0:00:02 > 0:00:05When I was told we were filming at a bandstand, I was surprised,
0:00:05 > 0:00:08as thousands of people come along to a Roadshow,
0:00:08 > 0:00:09and there aren't many places
0:00:09 > 0:00:11that can accommodate that number of people.
0:00:11 > 0:00:13But today's venue is unique.
0:00:13 > 0:00:16Welcome back to Eastbourne's seaside bandstand,
0:00:16 > 0:00:18perched right here on the beach.
0:01:01 > 0:01:03We're in a beautiful county here today - East Sussex,
0:01:03 > 0:01:06a part of Britain that's been lovingly portrayed
0:01:06 > 0:01:07by many artists.
0:01:07 > 0:01:10And our experts are hoping they may find the work of one in particular -
0:01:10 > 0:01:14a man whose paintings we've seen before on the Roadshow -
0:01:14 > 0:01:18the 20th century artist and designer Eric Ravilious.
0:01:18 > 0:01:20Today, we're in his home town.
0:01:23 > 0:01:26Born in 1903, he may not be a household name,
0:01:26 > 0:01:28but he's one of the most important English artists
0:01:28 > 0:01:30of the inter-war years.
0:01:31 > 0:01:32And in the Towner Gallery,
0:01:32 > 0:01:35just a stone's throw from Eastbourne bandstand,
0:01:35 > 0:01:37is the biggest collection of his works.
0:01:42 > 0:01:44And this is what he's most famous for -
0:01:44 > 0:01:46watercolours.
0:01:46 > 0:01:49He wanted to reclaim the British tradition of watercolour landscapes,
0:01:49 > 0:01:50which, by the 1930s,
0:01:50 > 0:01:53had become rather old-fashioned and chocolate-boxy.
0:01:53 > 0:01:58Look at this, for example - this rusted old horse-drawn bus.
0:01:58 > 0:02:00Nothing chocolate-boxy about that.
0:02:00 > 0:02:02And this is my particular favourite -
0:02:02 > 0:02:04it's just about ten minutes from here.
0:02:04 > 0:02:07It's a combination of graphic design
0:02:07 > 0:02:08and art.
0:02:08 > 0:02:10You can still see the pencil lines
0:02:10 > 0:02:12where he's drawn this wonderfully sinuous river
0:02:12 > 0:02:14snaking through the landscape.
0:02:14 > 0:02:16And this kind of cross-hatching here.
0:02:16 > 0:02:19That had never been done before in watercolour.
0:02:19 > 0:02:20He was a real innovator.
0:02:20 > 0:02:23It wasn't just in watercolours that Ravilious made his mark.
0:02:23 > 0:02:26His beautiful, finely detailed wood engravings
0:02:26 > 0:02:29helped revive block printing as an art form.
0:02:29 > 0:02:31With the increasing use of photography,
0:02:31 > 0:02:33it had more or less died out.
0:02:36 > 0:02:39In fact, Ravilious was a great all-rounder.
0:02:39 > 0:02:42He went on to design Wedgwood pottery, like this.
0:02:43 > 0:02:45He also created murals,
0:02:45 > 0:02:46glass and furniture,
0:02:46 > 0:02:48advertising posters,
0:02:48 > 0:02:50as well as lithographs for books.
0:02:50 > 0:02:54His was a prolific career, but sadly cut short at the age of 39.
0:02:54 > 0:02:58As a war artist, Ravilious was flying with the RAF in 1942,
0:02:58 > 0:03:00when his plane was lost without trace
0:03:00 > 0:03:02during a rescue mission in Iceland.
0:03:04 > 0:03:05It makes you wonder -
0:03:05 > 0:03:08what else could he have gone on to create if he'd survived?
0:03:12 > 0:03:14Back in the bandstand, the crowds are gathering,
0:03:14 > 0:03:16as our experts prepare for another busy day.
0:03:16 > 0:03:19Remember, if you want to test your antiques knowledge,
0:03:19 > 0:03:21why not play along with our valuation game?
0:03:21 > 0:03:24You can do this via the red button on your remote control
0:03:24 > 0:03:27or our app. Good luck!
0:03:28 > 0:03:32Pots of all sizes - small and large - and an array of colours.
