25You know, the great Isambard Kingdom Brunel ship was doing that run
0:06:25 > 0:06:29after the gold was found in Australia in 1851.
0:06:29 > 0:06:33That was doing backwards and forwards like a shuttle,
0:06:33 > 0:06:35so it could be the Great Britain.
0:06:35 > 0:06:38So he goes, it says, list is here -
0:06:38 > 0:06:42"Spain, Africa, Victoria, New South Wales, South Australia,"
0:06:42 > 0:06:46and then on back through Syria, Egypt, Spain and home.
0:06:46 > 0:06:49I mean, I just love the man's sense of humour.
0:06:49 > 0:06:56For instance you're going... You're starting on the journey and you hit
0:06:56 > 0:07:00a completely blank page which says, "Fog".
0:07:00 > 0:07:03THEY CHUCKLE
0:07:03 > 0:07:06But it gets better, because you turn the page
0:07:06 > 0:07:09and there's another completely blank page,
0:07:09 > 0:07:11and it says "Fog continues."
0:07:11 > 0:07:13Quite conceptual there.
0:07:13 > 0:07:17- He was way ahead of his... - Conceptualism before...
0:07:17 > 0:07:21- Before the term was coined. He was way ahead of his time.- Way ahead.
0:07:21 > 0:07:23So, the Reverend Hicks, there he was,
0:07:23 > 0:07:25he was going through all the usual places,
0:07:25 > 0:07:29but, for me, the journey actually starts to get interesting
0:07:29 > 0:07:33when he lands in Australia, and you start looking at these places.
0:07:33 > 0:07:35I just love these boats.
0:07:35 > 0:07:39Yes, exactly, he obviously did a tour on the Murray River.
0:07:39 > 0:07:42And these trees are just...
0:07:42 > 0:07:46Exactly, the boat is dwarfed by the Eucalypts there.
0:07:46 > 0:07:50And I just want to find some named places.
0:07:50 > 0:07:53Swan Hill, well that's on the Murray.
0:07:53 > 0:07:56And there's this wonderful view of Swan Hill with, what,
0:07:56 > 0:07:58- half a dozen houses.- Mm.
0:07:58 > 0:08:01I haven't yet been to Swan Hill, but I can assure you...
0:08:01 > 0:08:03- Probably densely populated. - Densely populated.
0:08:03 > 0:08:05Here's a station, Albemarle Station -
0:08:05 > 0:08:10and, of course, by stations we mean the large pasture holdings
0:08:10 > 0:08:13were called stations, and some of them were the size of Wales.
0:08:13 > 0:08:17- Wonderful.- Just the colours, as well, are so... Still so vibrant.
0:08:17 > 0:08:20Well, two things. You know, the fact that it's in its original journal
0:08:20 > 0:08:22is wonderful, so it's been kept locked tight,
0:08:22 > 0:08:25- but also it hasn't got damp.- Mm.
0:08:25 > 0:08:29And here he is driving into Ballarat in his pony and trap.
0:08:29 > 0:08:33Well, Ballarat was the big gold town. I know Ballarat well.
0:08:33 > 0:08:36- Oh, really? - Full of really impressive,
0:08:36 > 0:08:39high, Victorian buildings.
0:08:39 > 0:08:46And then the journey is over all too soon and back through Gibraltar.
0:08:46 > 0:08:49So, a really remarkable document.
0:08:49 > 0:08:51I mean, there are two things that I really love there -
0:08:51 > 0:08:54if one can say that it is the Great Britain that he was on,
0:08:54 > 0:08:57- which I think is the most likely. - Yeah, possibly, yeah.
0:08:57 > 0:08:59And these views of Australia,
0:08:59 > 0:09:03unknown views of Australia at that time,
0:09:03 > 0:09:06it actually begins to look quite interesting.
0:09:06 > 0:09:08Now, when that man put it down
0:09:08 > 0:09:13- and you grabbed it on the antiques stall...- Yeah.
0:09:13 > 0:09:14..I wonder if you ever thought
0:09:14 > 0:09:18- that that might be worth £5,000. - No way! Really?
0:09:18 > 0:09:20Oh, my God.
0:09:20 > 0:09:22Is this a relative?
0:09:22 > 0:09:24No, we were in the queue together.
0:09:24 > 0:09:29That's crazy, yeah, 5,000... What? That's incredible.
0:09:29 > 0:09:33- But that is because of Australia. - Really?
0:09:33 > 0:09:36These are unknown scenes of Australia and, let me tell you,
0:09:36 > 0:09:40Australia is hungry, hungry, hungry to buy back its history.
0:09:40 > 0:09:42Wow, that's amazing.
0:09:45 > 0:09:48You know, these are really quite auspicious things.
0:09:49 > 0:09:51Do you have any sons?
0:09:51 > 0:09:54- I have a son.- You have one son. - I have one son.
0:09:54 > 0:09:56- Is he here?- Yes, he is.- Where?
0:09:56 > 0:09:59- He's there, that one in the blue shirt.- That one?
0:09:59 > 0:10:02Fantastic, because these figures here are...
0:10:02 > 0:10:05They represent the wish to have many sons.
0:10:05 > 0:10:07- Really?- They do, they do. I'll tell you about that,
0:10:07 > 0:10:09but, tell me, how did you get them?
0:10:09 > 0:10:13Well, they were handed down to my father from his uncle,
0:10:13 > 0:10:19and my great uncle was out in China, and I believe brought them home.
0:10:19 > 0:10:22- When was he there? Do you know? - Well, he was there around 1900.
0:10:22 > 0:10:25- Ah, that's the time of the Boxer Rising, isn't it?- That's correct.
0:10:25 > 0:10:29The Boxer Rebellion when the Chinese wanted to basically boot out
0:10:29 > 0:10:32all the foreigners, and I don't blame them, actually.
0:10:32 > 0:10:34- So, that was 1900.- 1900.
0:10:35 > 0:10:37So, you think they came out of China then?
0:10:37 > 0:10:41Well, that's what I assume, but whether that's true or not,
0:10:41 > 0:10:43I don't know.
0:10:43 > 0:10:45- I think it's unlikely.- Oh.
0:10:45 > 0:10:52The reason for that is much of the loot that was removed from China...
0:10:52 > 0:10:55- Yes.- ..by Westerners in 1900
0:10:55 > 0:10:58were Imperial works of art from the palaces.
0:10:58 > 0:11:02These particular figures, they're quite a lot older than that,
0:11:02 > 0:11:04- they're 100 years older.- Really?
0:11:04 > 0:11:07These date from around about 1800, maybe 1790-1800.
0:11:07 > 0:11:11- Goodness me.- And these were made not for the Imperial court,
0:11:11 > 0:11:14but these were made specifically for the export market,
0:11:14 > 0:11:16so these were actually made for people like you and me,
0:11:16 > 0:11:20- 200 years ago. - Yes, how interesting.
0:11:20 > 0:11:23- Let's have a little look at them. This figure here.- Yes.
0:11:23 > 0:11:26This one here is holding a funny thing there. Do you know what it is?
0:11:26 > 0:11:31- No.- It's actually a sort of curious Chinese flute, or mouth organ,
0:11:31 > 0:11:35and I think it's called a shong, and it has a specific meaning,
0:11:35 > 0:11:41which represents giving birth, and this figure here is holding an ingot,
0:11:41 > 0:11:45- and it's supposed to be a brush or a pen.- Yes.
0:11:45 > 0:11:48That represents the wish for attaining high achievement
0:11:48 > 0:11:49and high rank in the exams,
0:11:49 > 0:11:56so the idea of these figures is to have many sons who achieve high rank.
0:11:56 > 0:12:00- Now, what does your son do? - He works in the computer business.
0:12:00 > 0:12:02- Well, you can't get much higher than that.- No!
0:12:02 > 0:12:05Well, I think that's pretty damn impressive.
0:12:05 > 0:12:09- But only one, you see, you know. - Well, I'm sorry about that.
0:12:09 > 0:12:12Well, I only have one son as well so it's much the same.
0:12:12 > 0:12:14I think it's a bit late to do anything about it.
0:12:14 > 0:12:16THEY LAUGH
0:12:16 > 0:12:21Anyway, anyway, they're just really lovely things to see and...
0:12:21 > 0:12:25They're end of the 18th century, made for the export market,
0:12:25 > 0:12:27they have a value.
0:12:28 > 0:12:29At auction today,
0:12:29 > 0:12:34- it's probably in the region of £500 or £600.- Goodness me.
0:12:34 > 0:12:39Well, I am surprised and very, very happy
0:12:39 > 0:12:42to have heard the history behind them.
0:12:43 > 0:12:46This is the most spectacular piece of royal, commemorative ware
0:12:46 > 0:12:49- I've ever seen.- Goodness. - Tell me how you got it.