0:03:32 > 0:03:34So, are you a collector?
0:03:34 > 0:03:35No, not really.
0:03:35 > 0:03:37It was an auntie of mine that died.
0:03:37 > 0:03:43And she, I believe, got them from an uncle of her husband's.
0:03:43 > 0:03:45- So he was the collector?- Yes.
0:03:45 > 0:03:47He collected antiques.
0:03:47 > 0:03:50And when would he have been buying these and putting these together?
0:03:50 > 0:03:52I was thinking it was...
0:03:52 > 0:03:55Well, he was really, really old when I knew him.
0:03:55 > 0:03:57And that was back in the '60s, '70s, so...
0:03:57 > 0:04:01You know, would have been sort of...
0:04:01 > 0:04:03- I don't know.- Middle of the last century, maybe?
0:04:03 > 0:04:05- Maybe, yeah.- It's interesting,
0:04:05 > 0:04:08because what he was actually putting together at that time
0:04:08 > 0:04:12was a collection of art pottery, studio pottery,
0:04:12 > 0:04:14by various makers.
0:04:14 > 0:04:17But the interesting thing is, he will have been buying them at a time
0:04:17 > 0:04:19when they were terribly unfashionable,
0:04:19 > 0:04:21when people didn't want this kind of item.
0:04:21 > 0:04:25And it's a little bit of a visionary thought to start buying this.
0:04:25 > 0:04:27I've got to ask you - do you have a favourite amongst them?
0:04:27 > 0:04:29- That one there.- You like that one?
0:04:29 > 0:04:32With the incised birds and the floral decoration.
0:04:32 > 0:04:34Well, it's an interesting vase,
0:04:34 > 0:04:36but, for me, out of the table,
0:04:36 > 0:04:38there's one that stands out.
0:04:39 > 0:04:40And it's that one.
0:04:40 > 0:04:44- The dark blue vase.- That's my least one!- Your least favourite?- Yes!
0:04:44 > 0:04:46Why is it your least favourite?
0:04:46 > 0:04:49Because...I'd imagine sort of...
0:04:49 > 0:04:52ashes, people's ashes, in it!
0:04:52 > 0:04:55- On the mantelpiece. - We're thinking funereal!
0:04:55 > 0:04:56- Yes!- OK.
0:04:56 > 0:05:00Well, what we have got, really if you look from all of this array,
0:05:00 > 0:05:03this one stands out because, for me, who made it.
0:05:03 > 0:05:06And if we turn it upside down,
0:05:06 > 0:05:10underneath, we have one tell-tale little mark
0:05:10 > 0:05:11impressed in there,
0:05:11 > 0:05:15which is the initials WHT,
0:05:15 > 0:05:20which stand for a gentleman called William Howson Taylor.
0:05:20 > 0:05:23And William Howson Taylor was owner-operator
0:05:23 > 0:05:27of one of the greatest Arts & Crafts manufacturers of pottery
0:05:27 > 0:05:30at the beginning of the 20th century.
0:05:30 > 0:05:32And that was the Ruskin Pottery Works.
0:05:32 > 0:05:35He established the factory in 1898,
0:05:35 > 0:05:39and ran it right through to about 1936.
0:05:39 > 0:05:42But this piece is so early.
0:05:42 > 0:05:47I actually think this piece dates from around 1898 to 1899,
0:05:47 > 0:05:49when the factory was first up and running.
0:05:49 > 0:05:51And that's what makes it important.
0:05:51 > 0:05:55And that is what will set the collectors' pulses racing.
0:05:55 > 0:06:00It's in a decorative glaze that we would call a souffle.
0:06:00 > 0:06:03He was incredibly experimental with his glazes,
0:06:03 > 0:06:05creating all kinds of different effects.
0:06:05 > 0:06:09But this is a dark blue souffle glaze.
0:06:09 > 0:06:12And do you know what, it's a great vase, it's a great shape
0:06:12 > 0:06:14and it stands out from the rest.
0:06:14 > 0:06:18The other vases here on the table range in price
0:06:18 > 0:06:20from £20, £30
0:06:20 > 0:06:23up to maybe £80 or £100.
0:06:24 > 0:06:26But that, as an early piece
0:06:26 > 0:06:29of Ruskin pottery from William Howson Taylor,
0:06:29 > 0:06:32is going to realise with a collector
0:06:32 > 0:06:35- somewhere in the region of £500 or £600.- You're joking!
0:06:35 > 0:06:38I don't joke about these things.
0:06:38 > 0:06:41Crikey! I wasn't going to bring that - thought I'd just sling it in!
0:06:43 > 0:06:46Well, I'm really glad that you did.
0:06:48 > 0:06:51So, Beachy Head, quite local to here.
0:06:51 > 0:06:52I used to walk over this
0:06:52 > 0:06:54when my daughter was first born,
0:06:54 > 0:06:59so about 34 years ago, I used to walk over this virtually every day.
0:06:59 > 0:07:00What drew you to this poster?
0:07:00 > 0:07:03Well, I'd seen a print in a shop,
0:07:03 > 0:07:04and loved it,
0:07:04 > 0:07:07and was talking about it with my parents
0:07:07 > 0:07:11and they said, "I think we've actually got the original poster."
0:07:11 > 0:07:13And it had been folded up in a bag
0:07:13 > 0:07:16and was in a really bad condition.
0:07:16 > 0:07:18It was all torn and holes,
0:07:18 > 0:07:21and so I literally just had it restored.
0:07:21 > 0:07:23Do you have any idea how your parents got the poster?
0:07:23 > 0:07:26No, it's just sort of been in the family.
0:07:26 > 0:07:30It goes back to my grandparents, possibly my great-grandparents,
0:07:30 > 0:07:32but we don't really know who had it or why.
0:07:32 > 0:07:35It was just, as I say, folded up in a bag of things,
0:07:35 > 0:07:37so we don't really know.
0:07:37 > 0:07:40It's by Allinson,
0:07:40 > 0:07:42a very famous artist.
0:07:42 > 0:07:43Very distinctive style.
0:07:43 > 0:07:46And obviously "frequent electric trains",
0:07:46 > 0:07:48- so it's going to be post-1948.- Yes.
0:07:48 > 0:07:52And he died in '59, so we can date it quite precisely.
0:07:52 > 0:07:56But really interesting style. Great colours, and...
0:07:56 > 0:07:59I mean, most people that collect posters
0:07:59 > 0:08:01want earlier posters.
0:08:01 > 0:08:04They want the Art Deco ones - they're the most popular.
0:08:04 > 0:08:08But railway posters, of course, they've got their followers.
0:08:08 > 0:08:10I just think the colours in this
0:08:10 > 0:08:12- are magical.- Yes.
0:08:12 > 0:08:16- And you said, obviously you've had it restored.- Yes.
0:08:16 > 0:08:20Would you mind telling me how much that cost you?
0:08:20 > 0:08:22- Around £300.- Yes.
0:08:22 > 0:08:25It's very well done. That's the good thing.
0:08:25 > 0:08:27But we've got a restored poster.
0:08:27 > 0:08:30It's not from the golden era of posters.
0:08:30 > 0:08:33But it's by a very good artist.
0:08:33 > 0:08:36And I think if this came up to auction,
0:08:36 > 0:08:41- you would certainly get £800 for it. - Gosh! Really?
0:08:42 > 0:08:44That's lovely!
0:08:44 > 0:08:45So, well done, parents, and well done, you!
0:08:45 > 0:08:50Yeah, for keeping it, and doing something with it. So that's lovely.
0:08:51 > 0:08:52When you came to my table,
0:08:52 > 0:08:56you brought out a tissue. I thought you were going to blow your nose!
0:08:58 > 0:09:00Instead, you unravelled the tissue
0:09:00 > 0:09:03to bring out this beautiful brooch.
0:09:03 > 0:09:05I was amazed!
0:09:05 > 0:09:08So, tell me, how did you acquire this?
0:09:08 > 0:09:12I was given it last year by my mother's cousin.
0:09:12 > 0:09:17And I just wanted to know something about it, really.
0:09:17 > 0:09:20- And have you worn it?- No.
0:09:20 > 0:09:23I'm very pleased to have it, but it's not really my taste.
0:09:23 > 0:09:27Right. So, this is English, I would say.
0:09:27 > 0:09:30Made in about 1905, 1910, that sort of period.