0:12:49 > 0:12:54Well, I inherited it. My great grandmother apparently won it
0:12:54 > 0:12:57in a raffle and really beyond that I don't know much.
0:12:57 > 0:13:01Well, it's obviously from the Golden Jubilee of Victoria's reign, 1887.
0:13:01 > 0:13:04- Yes.- You've got the lion and the unicorn,
0:13:04 > 0:13:07you've got all these things that were very significant to the Victorians
0:13:07 > 0:13:11all on this quilt and the public were absolutely obsessed
0:13:11 > 0:13:15with this jubilee so there was all sorts of commemoratives produced.
0:13:15 > 0:13:19But this is a phenomenal piece of commemorative ware.
0:13:19 > 0:13:22- I mean, it's obviously professionally produced.- Yes.
0:13:22 > 0:13:24A lot of quilts are actually done at home,
0:13:24 > 0:13:26but this is a professional piece.
0:13:26 > 0:13:28It would have been very expensive in its day.
0:13:28 > 0:13:31This is a very, very expensive thing to win.
0:13:31 > 0:13:36It's got these fabulous Stevengraphs, which are embroideries on silk,
0:13:36 > 0:13:40and they're usually used as bookmarks or framed in little pictures,
0:13:40 > 0:13:43but I've never seen them on a quilt,
0:13:43 > 0:13:47and of course there's a lot of tartan used on this,
0:13:47 > 0:13:50probably because of Victoria's absolute love of Scotland.
0:13:50 > 0:13:54I think this is a really special piece.
0:13:54 > 0:13:56What do you do with it?
0:13:56 > 0:13:58Well, I'm afraid I keep it in a drawer,
0:13:58 > 0:14:00and that's why the colours are so very bright,
0:14:00 > 0:14:03and bring it out and show it to friends from time to time.
0:14:03 > 0:14:05It's absolutely immaculate.
0:14:05 > 0:14:07I mean, when we talk about condition,
0:14:07 > 0:14:10this is absolutely fantastic, mint condition,
0:14:10 > 0:14:12just exactly as it was in 1887.
0:14:12 > 0:14:14- Yes.- Which is amazing.
0:14:14 > 0:14:18So, most Victorian quilts these days are between £100 and £200,
0:14:18 > 0:14:20they've really gone out of fashion,
0:14:20 > 0:14:23as with many things Victorian, but this is not that quilt.
0:14:23 > 0:14:27This is a very special quilt with these very rare Stevengraphs on it,
0:14:27 > 0:14:30and I would say this is easily £1,000 to £1,500.
0:14:30 > 0:14:32Right, right, yes. Goodness.
0:14:33 > 0:14:36Now, every now and then, working on the Roadshow, you get a real treat.
0:14:36 > 0:14:39Now, we're often asked what do we collect?
0:14:39 > 0:14:41And the answer is always "We don't."
0:14:41 > 0:14:43We see so much stuff, why should you want to collect it?
0:14:43 > 0:14:47But really the only thing I try not to collect but do
0:14:47 > 0:14:49are commemorative medals.
0:14:49 > 0:14:52I think they're wonderful things, because they're out there,
0:14:52 > 0:14:54they've been made for a very long time,
0:14:54 > 0:14:56actually since the Renaissance,
0:14:56 > 0:14:59to commemorate great events and great people,
0:14:59 > 0:15:02but they're accessible and they're often great sculpture.
0:15:02 > 0:15:04Now I'm looking here at...
0:15:04 > 0:15:07In a sense, I'm going the other way round
0:15:07 > 0:15:09cos you made medals, didn't you?
0:15:09 > 0:15:12Well, we're still doing that, yes, from a long time ago.
0:15:12 > 0:15:14Tell me about it.
0:15:14 > 0:15:19Well, I think James Kirkwood came down from Perth to cut...
0:15:19 > 0:15:22engrave banknotes for an Edinburgh merchant banker
0:15:22 > 0:15:27and his grandsons, Alexander and Robert, went their own way,
0:15:27 > 0:15:30left their grandfather and went to work -
0:15:30 > 0:15:34one as a map engraver, celestial globes and that sort of thing,
0:15:34 > 0:15:39and Alexander founded our business in 1826.
0:15:39 > 0:15:46OK, so they start in 1826 here in Edinburgh as medal makers.
0:15:46 > 0:15:48Now, this, of course, is a great period.
0:15:48 > 0:15:51Now, let's get this straight - we're not talking gallantry medals,
0:15:51 > 0:15:53we're not talking anything like that.
0:15:53 > 0:15:56This is about the production of what I would regard
0:15:56 > 0:15:59as portable sculpture, and they were made for special events,
0:15:59 > 0:16:02they were made for special occasions, centenaries,
0:16:02 > 0:16:07great people, and they were seriously collected through the 19th century
0:16:07 > 0:16:11on the basis as I see them - as great pieces of small sculpture.
0:16:11 > 0:16:13- Yeah.- The designers were often sculptors.
0:16:13 > 0:16:15But, of course, there's two elements in it.
0:16:15 > 0:16:19I'm holding one, which I think is absolutely terrific,
0:16:19 > 0:16:24- which is about the 700 years of the Mayors of London.- That's right.
0:16:24 > 0:16:28- 1189 to 1889.- Yes.
0:16:28 > 0:16:31So, you've got the design for that great event
0:16:31 > 0:16:34and then, of course, you've got to make it, and that's your skill.
0:16:34 > 0:16:36- Mm.- You're still in the business.
0:16:36 > 0:16:39We're still working, yeah. Shouldn't be.
0:16:39 > 0:16:41But there's still a demand for medals, is there?
0:16:41 > 0:16:44Yes, fortunately. It's a small business.
0:16:44 > 0:16:46- I mean, let's look at a few more.- Mm.
0:16:46 > 0:16:48I think we need some help in opening this cabinet.
0:16:48 > 0:16:52- Yeah, it's heavy. - Great, thank you very much.
0:16:52 > 0:16:53That's great.
0:16:53 > 0:16:56Now, this is a display cabinet for presumably exhibition use
0:16:56 > 0:17:00- or showroom use. - Yes, it was specially made
0:17:00 > 0:17:04- for the Edinburgh Exhibition of 1886.- Here we have it.- Yeah.
0:17:04 > 0:17:07Here's the cabinet, there was the exhibition.
0:17:07 > 0:17:09What did people who visited buy?
0:17:09 > 0:17:12- They bought, as a souvenir, the medal.- Maybe.
0:17:12 > 0:17:15And am I right in saying they were made sometimes in bronze,
0:17:15 > 0:17:18- sometimes in silver, sometimes in gold?- Yes, yes.
0:17:18 > 0:17:24We tend to have all the precious metal ones in the showcase.
0:17:24 > 0:17:28But, yes, these are bronze and struck in copper.
0:17:28 > 0:17:32Struck in copper. And how many would you make for an average medal?
0:17:32 > 0:17:37Well, we'll make one or we'll make whatever the university
0:17:37 > 0:17:39or the sporting organisation wants,
0:17:39 > 0:17:42but we're more in the line of making small quantities.
0:17:42 > 0:17:43- Yeah.- Yeah.
0:17:43 > 0:17:47Let's look at, you know, something I hardly dare touch.
0:17:47 > 0:17:53This is the Livingstone Medal and this was introduced in 1901.
0:17:54 > 0:17:57- It's about exploration really, isn't it?- It is.
0:17:57 > 0:17:59And it could be a great explorer, it could be something associated
0:17:59 > 0:18:03with exploration and there have been great winners from 1901 onwards.
0:18:03 > 0:18:05- Oh, terrific.- Tell me who.
0:18:05 > 0:18:08Well, I don't know, I mean, Sir Edmund Hillary,
0:18:08 > 0:18:10Peary, Scott of the Antarctic.
0:18:10 > 0:18:13- Amundsen.- Shackleton, Amundsen. A wonderful list of...
0:18:13 > 0:18:16- But it's not just Antarctic, it's exploration generally.- Correct.
0:18:16 > 0:18:18- Hence the Livingstone Medal.- Yes.
0:18:18 > 0:18:23Now, what I'm looking at here, this is a solid lump of 22-carat gold.
0:18:23 > 0:18:27- It is.- Now, it's my job to know things about gold.
0:18:27 > 0:18:30I know the weight of gold and what it's worth today.
0:18:30 > 0:18:32- This is very heavy.- It is.
0:18:32 > 0:18:34What am I holding? Thousands of pounds, aren't I?
0:18:34 > 0:18:41I think two days ago it was worth £4,400 in scrap.
0:18:41 > 0:18:45Scrap. Well, as it's scrap, I can have it in my pocket, can't I?
0:18:45 > 0:18:46I haven't got this one in my collection.
0:18:46 > 0:18:48Really? I'll get you a bronze one.