0:09:30 > 0:09:33And what really catches my eye
0:09:33 > 0:09:36is the rubies and diamonds.
0:09:36 > 0:09:39And so often today,
0:09:39 > 0:09:44we have rubies and sapphires in modern jewellery
0:09:44 > 0:09:47that are heat-treated, that have all been heated,
0:09:47 > 0:09:51and they all look quite uniform in colour. It's to enhance the colour,
0:09:51 > 0:09:52which is permanent.
0:09:52 > 0:09:55But back in the 1900s,
0:09:55 > 0:09:561910s,
0:09:56 > 0:09:59they were the original colour,
0:09:59 > 0:10:02and that is what I love about it,
0:10:02 > 0:10:05is that you've got these rubies that are not uniformed in colour -
0:10:05 > 0:10:07they've got character.
0:10:07 > 0:10:09And I think, with coloured gemstones,
0:10:09 > 0:10:11it's all about the character as well.
0:10:11 > 0:10:14It's about the colour, it's about the intensity of the colour.
0:10:14 > 0:10:17And these rubies, I would say,
0:10:17 > 0:10:19have come from Burma.
0:10:19 > 0:10:21That's where I think they've come from.
0:10:21 > 0:10:25That's quite amazing, isn't it? All that way, 1900,
0:10:25 > 0:10:26- how they got over here.- Yes.
0:10:26 > 0:10:30And they're all in this milgrain setting,
0:10:30 > 0:10:33which is very typical of this period.
0:10:33 > 0:10:37Milgrain setting is when you've got these tiny little, like, balls,
0:10:37 > 0:10:40reeded balls, around each setting.
0:10:40 > 0:10:42- And as it's in platinum...- Oh?
0:10:42 > 0:10:44- Yes, platinum.- Oh, OK.
0:10:44 > 0:10:49You're starting to like it a little more, I can see!
0:10:50 > 0:10:55The piercing out of the designs here is so intricate.
0:10:55 > 0:10:58One missed saw blade,
0:10:58 > 0:11:00suddenly, you've ruined the piece.
0:11:00 > 0:11:02And I'm going to turn it over,
0:11:02 > 0:11:05because I think the back really does reveal...
0:11:05 > 0:11:08I'll just take this pin out of the way here.
0:11:10 > 0:11:13I mean, the back is stunning.
0:11:13 > 0:11:15- Have you actually looked at the back?- No.
0:11:16 > 0:11:19- The back... You see how beautifully pierced out it is?- Yes.
0:11:19 > 0:11:22And that, to me, is just telling me that the craftsman
0:11:22 > 0:11:26has really taken pride in making this piece,
0:11:26 > 0:11:31and is also trying to make the diamonds and the rubies
0:11:31 > 0:11:35sort of really suspend and have as little metal
0:11:35 > 0:11:37around them as possible.
0:11:37 > 0:11:39I think it's fabulous.
0:11:39 > 0:11:41I think it really is fabulous. It's lovely.
0:11:41 > 0:11:44Yes, I think it's fabulous too. I just might not wear it!
0:11:44 > 0:11:47I definitely think you should.
0:11:47 > 0:11:49But I think, at auction,
0:11:49 > 0:11:50you'd be looking at around about
0:11:50 > 0:11:53£7,000 to £9,000.
0:11:53 > 0:11:54What?!
0:11:54 > 0:11:56Really?!
0:11:56 > 0:11:59Oh, my goodness! Really?
0:11:59 > 0:12:02- That's amazing. Thank you. - It's a beautiful piece.
0:12:03 > 0:12:06Well, um...is this flotsam or is it jetsam?
0:12:06 > 0:12:08This is my first ship!
0:12:08 > 0:12:09Is it really?
0:12:09 > 0:12:12Yea, and I'm bearing down on you now.
0:12:14 > 0:12:17So tell me, where did you come by such a fantastic object?
0:12:17 > 0:12:19On the south coast,
0:12:19 > 0:12:22people love to put bits of shipwreck in their front gardens,
0:12:22 > 0:12:25and this one was in the reject pile, so someone gave it to me.
0:12:25 > 0:12:28But I had to have it. Look at that beautiful bronze fin.
0:12:28 > 0:12:29I just had to have it.
0:12:29 > 0:12:32It's a wonderful, wonderful bit of bow
0:12:32 > 0:12:36of a vessel made perhaps 100 or 150 years ago.
0:12:36 > 0:12:39And where you're standing is the front of the bow
0:12:39 > 0:12:41and here we have the planks...
0:12:41 > 0:12:44coming right to the front there, to form a V shape.
0:12:44 > 0:12:47And this must have been at least 100ft long, this vessel.
0:12:47 > 0:12:51Well, yes, it's certainly 19th century, if not older.
0:12:51 > 0:12:53It's got the handmade bronze nails in it.
0:12:53 > 0:12:56You know, it's a fantastic thing,
0:12:56 > 0:13:00but really, to be honest, it's not the fact that it's part of a ship,
0:13:00 > 0:13:02is what makes it so magnificent.
0:13:02 > 0:13:06What we're looking at here is just a beautiful sculptural object.
0:13:06 > 0:13:08- It is.- Look what nature has made here.
0:13:08 > 0:13:11You couldn't actually make something as fantastic as this.
0:13:11 > 0:13:13- That's right.- It's so sculptural
0:13:13 > 0:13:15and, you know, the colours,
0:13:15 > 0:13:17the way the bronze has gone into the wood on it,
0:13:17 > 0:13:19it's just a superb, superb item.
0:13:19 > 0:13:22So I take it you're a keen beachcomber?
0:13:22 > 0:13:25Do you have many pieces of this stature?
0:13:25 > 0:13:26I have a fleet of ships now.
0:13:26 > 0:13:28Not as big as this!
0:13:28 > 0:13:29OK!
0:13:29 > 0:13:31But the beauty of this one is
0:13:31 > 0:13:34that we know it was landed locally.
0:13:34 > 0:13:36We think it comes from Newhaven,
0:13:36 > 0:13:38maybe 30 or 40 years ago.
0:13:38 > 0:13:39Well, I think certainly
0:13:39 > 0:13:43people are generally missing a trick with these things.
0:13:43 > 0:13:46You could see this in a lovely warehouse apartment
0:13:46 > 0:13:48or in a gallery, beautifully lit,
0:13:48 > 0:13:50on a lovely white wall.
0:13:50 > 0:13:53I think...you know, what would somebody pay for this?
0:13:53 > 0:13:56Personally, I could see it selling in a gallery for
0:13:56 > 0:13:58£500 to £800, perhaps.
0:13:58 > 0:14:00Something in that region.
0:14:00 > 0:14:02Good grief! My wife said
0:14:02 > 0:14:05it's only worth one bicycle parking space in the shed!
0:14:05 > 0:14:08Well, I would disagree with her there.
0:14:08 > 0:14:09HE CHUCKLES
0:14:11 > 0:14:14I think I bought my first digital watch
0:14:14 > 0:14:16in probably about 1972.
0:14:16 > 0:14:19It was a Seiko and it was
0:14:19 > 0:14:20a liquid crystal display.
0:14:20 > 0:14:23Now, of course, this one pre-dates that.
0:14:23 > 0:14:24Talk me through it.
0:14:24 > 0:14:28Well, this particular watch I purchased with my first week's wages,
0:14:28 > 0:14:30back in 1969.
0:14:30 > 0:14:34At the time, I was earning £7,
0:14:34 > 0:14:35and this was £3.
0:14:35 > 0:14:38So it was half a week's wage back then.
0:14:38 > 0:14:41So, I thought this was so amazing
0:14:41 > 0:14:46that this first non-mechanical watch was available.
0:14:46 > 0:14:50And I purchased it, because I was so... It was space-age!
0:14:50 > 0:14:53You've had it from new in the original box,
0:14:53 > 0:14:55- which is fantastic.- Oh, yes.
0:14:55 > 0:14:57- But is this still running?- Oh, yes.
0:14:57 > 0:14:59It's very simple.
0:14:59 > 0:15:02There's just one button.
0:15:02 > 0:15:05You push the button, and it just gave the time for a fraction of a second
0:15:05 > 0:15:07and then went off.