0:18:48 > 0:18:51Thank you! It's actually a very great image,
0:18:51 > 0:18:53it's a wonderful piece of 19th century sculpture,
0:18:53 > 0:18:56by a Scottish sculptor, the flying angel,
0:18:56 > 0:18:58all that detail is there and the sense of travel -
0:18:58 > 0:19:01- there's an African scene at the bottom.- Yes.
0:19:01 > 0:19:05OK, values. I mean what we're looking at, disregarding Livingstone, is...
0:19:05 > 0:19:10I haven't counted, but let us say there are 50, 60 medals here.
0:19:10 > 0:19:11Yes, yes.
0:19:11 > 0:19:15- Well, it's 50 times 50, you know. - Could well be.
0:19:15 > 0:19:17- Which is £2,000 or £3,000. - Well, yeah.
0:19:17 > 0:19:19But that to me is terribly cheap for what, by and large,
0:19:19 > 0:19:21are wonderful things,
0:19:21 > 0:19:23but I'm so pleased to meet someone who actually makes them.
0:19:23 > 0:19:25I've not done that before.
0:19:25 > 0:19:28- No, well, we're still doing it. I love it.- Thank you very much.
0:19:28 > 0:19:31Thank you very much, very kind of you.
0:19:31 > 0:19:35Well, it looks like Fiona's question has been answered.
0:19:35 > 0:19:38At the beginning of the show, she wondered, looking of course
0:19:38 > 0:19:42at the replication of Eduardo Paolozzi's studio inside the museum
0:19:42 > 0:19:44behind us, whether we'd see any pieces by him,
0:19:44 > 0:19:48and here we have a plaster cast of a three-legged toad,
0:19:48 > 0:19:50- and a rather warty one at that!- Yes.
0:19:50 > 0:19:51By Eduardo Paolozzi.
0:19:51 > 0:19:53He's fun and he's called Puchan.
0:19:53 > 0:19:56- So how did you come to get him? - Well, I administered
0:19:56 > 0:20:01the first Edinburgh International Science Festival in 1988
0:20:01 > 0:20:06and Eduardo Paolozzi was designing a poster for us.
0:20:06 > 0:20:10I wanted to bring art into the science festival,
0:20:10 > 0:20:12and I met him at an art gallery,
0:20:12 > 0:20:15and he wandered over, shambled over, big man, huge hands.
0:20:15 > 0:20:19- He was a huge man.- Yes! - Big, thick set features, wasn't he?
0:20:19 > 0:20:23Absolutely. And he'd obviously met me before and he said,
0:20:23 > 0:20:26"Rosalind, do you like frogs?"
0:20:26 > 0:20:32And I said, "I do, as a matter of fact, the inanimate variety."
0:20:32 > 0:20:37And he said, "When you're in London, I would like to give you a frog."
0:20:37 > 0:20:41And I thought "Oh, yes, that's what he says to people,
0:20:41 > 0:20:43- "because he's such a famous gentleman."- Absolutely.
0:20:43 > 0:20:50And he gave me his card and he must have known that I wouldn't phone,
0:20:50 > 0:20:55I'd be too shy to phone, so he phoned me the next day.
0:20:55 > 0:20:57And I said, "I meant it, about the frog."
0:20:57 > 0:21:02So we duly met in a restaurant in London and I saw him approaching,
0:21:02 > 0:21:08shambling along with Puchan and plonked on the table.
0:21:08 > 0:21:13Meantime, I gave him a book about frogs,
0:21:13 > 0:21:16and I thought, "Gosh, it seems quite a humble gift,"
0:21:16 > 0:21:21and Paolozzi's eyes welled up and he said to me,
0:21:21 > 0:21:24"Nobody gives me anything."
0:21:25 > 0:21:31And when I looked underneath, he'd inscribed it to me.
0:21:31 > 0:21:34- May I have a look? - Yes, please do.
0:21:35 > 0:21:40- And there it is.- Yes. - "Puchan, for Rosalind, Eduardo."- Yes.
0:21:40 > 0:21:42I suppose that's very true,
0:21:42 > 0:21:45when you're sort of a great artist like that, or a great personality,
0:21:45 > 0:21:47people expect just a little chip off the block to be given to you -
0:21:47 > 0:21:50- a little personal memento. - Absolutely.
0:21:50 > 0:21:52- He was incredibly generous in that way.- Yes.
0:21:52 > 0:21:55So I suppose that even adds more resonance to the fact
0:21:55 > 0:21:57- that you gave him something.- Yes.
0:21:57 > 0:22:00- Because he was expected to do it, and he did do it, all the time.- He did.
0:22:00 > 0:22:03And, interestingly, they're normally always signed in pencil
0:22:03 > 0:22:05- and often dedicated as well. - Yes.
0:22:05 > 0:22:09So he was quite keen on making that gift very special for the recipient,
0:22:09 > 0:22:12- for you in this instance. - Yes, it means a great deal to me
0:22:12 > 0:22:14and I miss him.
0:22:14 > 0:22:18We sort of associate Paolozzi's style with sort of mechanical forms almost
0:22:18 > 0:22:21and you'll see sort of Star Wars and Return of the Jedi boxes
0:22:21 > 0:22:24and there's an Action Man, or some form of Action Man,
0:22:24 > 0:22:27with an arm pulled off and a sort of cybernetic type arm on it.
0:22:27 > 0:22:30And he was interested in pop culture, a lot of people call it pop art.
0:22:30 > 0:22:34- Absolutely.- And bringing things from different cultures and for modernity
0:22:34 > 0:22:36- and sort of combining them altogether.- Mm.
0:22:36 > 0:22:39But he was also fascinated in the grotesque
0:22:39 > 0:22:41- and you've got a three-legged, warty toad here.- Mm.
0:22:41 > 0:22:44And other cultures come in, because the three-legged toad
0:22:44 > 0:22:47in Chinese mythology is often a sign of greed, apparently.
0:22:47 > 0:22:49I think it visited houses
0:22:49 > 0:22:52just before something good might happen with money.
0:22:52 > 0:22:56So you've got quite a lot of Paolozzi going on here.
0:22:56 > 0:22:59Because of that you can sort of expect quite a high value
0:22:59 > 0:23:01for something like this.
0:23:01 > 0:23:04I mean, have you considered that, or is it just that wonderful memory?
0:23:04 > 0:23:07It's the wonderful memory.
0:23:07 > 0:23:10In 2010, a very similar example to this,
0:23:10 > 0:23:12equally signed and dedicated, this time to a gentleman,
0:23:12 > 0:23:17fetched £360 at auction in London, so they're very, very affordable things.
0:23:17 > 0:23:19I still believe it's way, way too cheap.
0:23:19 > 0:23:22I mean, for me, something like this should be £1,000 or so,
0:23:22 > 0:23:25but maybe that's some time in the future.
0:23:25 > 0:23:26At the moment,
0:23:26 > 0:23:29I'd put a valuation somewhere between sort of £350 and £450.
0:23:29 > 0:23:32Right, thank you, yes.
0:23:32 > 0:23:36But, emotionally, it's just wonderful to me.
0:23:45 > 0:23:48UNINTELLIGIBLE
0:23:48 > 0:23:51We're all saying, "Wow!"
0:23:57 > 0:24:01It's about this time of day that I could really do with a cup of tea.
0:24:01 > 0:24:03I'm not sure this is going to do it, though.
0:24:03 > 0:24:07Tell me about this tea, it's a sample of rare tea.
0:24:07 > 0:24:11This is part of the gift of tea that the Emperor of China
0:24:11 > 0:24:16sent to George IV to mark his coronation, so 1820.
0:24:16 > 0:24:22It's all tied up with long leaves with beautiful silk thread.
0:24:22 > 0:24:25Now, the interesting thing about this is that it was presented
0:24:25 > 0:24:29to an Edinburgh medical professor in 1822.
0:24:30 > 0:24:35Now, that was the year that George IV made his great state visit
0:24:35 > 0:24:37to Edinburgh, he brought the court up
0:24:37 > 0:24:39and there were all sorts of goings on.
0:24:39 > 0:24:43- And that's when George IV wore tartan.- Absolutely.
0:24:43 > 0:24:46- And it had been a criminal offence for Scots to wear plaid.- Yes.
0:24:46 > 0:24:49And he was saying, "Look, we are one nation,
0:24:49 > 0:24:52"you can wear tartan with pride and I'm going to wear tartan."
0:24:52 > 0:24:55- There's a wonderful painting of him in his tartan.- There is.
0:24:55 > 0:24:57This was all orchestrated by Walter Scott,
0:24:57 > 0:25:02who was the master of ceremonies for the whole visit,
0:25:02 > 0:25:04so this was given in 1822.
0:25:04 > 0:25:08And probably the reason that Dr Andrew Duncan Junior
0:25:08 > 0:25:11got access to the king and his tea merchant,
0:25:11 > 0:25:13who presumably brought tea to drink,
0:25:13 > 0:25:17was because his father was the king's physician.