0:15:07 > 0:15:09They did that because they couldn't show it full-time,
0:15:09 > 0:15:11because the battery wear was so great,
0:15:11 > 0:15:13if you used it once a day for two weeks,
0:15:13 > 0:15:16you'd flatten the battery.
0:15:16 > 0:15:18So, you tended to...after the initial showing somebody,
0:15:18 > 0:15:20you didn't want to use it.
0:15:20 > 0:15:22So, Clive Sinclair, obviously quite an innovator.
0:15:22 > 0:15:24I have a calculator of his at home
0:15:24 > 0:15:27that was made for the Queen's Jubilee in 1977.
0:15:27 > 0:15:29Lovely silver-fronted thing.
0:15:29 > 0:15:31Again, that ran out of battery very, very quickly.
0:15:31 > 0:15:33And I see you've got something else here as well.
0:15:33 > 0:15:35This is his original product.
0:15:35 > 0:15:38This is what he brought to the market when he first started.
0:15:38 > 0:15:41This was an amazing micro-radio,
0:15:41 > 0:15:44in kit form, that he produced.
0:15:44 > 0:15:46And this was '67.
0:15:46 > 0:15:48And he produced this.
0:15:48 > 0:15:53And so I've never seen one originally in this condition,
0:15:53 > 0:15:56because it came from my father-in-law,
0:15:56 > 0:15:58and it was an electrical shop in Sydenham
0:15:58 > 0:16:01and he used to sell these things in his shop.
0:16:01 > 0:16:02It was old stock.
0:16:02 > 0:16:05Wonderful - the original price, still in its packaging.
0:16:05 > 0:16:07- What more could you ask? - That's right.
0:16:07 > 0:16:09And you managed to get a battery,
0:16:09 > 0:16:11- you managed to get that back working.- Yeah.
0:16:11 > 0:16:15Gosh! I don't think it would equate to half your week's wages now.
0:16:15 > 0:16:16Sadly, no.
0:16:16 > 0:16:20But I'd still happily say that in its original box,
0:16:20 > 0:16:22this is probably going to do,
0:16:22 > 0:16:25I should think, £250 to a collector.
0:16:25 > 0:16:27And there would be many people like yourself
0:16:27 > 0:16:30who are very interested in early electronic things.
0:16:30 > 0:16:32Now, I have to ask you,
0:16:32 > 0:16:34do you have one of his C5s as well at home?
0:16:34 > 0:16:36Well, quick story with that.
0:16:36 > 0:16:41My wife's the only person who has actually had an accident with a C5.
0:16:41 > 0:16:43The C5 ran into the back of our car.
0:16:43 > 0:16:47So that's the only part that we've got with the C5!
0:16:47 > 0:16:51But I nearly purchased one, because towards the end of it,
0:16:51 > 0:16:53- they were selling them very cheaply. - They were.
0:16:53 > 0:16:56You could pick one up for £100 or something. I was tempted,
0:16:56 > 0:16:58but after seeing these other products,
0:16:58 > 0:17:00I thought, "No. It's a step too far."
0:17:00 > 0:17:02Let him stick to the small stuff.
0:17:02 > 0:17:03Anyway, it's great to see it
0:17:03 > 0:17:06- and I love the condition. - Thank you very much.
0:17:07 > 0:17:12We have a most unusual circular-top, tripod-based table.
0:17:12 > 0:17:16Now, what's your story behind this table?
0:17:16 > 0:17:17We don't know very much about it at all.
0:17:17 > 0:17:21It's certainly been in the family for over 100 years.
0:17:21 > 0:17:23It came through my husband's family.
0:17:23 > 0:17:25We don't know much about it.
0:17:25 > 0:17:27It's a beautiful, decorative table,
0:17:27 > 0:17:30but practically, it's not a great deal of use,
0:17:30 > 0:17:33because if you try to put things on it, they wobble and spill.
0:17:33 > 0:17:34Do they?
0:17:34 > 0:17:36Well, you look at the surfaces.
0:17:36 > 0:17:38Just dip it down...
0:17:38 > 0:17:40Unless you're very careful
0:17:40 > 0:17:43and make sure that things only go in the centre...
0:17:43 > 0:17:46If you move something slightly,
0:17:46 > 0:17:48- over it goes.- Right.
0:17:48 > 0:17:50OK, well,
0:17:50 > 0:17:55there's a reason for these what we call compartments.