0:25:17 > 0:25:22- I see.- And that's quite a good connection, you can work on that.
0:25:22 > 0:25:25And the fascinating thing is - this is just a sample of the tea,
0:25:25 > 0:25:28and this was a time when tea was so precious
0:25:28 > 0:25:31and nations were trying to curry favour with China in order to
0:25:31 > 0:25:34get good trade relations, so they could import tea,
0:25:34 > 0:25:36the sort of years of the Cutty Sark and all that kind of thing.
0:25:36 > 0:25:38This is towards the end of the period
0:25:38 > 0:25:42when China was still open to the Western world.
0:25:42 > 0:25:45Not long after this, it closed down.
0:25:45 > 0:25:47I was talking to our experts about this,
0:25:47 > 0:25:51and, at the time, this would have been so valuable,
0:25:51 > 0:25:54- tea of this kind of rarity from the Emperor of China himself.- Oh, yes.
0:25:54 > 0:25:57I mean, these days, about £300 to £500,
0:25:57 > 0:25:58but that's still a significant sum,
0:25:58 > 0:26:01- given that you've just got little, tiny bits of tea in there.- Yeah.
0:26:01 > 0:26:05And given that valuation, tempted now to break open,
0:26:05 > 0:26:07- make yourself a brew? - Absolutely not.
0:26:09 > 0:26:11Well, I'm very excited,
0:26:11 > 0:26:15not only to see some work by Stanley Cursiter,
0:26:15 > 0:26:18but also to meet his granddaughter.
0:26:18 > 0:26:21And what a wonderful grandfather you have.
0:26:21 > 0:26:25Can you tell me a little bit about your life with Mr Cursiter?
0:26:25 > 0:26:28Well, um, he was slightly distant as a grandfather.
0:26:28 > 0:26:31I don't think he liked children very much.
0:26:31 > 0:26:32THEY LAUGH
0:26:32 > 0:26:35- Oh.- And my father was in the Diplomatic Service
0:26:35 > 0:26:38so we were abroad a lot, but when we came home,
0:26:38 > 0:26:42we always went to Orkney and stayed with him, and we were usually
0:26:42 > 0:26:47banished to the garden. But he did read The Hobbit to my sister.
0:26:47 > 0:26:50I wasn't allowed, I was considered too young.
0:26:50 > 0:26:53Well, what a great book. Well, I think, you know,
0:26:53 > 0:26:58- he is such an important figure in Scottish art history.- Yes.
0:26:58 > 0:27:00I mean, he was Keeper of the Pictures
0:27:00 > 0:27:02- in the National Portrait Gallery here in Edinburgh.- Yes.
0:27:02 > 0:27:06He was also, I think, Director of the National Gallery.
0:27:06 > 0:27:08National Gallery, yes.
0:27:08 > 0:27:10And he also had a little bit of influence on this
0:27:10 > 0:27:12building behind us.
0:27:12 > 0:27:15Yes, I believe so and I don't really know the history behind that, but
0:27:15 > 0:27:19I know that he was very keen for a modern art gallery to be established
0:27:19 > 0:27:23in Scotland and he was one of the first to put the idea forward.
0:27:23 > 0:27:26Amazing. Well, well done. How did he have time for painting?
0:27:26 > 0:27:31I mean, here we have three very diverse works by Stanley Cursiter.
0:27:31 > 0:27:35Well, he's probably best known for his portraiture and his Orkney
0:27:35 > 0:27:40landscapes, and maybe also for his group of seven futurist paintings.
0:27:40 > 0:27:44These futurist paintings, all done in 1913, incredibly exciting.
0:27:44 > 0:27:48- Yes, yes.- And I think that was almost the zenith of his artistic
0:27:48 > 0:27:51career because these seem to be more... I think he was working
0:27:51 > 0:27:54- so hard to establish his reputation in the museum...- Yes.
0:27:54 > 0:27:58- ..that these seem to be more part of his recreational life.- Yes, yes.
0:27:58 > 0:28:00I mean, I love this beach scene.
0:28:00 > 0:28:04I assume it's somewhere here in Scotland rather than...
0:28:04 > 0:28:07Yes, it is, yes. It's the beach at Ayr, yes.
0:28:07 > 0:28:09And I love... As a watercolour, it's just so beautifully done.
0:28:09 > 0:28:14And if you look very closely, he's left, sort of, blank paper here.
0:28:14 > 0:28:16- Yes.- Which is so clever.
0:28:16 > 0:28:19But he's just conjured up the bath robes I should say,
0:28:19 > 0:28:22so beautifully, but doing nothing basically.
0:28:22 > 0:28:25And then we have, below, this rather nice landscape,
0:28:25 > 0:28:27- which I assume is in the Orkneys. - It is, it is the Orkneys.
0:28:27 > 0:28:30Ah, OK, where he was born and retired to.
0:28:30 > 0:28:34- Where he was born, and retired to, that's right.- Yeah, OK.
0:28:34 > 0:28:37- And it was in a folder marked "To burn..."- Oh, no.
0:28:37 > 0:28:40- ..when I cleared out his house. - In his handwriting?- Yes.
0:28:40 > 0:28:42Really? So he didn't like it, I assume.
0:28:42 > 0:28:44Well, it's hard to say, I think
0:28:44 > 0:28:48it was a sketch maybe for a bigger painting and the folder had
0:28:48 > 0:28:51quite a number, which we sort of distributed around the family.
0:28:51 > 0:28:53You didn't carry out his instructions?
0:28:53 > 0:28:55- We didn't carry out his instructions.- Oh, well done, you.
0:28:55 > 0:28:59Right, well done, and then the third picture, which is an oil painting.
0:28:59 > 0:29:01- Yes.- Unsigned...- I know.
0:29:01 > 0:29:06..by Cursiter but, I mean, again, very different style.
0:29:06 > 0:29:08- Yes.- And then a bowl. - And the bowl, yes.
0:29:08 > 0:29:10I know absolutely nothing about this. Can you help me?
0:29:10 > 0:29:13Well, the bowl's in the painting, and really that's about all
0:29:13 > 0:29:16I know about it as well, except that it was...
0:29:16 > 0:29:18- It was a prop.- It must have been, and he obviously liked it
0:29:18 > 0:29:21- because it was in his house. - And you haven't got the vase?
0:29:21 > 0:29:24And I haven't got the vase, just...disappeared.
0:29:24 > 0:29:29Values, I mean, you probably know that Stanley Cursiter is
0:29:29 > 0:29:32a pretty desirable item, as I said,
0:29:32 > 0:29:35- because he's so important in the history of Scottish art.- Yes.
0:29:35 > 0:29:38So I would say this sort of watercolour,
0:29:38 > 0:29:41which was going to be burnt, is worth, I don't know,
0:29:41 > 0:29:44- mid-hundreds, 300 to 500, that sort of price.- OK, mm.
0:29:44 > 0:29:47I love this, it's so simple, so beautiful.
0:29:47 > 0:29:50I'm going to say about the same, maybe a smidgeon more, 400 to 600.
0:29:50 > 0:29:54- Right.- But I think this is also incredibly nice.
0:29:54 > 0:29:56You know, still life's always very commercial, it's bright,
0:29:56 > 0:29:59- it's easy but it isn't signed. - No, I know.
0:29:59 > 0:30:01Which I think you'll find...but it's got the perfect provenance
0:30:01 > 0:30:03so no-one's going to...
0:30:03 > 0:30:06And it's got the bowl, not that that's part of it.
0:30:06 > 0:30:10I would say that was probably in the region of £3,000 to £5,000.
0:30:10 > 0:30:13- Right. - So if we add them all together,
0:30:13 > 0:30:17we're probably looking at roughly £4,000 to £6,000.
0:30:17 > 0:30:20- Right, OK. Of course I'll never sell them.- Quite right.
0:30:22 > 0:30:25Well, growing up for me, Sunday nights was spent watching one
0:30:25 > 0:30:29- fantastic programme, that was Poirot.- Oh, yes.
0:30:29 > 0:30:32And I can imagine a backdrop and a set
0:30:32 > 0:30:36with this wonderful horse right in the middle of his drawing room.
0:30:36 > 0:30:39- So, it is Deco, is it?- Tell me a little about it from your side.
0:30:39 > 0:30:43Well, I know nothing about it, I just fell in love with it,
0:30:43 > 0:30:47when I saw it in an antiques auction about 40 years ago.
0:30:47 > 0:30:50I bought it for very little money and I've loved it ever since,
0:30:50 > 0:30:53- but I don't know anything about it. - What did you pay for it?
0:30:53 > 0:30:56- £10.- £10, 40 years ago.- Yes.
0:30:56 > 0:30:59You asked, "Is it Art Deco?" Absolutely.
0:30:59 > 0:31:05- This is a piece of high 1930s Art Deco style.- Right.
0:31:05 > 0:31:09In terms of what it's made of, when you look at it from a distance,
0:31:09 > 0:31:13you perceive this to be a polished bronze. It's plaster.
0:31:13 > 0:31:18- Is it plaster? Right. - This is a cast plaster figure.
0:31:18 > 0:31:21It's quite heavy. I didn't realise plaster would be that heavy.
0:31:21 > 0:31:24Oh, no, absolutely, there's a good volume
0:31:24 > 0:31:26and there's a good size of object here.
0:31:26 > 0:31:31It's then had a patinated treatment to make it look like bronze.
0:31:31 > 0:31:35And in fact there are areas, sort of here on its hind quarters,
0:31:35 > 0:31:38you can see where it's just starting to patinate away.
0:31:38 > 0:31:41Yes, I was rather hoping you'd be able to tell me
0:31:41 > 0:31:44how I could make it black again, because that disappoints me.
0:31:44 > 0:31:46I loved it when it was all black.
0:31:46 > 0:31:49Don't do anything, do not do a thing,
0:31:49 > 0:31:52because everything about the colour, everything about the form,
0:31:52 > 0:31:55- is all about its history and what it is.- Right.
0:31:55 > 0:31:57So don't touch it.
0:31:57 > 0:32:01Because it will just keep getting better with age. Who's it by?
0:32:02 > 0:32:06- You shrug your shoulders.- No idea. - I don't know either.- Right.
0:32:06 > 0:32:10And that's because we've got to look at an object that falls from a bed
0:32:10 > 0:32:13of designers who are now relatively...
0:32:13 > 0:32:16Well, they've gone unknown. They are just making
0:32:16 > 0:32:21- and manufacturing things that absolutely express the era.- Yes.
0:32:21 > 0:32:25The only little thing we do have is a registration code
0:32:25 > 0:32:26- located round the back.- Yes.
0:32:26 > 0:32:29But even that doesn't really tell us anything, to be honest.
0:32:29 > 0:32:33You don't even know what country it was made in, or anything like that?
0:32:33 > 0:32:36- I would suggest that it's probably home grown.- Right.
0:32:36 > 0:32:39It feels like a piece that would have been made in the British Isles.
0:32:39 > 0:32:44- I just feel like it's got this very home grown feel about it.- Right.
0:32:44 > 0:32:48But the fact that it is so pure, and the fact that it so elegant,
0:32:48 > 0:32:52I think doesn't harm the fact of its value.
0:32:52 > 0:32:56I think people will want to own this because of what it is.
0:32:56 > 0:32:58They can't have it.
0:32:58 > 0:33:01Well, you say they can't have it, you've then got to think,
0:33:01 > 0:33:05what would it be worth? You paid £10 40 years ago.
0:33:05 > 0:33:10Today, I think if you offered this to someone who is passionate
0:33:10 > 0:33:14about this area of interior design, and this area of collecting,
0:33:14 > 0:33:19and said to them, it's £500, I don't think they'd bat an eyelid.
0:33:19 > 0:33:21Right. Oh, well.
0:33:22 > 0:33:25- It's a lovely thing.- I love it.
0:33:27 > 0:33:33The splendid portico behind us and the windows are reflected
0:33:33 > 0:33:39here in this fabulous object, my favourite object of the day.
0:33:39 > 0:33:44A little Palladian treasure with its oval dome
0:33:44 > 0:33:49and its columns in front. And it's just a thing of beauty.
0:33:49 > 0:33:51How long have you known it for?
0:33:51 > 0:33:55It was bought by my parents in 1950, which is before I was born.
0:33:55 > 0:33:59As we were growing up, it was kept in the drawing room
0:33:59 > 0:34:02where the four of us children were not allowed to be.
0:34:02 > 0:34:05I think mostly because of this.
0:34:05 > 0:34:08We had a bashed up dolls' house elsewhere in the house.
0:34:08 > 0:34:12So this was a kind of present my parents gave themselves.
0:34:12 > 0:34:16We'd been to Amsterdam, to the Rijksmuseum
0:34:16 > 0:34:20and seen Dutch puppenhausen - or however they're pronounced -
0:34:20 > 0:34:24and we always thought that it was a puppenhaus -
0:34:24 > 0:34:28whatever the singular is - because it was never for playing with.
0:34:28 > 0:34:33It once had a few fittings inside that have vanished.
0:34:33 > 0:34:38And when my parents died, I of us four was the only one interested in
0:34:38 > 0:34:43inheriting it, extraordinarily, so it's been mine for about ten years.
0:34:43 > 0:34:48I'm so envious. It is a wonderful object to look at.
0:34:48 > 0:34:52Forget anything else about it, it is just a spectacular object.
0:34:52 > 0:34:56And it's sort of appropriate. Here we are in Georgian Edinburgh.
0:34:56 > 0:35:00I mean, it's not quite Newtown but, you know, it's very grand
0:35:00 > 0:35:02and of the period in style.
0:35:02 > 0:35:05And let's explain what a puppenhaus - or in English terms,
0:35:05 > 0:35:08a baby house was called. And you're absolutely right -
0:35:08 > 0:35:13it was not about children, it was about displaying precious objects,
0:35:13 > 0:35:17miniature precious objects in a room setting.
0:35:17 > 0:35:23It's made of pear wood and it has a tin plate dome,
0:35:23 > 0:35:29glass in the windows, and inside we've got a simulated tiled
0:35:29 > 0:35:36floor on that side, but it's this, the grand oval room, which I love.
0:35:36 > 0:35:38- I'm going to take the front off...- Yes.
0:35:38 > 0:35:40..so that we can enjoy the view.
0:35:40 > 0:35:43So, inside - isn't this lovely?
0:35:43 > 0:35:45And I can see what you mean about the fittings,
0:35:45 > 0:35:49because originally, in there, would have been a lovely fireplace.
0:35:49 > 0:35:54But you still have what is pretending to be an inlaid wooden floor.
0:35:54 > 0:35:59- Yes, yes.- Let's talk about when it was made, and where.
0:35:59 > 0:36:02Have you done any research?
0:36:02 > 0:36:08My parents bought it at Stowlangtoft Hall in Suffolk in 1950.
0:36:08 > 0:36:11Stowlangtoft Hall is very close to Ickworth.
0:36:11 > 0:36:17And this does have huge similarities to the architecture of Ickworth,
0:36:17 > 0:36:22- particularly, I mean only because of its oval dome.- Yes.
0:36:22 > 0:36:28I want you to travel further. I want you to travel further east.
0:36:28 > 0:36:32- Because I don't think this is English.- Ah, goodness.
0:36:32 > 0:36:37I think, if you think about Biedermeier-style furniture,
0:36:37 > 0:36:40doesn't this just sing to you of that period?
0:36:41 > 0:36:46To me, I have to confess it doesn't. But I'm a Georgian nut.
0:36:46 > 0:36:51Well, to me it shouts Continental,
0:36:51 > 0:36:55it shouts the Austro-Hungarian Empire.
0:36:55 > 0:37:00- This is not a sort of English floor, if you think about it.- No.
0:37:00 > 0:37:05So my feeling is that it's not going to be 18th century.
0:37:05 > 0:37:09- I think it was made in the 19th century.- Ah.
0:37:09 > 0:37:11- And I think it was Continental. - Goodness.
0:37:11 > 0:37:14But, actually, it doesn't matter.
0:37:14 > 0:37:17Because it is such a beautiful object.
0:37:17 > 0:37:23And I'm absolutely certain that you would start at £10,000 for this
0:37:23 > 0:37:28and you would go up, and it would be whatever anybody was prepared
0:37:28 > 0:37:31- to pay for it, but starting at ten. - Goodness, how fascinating.
0:37:31 > 0:37:35But it's a wonderful object and thank you so much for bringing it.
0:37:35 > 0:37:37Thank you for telling me what you've told me.
0:37:37 > 0:37:41It's my husband's father's and it was in a drawer
0:37:41 > 0:37:43and I thought, I'll bring it in to let you see it.
0:37:43 > 0:37:45- And that's it?- Yes, that's it.
0:37:45 > 0:37:47- That's all you know about it? - Mm-hmm.
0:37:47 > 0:37:50I think it's over to me to tell you a little bit about it, then.
0:37:50 > 0:37:51Yes, that would be lovely.
0:37:51 > 0:37:56Rolex were founded in 1910 by a man called Hans Wilsdorf.
0:37:56 > 0:38:00He was a very clever man for grabbing certain moments.
0:38:00 > 0:38:06And in - I think 1926 - his company Rolex discovered a way to
0:38:06 > 0:38:11make a wrist watch waterproof. They called it the Oyster,
0:38:11 > 0:38:13very cleverly, it's a fantastic, catchy name.
0:38:13 > 0:38:21And then in 1927, they persuaded a German lady called Mercedes Gleich
0:38:21 > 0:38:24- who was about to swim the British Channel -
0:38:24 > 0:38:26to wear one of their Rolex Oyster wrist watches.