0:17:55 > 0:17:56Yes.
0:17:56 > 0:17:58And the reason is, it's called a supper table.
0:17:58 > 0:18:00Right.
0:18:00 > 0:18:03The big plates...the dish would go in the centre.
0:18:03 > 0:18:05And the little plates would go around the edge.
0:18:05 > 0:18:08- Right!- So it's a supper table.
0:18:08 > 0:18:12- And people come and collect their... - They'll collect a plate,
0:18:12 > 0:18:14take something from the bowl, and off they go.
0:18:14 > 0:18:17Well, that's very interesting.
0:18:17 > 0:18:19Once you know, it becomes quite obvious.
0:18:19 > 0:18:21And then suddenly, it's fit for purpose. It works.
0:18:21 > 0:18:24- Yes.- But if you're trying to dine off it,
0:18:24 > 0:18:26it doesn't work, does it?
0:18:26 > 0:18:27No.
0:18:27 > 0:18:29Made around about 1760.
0:18:30 > 0:18:34Unfortunately, it has been re-carved
0:18:34 > 0:18:37to imitate a Chippendale piece of furniture.
0:18:37 > 0:18:41Originally, this table was just a plain circular table
0:18:41 > 0:18:42and someone's thought,
0:18:42 > 0:18:46"We'll make it into a more important piece of furniture,
0:18:46 > 0:18:47"into a supper table."
0:18:47 > 0:18:49So all this carving has been done later.
0:18:49 > 0:18:52- Added later? Well, how amazing. - It's clever.
0:18:52 > 0:18:54Very clever.
0:18:54 > 0:18:56But it hasn't enhanced the piece of furniture.
0:18:56 > 0:18:58Has it detracted from it?
0:18:58 > 0:19:00Well, to a certain market, it has.
0:19:00 > 0:19:03To the collector, it's undermined it.
0:19:04 > 0:19:06The American market,
0:19:06 > 0:19:08they love this type of furniture.
0:19:08 > 0:19:10- Because it's very ornate. - It's very decorative.- Yes.
0:19:10 > 0:19:12When we look at the base,
0:19:12 > 0:19:14and we look at the carving,
0:19:14 > 0:19:17we can see that's a little bit flat as well.
0:19:17 > 0:19:19If it was 18th-century carving,
0:19:19 > 0:19:21it would be much more crisp
0:19:21 > 0:19:24and the fluidity would be marvellous.
0:19:24 > 0:19:26Would it indeed?
0:19:26 > 0:19:29But nevertheless, it's a decorative piece of furniture,
0:19:29 > 0:19:31it's 18th century, re-carved...
0:19:31 > 0:19:33When do you suppose it was re-carved?
0:19:33 > 0:19:35It could have been done in the Victorian times.
0:19:35 > 0:19:40That would be totally acceptable to be done in Victorian times.
0:19:40 > 0:19:43- But it's clever, because that's one piece of wood.- Yes.
0:19:43 > 0:19:46- It's amazing it's come out of a tree that size.- Yes.
0:19:46 > 0:19:48It's mahogany.
0:19:48 > 0:19:51And because of what's happened to it,
0:19:51 > 0:19:53it just has a decorative value
0:19:53 > 0:19:56between £800 to £1,000.
0:19:56 > 0:19:58Yes. Oh, well, that's a lot of money, isn't it?
0:19:58 > 0:20:00But it will stay with the family,
0:20:00 > 0:20:03because it's been with the family for such a very long time.
0:20:03 > 0:20:05- Right.- There it will remain, I hope.
0:20:07 > 0:20:09I had a fairy godmother.
0:20:09 > 0:20:13I was a florist at the time and she became a customer.
0:20:13 > 0:20:16And I was the only one that had the patience to serve her!
0:20:16 > 0:20:19And eventually we became very friendly
0:20:19 > 0:20:22and she had told me about her past.
0:20:22 > 0:20:25She was the daughter of a ship-owner
0:20:25 > 0:20:27and she launched a ship.
0:20:27 > 0:20:29I think it was the Cunard line.
0:20:29 > 0:20:32And she was given, because of that,
0:20:32 > 0:20:34a casket,
0:20:34 > 0:20:37biggish casket, of silver.