0:38:26 > 0:38:30- Oh, that's interesting. - She swam the Channel successfully,
0:38:30 > 0:38:33the watch worked at the end of it, and they advertised it
0:38:33 > 0:38:38all over the world and their revenue went from zero to hero.
0:38:38 > 0:38:41It was a magnificent piece of marketing.
0:38:41 > 0:38:44The second little feature that we ought to discuss
0:38:44 > 0:38:48about your wrist watch is that it has what's called a bubble back.
0:38:48 > 0:38:51Which, when we look at it,
0:38:51 > 0:38:55it has this strange protuberance at the back.
0:38:55 > 0:38:57And most wrist watches have a flat back.
0:38:59 > 0:39:05But Rolex invented an automatic winding system which worked better
0:39:05 > 0:39:10than any other maker. And because it was a large rotor arm that worked
0:39:10 > 0:39:13on the back of the movement, they had to extend the back of the case.
0:39:13 > 0:39:16Now they were a bit frightened that this actually would put
0:39:16 > 0:39:18people off buying it, but what it did was,
0:39:18 > 0:39:21- it made their watches into a cult watch.- Oh.
0:39:21 > 0:39:28Your watch has the combination of being an Oyster, so it's waterproof.
0:39:28 > 0:39:30Well, that's good.
0:39:30 > 0:39:35- A bubble back, so it's self winding, and it hasn't been restored.- No.
0:39:35 > 0:39:40Which is actually the main thing, because when you have a wrist watch
0:39:40 > 0:39:43that's been restored, collectors aren't so interested in it.
0:39:43 > 0:39:45But when you've got one that's literally been found
0:39:45 > 0:39:49in the sock drawer, and hasn't been touched since the day it was made,
0:39:49 > 0:39:52it's a bit more exciting. So let's cut to the chase, as they say.
0:39:52 > 0:39:54Yes, please. SHE LAUGHS
0:39:54 > 0:39:57Gosh, I hope I'm not going to disappoint you.
0:39:57 > 0:40:03At auction, a collector will pay between £3,000 and £4,000.
0:40:03 > 0:40:05Oh, never! Wow!
0:40:10 > 0:40:13Somebody offered me... What did they offer me for that?
0:40:13 > 0:40:17- 500.- 500 for it, and I wouldn't sell it.
0:40:17 > 0:40:21- Thank goodness for that. - I know. Thank goodness for that.
0:40:21 > 0:40:26Well, when I saw you with what is a very humble toffee tin,
0:40:26 > 0:40:30full of what looks like treasures, I thought, you know, you could have
0:40:30 > 0:40:33perhaps brought these along today in something a little bit more special.
0:40:33 > 0:40:36Where did you get these fantastic looking boxes?
0:40:36 > 0:40:41Well, I was left them by an elderly gentleman that my mum
0:40:41 > 0:40:46used to keep an eye on in Tain, many, many years ago.
0:40:46 > 0:40:51And he gave them to my mum saying, "These were for Denise."
0:40:51 > 0:40:53Wow, let me just pop a few out.
0:40:53 > 0:40:59This is quintessentially Scottish and, of course, it's a snuff mole.
0:40:59 > 0:41:04And that's what people took before the mass addiction to cigarettes.
0:41:04 > 0:41:08It's made of horn and the Scots have always been
0:41:08 > 0:41:12brilliant at working horn into unusual shapes and carving it.
0:41:12 > 0:41:16And, of course, in this case, they've put a lovely little curve on
0:41:16 > 0:41:21the horn, they've got silver mounts to it, it has a stone on top.
0:41:21 > 0:41:25Now, this is supposed to be a cairngorm -
0:41:25 > 0:41:29that was the traditional stone for the top of the snuff box - or mole -
0:41:29 > 0:41:31- but this is a foil-backed piece of glass.- Oh.
0:41:31 > 0:41:34So it's a little bit down-market, but it was a gift to
0:41:34 > 0:41:41a Mr Gair in 1862, so it's lovely to be able to pitch the date bang on.
0:41:41 > 0:41:44And, of course, that's where you put your snuff.
0:41:44 > 0:41:47And it's a gorgeous, tactile, and sensible shape.
0:41:47 > 0:41:51And, of course, they were sort of status symbols for the Scots,
0:41:51 > 0:41:56you know, "Look at my snuff mole and would you like a pinch?"
0:41:56 > 0:41:58You know, it's a great thing.
0:41:58 > 0:42:02There's another one, again made of horn,
0:42:02 > 0:42:06more simple in its shape somehow, or a little bit less curved.
0:42:06 > 0:42:09But have you noticed, if you turn it that way, Nessie.
0:42:09 > 0:42:12Nessie.
0:42:12 > 0:42:15What's more Scottish than the Loch Ness monster?
0:42:15 > 0:42:18I'm sure it's not specifically supposed to be the Loch Ness monster
0:42:18 > 0:42:22but there was a little bit of a fashion for putting animal heads
0:42:22 > 0:42:27at the end of the tip of the horn, and so Scottish with it.
0:42:27 > 0:42:30- And there's also a little silver inlaid crown.- Yes.
0:42:30 > 0:42:33Just showing that it was meant for somebody of, you know,
0:42:33 > 0:42:37quite high status, so this is a few ranks above that one.
0:42:38 > 0:42:40But what else is there?
0:42:40 > 0:42:44Well, look, we'll stay on the subject of horn because this -
0:42:44 > 0:42:48what looked nothing at the bottom of the box there -
0:42:48 > 0:42:53is also made of horn but it's in the shape of Napoleon's hat.
0:42:54 > 0:42:57But it just opens, and again it's for snuff.
0:42:57 > 0:42:59So the Scots were taking snuff,
0:42:59 > 0:43:03and so were the French, and those incredible campaigns that
0:43:03 > 0:43:09were led by Napoleon, and, in this case, it's actually commemorating
0:43:09 > 0:43:14- the battles that Napoleon foolishly undertook in Russia...- Oh.
0:43:14 > 0:43:16..in about 1812.
0:43:16 > 0:43:20It actually says in French, "Napoleon a Moscow."
0:43:20 > 0:43:21Excuse my French.
0:43:21 > 0:43:25But, there he is, standing full length, arms folded,
0:43:25 > 0:43:29with his grande armee in the background.
0:43:29 > 0:43:33- That's quite a rarity. Shall we look for more?- Indeed.
0:43:35 > 0:43:36This little box here...
0:43:38 > 0:43:42Wow, look at that little swivel lid.
0:43:42 > 0:43:48This is for a wax taper. This is a form of candle and
0:43:48 > 0:43:52it's named after the French for candle - it's called a bougie box.
0:43:52 > 0:43:55And that little lid, just the little hinged lid there,
0:43:55 > 0:43:58opens to reveal a little aperture.
0:43:58 > 0:44:03And, of course, inside here you would have a coiled wax taper.
0:44:03 > 0:44:06And, of course, you fed it through the hole.
0:44:06 > 0:44:09It was very portable and when you were finished, you could
0:44:09 > 0:44:15then slice the head off the burning taper and get a good night's sleep.
0:44:15 > 0:44:19But what is really glorious about what is a totally plain piece,
0:44:19 > 0:44:23is when you turn it over, it's got the most gorgeous
0:44:23 > 0:44:27inscription of the period. It says "Bath," so it's quite a long
0:44:27 > 0:44:33way from Scotland, and it says, "Ye 1st May, 1744."
0:44:33 > 0:44:36So this was made during the reign of George II.
0:44:36 > 0:44:38It's quite possibly London-made,
0:44:38 > 0:44:41but I've been over it with the eye glass, over and over,
0:44:41 > 0:44:44and there's no marks I can find, but it's a good one.
0:44:44 > 0:44:47And they're quite rare things.
0:44:47 > 0:44:51I mean, I'm going to have to start to put values on these things.
0:44:51 > 0:44:55Back to the first snuff mole, it's a fairly common or garden one
0:44:55 > 0:44:58worth between £150 and £200 at auction.
0:45:00 > 0:45:04We move swiftly to the Nessie one, which, because the animal head is
0:45:04 > 0:45:08particularly sought after, and this is 1830-1840,
0:45:08 > 0:45:14- so £400 would not be untoward for that one.- Gosh.
0:45:14 > 0:45:18Boney's hat, complete with a little carved cockade on the side,
0:45:18 > 0:45:21- have you ever noticed? - Oh, no, I hadn't.
0:45:21 > 0:45:25Little cockade there. I think that's worth £300 to £400.
0:45:25 > 0:45:31And the bougie gets the crowning individual value
0:45:31 > 0:45:37- of about £600 to £900 at auction. - My goodness. My goodness.
0:45:37 > 0:45:40- So, you know, it's mounted up. - Yes, indeed.
0:45:40 > 0:45:44And then a swift waft of my hand over the others, you've got two
0:45:44 > 0:45:51good silver boxes there, a nice late 18th century shell-form snuff box.
0:45:51 > 0:45:55Overall, we're looking at between £2,000 and £2,500.
0:45:55 > 0:45:58Oh, a pleasant, lovely surprise.
0:45:58 > 0:46:01That's excellent, thank you very much.
0:46:01 > 0:46:06Well, as most boys know, Lionel Messi is the world's greatest footballer.
0:46:06 > 0:46:10He plays for Barcelona and he has won the Golden Boot for the highest
0:46:10 > 0:46:16scorer in the world for the last five years, and he's just IT.
0:46:16 > 0:46:20What not a lot of people know is he's this small.
0:46:20 > 0:46:21CROWD LAUGH
0:46:21 > 0:46:23Are you Lionel?
0:46:26 > 0:46:31He's a shorty but it comes as a huge surprise to work out
0:46:31 > 0:46:34that he's only 12-and-a-half inches tall.
0:46:36 > 0:46:41And here we have, "Barcelona, I am Lionel Messi."
0:46:41 > 0:46:44And there he is, and he's been very quiet today.
0:46:44 > 0:46:46So, how does he arrive in your life?
0:46:46 > 0:46:51Well, he's actually my brother's and my step-mother, her father,
0:46:51 > 0:46:55stored a lot of things up his loft. After he died,
0:46:55 > 0:46:58we kind of went through it all, and because my brother loves football,
0:46:58 > 0:47:01we passed this to my brother, so that's all I know about it.
0:47:01 > 0:47:03Oh, it's a winning item.
0:47:03 > 0:47:06I mean, the fact is that on the back here we find out that
0:47:06 > 0:47:12when Barcelona bought Messi, they got him for four pesetas, which is
0:47:12 > 0:47:18pretty good going, because if Barcelona were to sell Lionel Messi
0:47:18 > 0:47:24this season, he'd go for 100 million quid, which makes
0:47:24 > 0:47:30this the highest valuation on the history of the Antiques Roadshow.
0:47:30 > 0:47:32CROWD LAUGH
0:47:33 > 0:47:38Oh, that's good. I'll need to tell him that then. He'll be pleased.
0:47:38 > 0:47:40# I'm letting in the sunshine
0:47:40 > 0:47:43# It's shining everywhere
0:47:43 > 0:47:45# I'm letting in the sunshine
0:47:45 > 0:47:47# For both of us to share
0:47:48 > 0:47:51# I'm opening the windows
0:47:51 > 0:47:53# For summer's in the air
0:47:53 > 0:47:56# I'm letting in the sunshine
0:47:56 > 0:47:59# For both of us to share... #
0:48:03 > 0:48:05Where's Fiona? I've got to show this to someone.
0:48:05 > 0:48:08Fiona, Fiona, Fiona. Look, look, look, look...
0:48:08 > 0:48:11- Hello. Oh, A Negus.- Who's that?
0:48:11 > 0:48:13What, Arthur Negus?
0:48:13 > 0:48:16I mean, his family were cabinet makers, he was a cabinet maker.
0:48:16 > 0:48:18Does it belong...did it belong to him? We'll never know.
0:48:18 > 0:48:21So what, someone has brought this along today?
0:48:21 > 0:48:24Yes, a very nice plane - it's just so exciting, Arthur Negus,
0:48:24 > 0:48:27- and there it is again, yes. - It says here, it says it there.
0:48:27 > 0:48:31So would, if this was Arthur Negus', would cabinet makers
0:48:31 > 0:48:33customarily inscribe their names on their tools?
0:48:33 > 0:48:36Very much so. They were very expensive tools and they handed
0:48:36 > 0:48:39them down from one generation to another, but it's just so exciting.
0:48:39 > 0:48:42- I mean, he might have used this. - I've met his daughter
0:48:42 > 0:48:46and now maybe I've met something belonging to the man himself.
0:48:46 > 0:48:49So someone just brought this along today
0:48:49 > 0:48:51and we think it could have belonged to Arthur Negus.
0:48:51 > 0:48:55- Why not? It's a bit of Antiques Road show history, I think.- Great.
0:48:56 > 0:48:59The extraordinary thing about Japanese cloisonne is
0:48:59 > 0:49:04that the Japanese didn't start making it until about 1860-1870.
0:49:04 > 0:49:06Goodness.
0:49:06 > 0:49:12And between 1860 and 1900, they reached the absolute peak
0:49:12 > 0:49:16of perfection of anybody who ever made cloisonne.
0:49:16 > 0:49:22And they produced pieces like this. Is this part of a collection?
0:49:22 > 0:49:28Yes, a small one, mainly vases, a rose bowl and a cigarette case.
0:49:28 > 0:49:30How come?
0:49:30 > 0:49:33My father spent most of his adult life in the Far East,
0:49:33 > 0:49:36- and he collected a few items. - And that was when?
0:49:36 > 0:49:40- Between the wars. - And was he mainly based in Japan?
0:49:40 > 0:49:45No, no, no, no, no, he travelled - China, Japan, Suez,
0:49:45 > 0:49:48and points in between. He was in the Merchant Navy so...
0:49:48 > 0:49:51And he brought back really rather good pieces,
0:49:51 > 0:49:54I mean, to judge by this. Cloisonne is a wonderful material.
0:49:54 > 0:49:58Especially in the hands of the Japanese, the detail is just stunning
0:49:58 > 0:50:02and it all starts with a drawing on paper which is approved by
0:50:02 > 0:50:04the production manager,
0:50:04 > 0:50:07they say, "Yeah, let's make that in production."
0:50:07 > 0:50:11And that's why the designs, they wrap round the pieces so beautifully.
0:50:11 > 0:50:14You can see it is a watercolour.
0:50:14 > 0:50:18And then the wire workers get to work.
0:50:18 > 0:50:21You lay in the wires and then the wires are filled with enamel.
0:50:21 > 0:50:25The very final process is the polishing off,
0:50:25 > 0:50:31a subtraction process, and this is highly relevant to this particular
0:50:31 > 0:50:35piece because in perfect condition this is worth £1,000.
0:50:38 > 0:50:40In this condition...
0:50:42 > 0:50:46- ..maybe £100.- Oh, really? Oh.
0:50:46 > 0:50:49One day somebody's going to discover a really clever way of
0:50:49 > 0:50:54repairing cloisonne enamel and a box like this - who knows - might rise
0:50:54 > 0:50:57in value again, but at the moment it's almost impossible to restore.
0:50:57 > 0:51:00Shame, but there you are.
0:51:02 > 0:51:04What did you do with the frame?
0:51:04 > 0:51:07- Well, there was no frame to it. - Why no frame?
0:51:07 > 0:51:11It was found by our son in a skip and there was no frame.
0:51:11 > 0:51:14He saw it in the skip, it was still there the next day
0:51:14 > 0:51:17so he decided to remove it from the skip.
0:51:17 > 0:51:19So, it must have been a nice dry day, luckily.
0:51:19 > 0:51:20Yes, it was, yeah, yeah.
0:51:20 > 0:51:22So when he pulled it out of the skip,
0:51:22 > 0:51:25do you think he thought that he'd got himself a find or did he...?
0:51:25 > 0:51:29Well, no, I think he just was attracted to the painting as it was.
0:51:29 > 0:51:32Very sensible, very sensible. Do you like it?
0:51:32 > 0:51:34I like it, yes.
0:51:34 > 0:51:37I think it's a fantastic picture. It's by a man called Charles Dixon.
0:51:37 > 0:51:42- Yes.- Who, as far as I can tell, must have got stuck in the Pool of London
0:51:42 > 0:51:47and pretty much had a stack of paper the same shape,
0:51:47 > 0:51:51because his pictures are always slightly long panoramas
0:51:51 > 0:51:53of the Pool of London.
0:51:53 > 0:51:57And he managed to capture the wonderfully busy atmosphere
0:51:57 > 0:51:59of the Pool at that time.
0:51:59 > 0:52:02I think it's particularly interesting to think,
0:52:02 > 0:52:06- how were these... If you've been to London, the Thames runs fast.- Yes.
0:52:06 > 0:52:10How are you going to manoeuvre these things around with oars?
0:52:10 > 0:52:13And, of course, he's waiting for the tide to change.
0:52:13 > 0:52:17As the tide changes, there's a sort of slack water for a short period,
0:52:17 > 0:52:20and at that moment they can scurry about. And I think he's
0:52:20 > 0:52:24captured that moment as the tide changes absolutely brilliantly.
0:52:24 > 0:52:28- He has, yes.- And he's using both watercolour and body colour,
0:52:28 > 0:52:32so you can see the white on the surface, he's laid onto the surface.
0:52:32 > 0:52:35Whereas the watercolour has been absorbed by the paper, and there's
0:52:35 > 0:52:40rather more body colour in his later work than there was earlier on.
0:52:40 > 0:52:43And when he found it in a skip,
0:52:43 > 0:52:47do you suppose he had any idea that it might be worth anything?
0:52:47 > 0:52:50Because it appeared to be an original,
0:52:50 > 0:52:54and given it was 1920 and signed, I think he had
0:52:54 > 0:52:57a sort of an inkling that it might be worth something.
0:52:57 > 0:52:59So he dumped it on us.
0:52:59 > 0:53:01- And ran.- And ran, yes.
0:53:01 > 0:53:03I know, well, they do that to you.
0:53:03 > 0:53:10Well, I'm sure he loves you dearly. If you were to sell this at auction,
0:53:10 > 0:53:15it would make somewhere between £3,000 and £5,000.
0:53:17 > 0:53:21Well, I will have some of it, in that case, definitely.
0:53:23 > 0:53:26You know, this actually was made for somebody really quite special,
0:53:26 > 0:53:28and what it tells me is,
0:53:28 > 0:53:32really, you should come from a line of high achievers.
0:53:32 > 0:53:36- Really?- Really.- I think my parents wouldn't agree with you,
0:53:36 > 0:53:39- but I've had a happy life. - Well, I want to hear about that,
0:53:39 > 0:53:43but the large Buddhist lion dog together with a small
0:53:43 > 0:53:47Buddhist lion dog actually represent the wish for high achievement.
0:53:47 > 0:53:50- Oh, OK.- So it does have a very specific meaning.
0:53:50 > 0:53:51- Oh, right.- Where did you get it?
0:53:51 > 0:53:55It's actually my father's and he got in Japan in 1955.
0:53:55 > 0:54:01My father was invited to accompany a gentleman on a cruise to Japan.
0:54:01 > 0:54:04He was sent as the man's basic companion
0:54:04 > 0:54:08and he was looking out for him, because he was an heir to
0:54:08 > 0:54:12a baronetcy and he was a little bit light fingered.
0:54:12 > 0:54:16And the gentleman was also gay at a time when it was illegal to be gay.
0:54:16 > 0:54:20So what had happened was, when he was released from Saughton Prison...
0:54:20 > 0:54:22- Sorry, which? - Saughton Prison in Edinburgh.
0:54:22 > 0:54:25For soliciting in about 1954-55, his aunt,
0:54:25 > 0:54:28who was incredibly wealthy, decided the best thing for the whole
0:54:28 > 0:54:32family would be if he just went off on a trip as far away as they could
0:54:32 > 0:54:36send him, so they sent him on a round-the-world ticket to Indonesia.
0:54:36 > 0:54:38- Mm-hmm.- And they needed somebody to go with him,
0:54:38 > 0:54:42to make sure that he stayed out of trouble, so my father said,
0:54:42 > 0:54:44"OK, well, I'll go with him and look after him."
0:54:44 > 0:54:50And he ended up in Singapore where he actually lost him off the ship.
0:54:50 > 0:54:51He disappeared off the ship.
0:54:51 > 0:54:53So my father was stranded in Singapore,
0:54:53 > 0:54:55going, "Where has he gone?"
0:54:55 > 0:55:00And there was another ship leaving to go to Japan, to Tokyo, so my
0:55:00 > 0:55:03father went on that ship while the police looked for this gentleman.
0:55:03 > 0:55:06I think my father was quite glad to get rid of him for a while.
0:55:06 > 0:55:08And so he ended up in Tokyo on his own.
0:55:08 > 0:55:11He did a little bit of collecting because he likes antiques,
0:55:11 > 0:55:14and that's the only thing I know is where that came from.
0:55:14 > 0:55:17Well, I don't know where to begin now. I mean, after all of that.
0:55:17 > 0:55:19What would you like to know?
0:55:19 > 0:55:23Well, I'd like to know basically as much as you can tell me
0:55:23 > 0:55:25because I know obviously it's a Fo dog.
0:55:25 > 0:55:28And I would have thought it was from China, which is why I'm
0:55:28 > 0:55:32surprised he found it in Japan, but I don't know anything else about it.
0:55:32 > 0:55:36- Well, it's a piece of Chinese nephrite jade, it is Chinese.- OK.
0:55:36 > 0:55:39And nowadays it would be called a pearl celadon, or white jade.
0:55:39 > 0:55:43It's not actually really a white jade, but it's a nice colour,
0:55:43 > 0:55:46very, very desirable colour, and this would have been carved
0:55:46 > 0:55:49- somewhere towards the end of the 18th century.- Oh, OK.
0:55:49 > 0:55:53- So it dates from round, what, 1780. Maybe as late as 1800.- Oh, right.
0:55:53 > 0:55:56But the end of the reign of the Emperor Qianlong,
0:55:56 > 0:55:59the beginning of the reign of the Emperor Jiaqing.
0:55:59 > 0:56:03It really was very much a high point in jade carvings.
0:56:03 > 0:56:07Huge numbers were produced, of a very high quality.
0:56:07 > 0:56:10That's what it looks like.
0:56:10 > 0:56:11SHE LAUGHS
0:56:11 > 0:56:15- Right.- Finding out whether it's a genuine piece or not
0:56:15 > 0:56:18is a much more difficult thing, it takes an awful lot of experience.
0:56:18 > 0:56:20A lot of it's to do with the stone used.
0:56:20 > 0:56:23- You see these brown markings here? - Mm, right, right.
0:56:23 > 0:56:25- This is a good sign.- Oh, it is? - It is a good sign.
0:56:25 > 0:56:27It's not that it's been cracked?
0:56:27 > 0:56:29Something you can't ever tell from a photograph,
0:56:29 > 0:56:31and probably not from a camera,
0:56:31 > 0:56:37the surface polish is something that modern replicas just can't produce.
0:56:37 > 0:56:41I mean, this has been hand polished, the surface, and the machine
0:56:41 > 0:56:44polishings, the modern pieces, they just never manage to achieve it.
0:56:44 > 0:56:47So it is an old jade, it's 200 years old,
0:56:47 > 0:56:49or a bit more than that. As I said at the beginning,
0:56:49 > 0:56:51this one does represent something in particular.
0:56:51 > 0:56:54- It's a Buddhist lion dog, or Dog of Fo.- Right, right.
0:56:54 > 0:56:57And Fo is another name for Buddha, so it's a Dog of Fo,
0:56:57 > 0:56:59or a Buddhistic lion dog.
0:56:59 > 0:57:02- A brocade ball usually accompanies the male actually.- Right.
0:57:02 > 0:57:06And the female is usually accompanied by the puppy but...
0:57:06 > 0:57:08So which is it?
0:57:08 > 0:57:11But when they're together here, they have this particular meaning.
0:57:11 > 0:57:12Oh, right.
0:57:12 > 0:57:15And so it would be a gift for somebody wanting to achieve
0:57:15 > 0:57:19excellence and high attainment in their careers and their prospects.
0:57:19 > 0:57:23So it's Chinese jade and let's put him down there for a moment.
0:57:23 > 0:57:26He's got a bit of his ribbon missing here at the back,
0:57:26 > 0:57:29which is a bit of a problem. But he's a nice thing.
0:57:29 > 0:57:32And he's got a value, I suppose.
0:57:32 > 0:57:35And he'd certainly cover a decent night out in Edinburgh, I think.
0:57:35 > 0:57:38I don't know, how are your night outs like?
0:57:38 > 0:57:41- Well, um...- How racy are you?
0:57:41 > 0:57:44Actually, I've got one tonight, come to think of it.
0:57:44 > 0:57:45I'll let you know.
0:57:45 > 0:57:49- Well, he'd cover your costs I reckon, up to maybe £8,000.- Really?
0:57:49 > 0:57:51SHE LAUGHS
0:57:51 > 0:57:54That's wonderful, but I love him. Everyone says this,
0:57:54 > 0:57:57but I really love him, I do and I'm delighted.
0:57:57 > 0:58:00Well, thank you very much, that's amazing.
0:58:00 > 0:58:03- And I'm thrilled actually, I'm thrilled.- I loved your story.
0:58:09 > 0:58:12We saw this three-legged toad by Eduardo Paolozzi
0:58:12 > 0:58:14earlier in the programme, and quite the thing it is, too.
0:58:14 > 0:58:17And do you remember we were having a little look round
0:58:17 > 0:58:20Eduardo Paolozzi's studio back in the gallery there?
0:58:20 > 0:58:23I couldn't help but wonder, amongst all the clutter,
0:58:23 > 0:58:26and the maquettes, and the moulds, and the plaster casts in there,
0:58:26 > 0:58:30if the mould for this little chappy is inside.
0:58:30 > 0:58:32So I'm going to go and have a look.
0:58:32 > 0:58:34From the Antiques Roadshow team from Edinburgh,
0:58:34 > 0:58:36until next time, bye-bye.