0:20:37 > 0:20:40And she kept it some years and hated it
0:20:40 > 0:20:42so she sold it and she bought this.
0:20:42 > 0:20:44And then she gave it to me later on.
0:20:44 > 0:20:48It's a very nice item she bought with all of that chestful of silver.
0:20:48 > 0:20:51If we turn it over, we see it is marked rather faintly
0:20:51 > 0:20:53on the underside.
0:20:53 > 0:20:56Atelier Hagenauer was the manufacturer of bronze,
0:20:56 > 0:20:59so Austrian, Austrian bronze.
0:20:59 > 0:21:01Beautifully hammered,
0:21:01 > 0:21:03very realistically done.
0:21:03 > 0:21:08I think this was inspired by an American-born actress and dancer,
0:21:08 > 0:21:12and her name was Josephine Baker,
0:21:12 > 0:21:15who took Paris by storm
0:21:15 > 0:21:17in the 1920s and 1930s.
0:21:17 > 0:21:20And famously, she did the banana dance
0:21:20 > 0:21:22with the banana skirts.
0:21:22 > 0:21:25And she was an African American dancer
0:21:25 > 0:21:30and I think she is the inspiration behind the creation of this bronze,
0:21:30 > 0:21:34which would date from around that time, around 1930s.
0:21:34 > 0:21:36Yes, and that fits, actually,
0:21:36 > 0:21:41because this fairy godmother, she did dance
0:21:41 > 0:21:46- but she was a passionate devotee of Covent Garden.- Was she?
0:21:46 > 0:21:50- That would all actually tie in rather nicely.- It fits.
0:21:50 > 0:21:52It's a desirable item today.
0:21:52 > 0:21:56I'm going to say that I think, if this came up for auction,
0:21:56 > 0:22:02we would estimate it at between £2,000 to £3,000.
0:22:03 > 0:22:05I did consult some colleagues,
0:22:05 > 0:22:07and they actually think I'm being a bit conservative,
0:22:07 > 0:22:09and it might make a little bit more.
0:22:09 > 0:22:12- Yes. Oh, I'm pleased for her!- Good.
0:22:12 > 0:22:15So her silver loot was well spent.
0:22:15 > 0:22:19Well spent, and nice to know she knows about her too.
0:22:19 > 0:22:22- What a lovely, lovely thing, it really is.- Thank you very much.
0:22:22 > 0:22:26- My pleasure.- Nice to have had it identified properly.
0:22:27 > 0:22:29And which is your favourite?
0:22:29 > 0:22:33- I've always liked this one.- This one.
0:22:33 > 0:22:35- It's very good, isn't it?- Yes.
0:22:35 > 0:22:39I think it's... Do you know what these two dots mean?
0:22:39 > 0:22:40No idea.
0:22:40 > 0:22:44Those on a Japanese object indicate that she's very beautiful.
0:22:46 > 0:22:49Eyebrows which are miles too high!
0:22:49 > 0:22:53I think she's probably supposed to be a character
0:22:53 > 0:22:57called Okame, who is chubby-cheeked
0:22:57 > 0:22:59and cheerful.
0:22:59 > 0:23:03And although she's only got a single lid,
0:23:03 > 0:23:06like the rest, she's an inro -
0:23:06 > 0:23:08a little box or series of boxes
0:23:08 > 0:23:12made over 300 years,
0:23:12 > 0:23:15which the Japanese wore at the waistband
0:23:15 > 0:23:18to contain medicines,
0:23:18 > 0:23:21herbs, and in some cases, tobacco.
0:23:21 > 0:23:25And probably this one was used for tobacco.
0:23:25 > 0:23:30The Japanese smoked tobacco in very small quantities, tiny quantities,
0:23:30 > 0:23:34which they put in a tiny bowl like that
0:23:34 > 0:23:35with a long stem.
0:23:35 > 0:23:37And they took one puff
0:23:37 > 0:23:40and knocked it out, and then did another one.
0:23:40 > 0:23:45- Oh!- It dates from the mid-19th century.
0:23:45 > 0:23:49Unusually, it's been carved on the back
0:23:49 > 0:23:51with tassels on...
0:23:51 > 0:23:54I think it's probably supposed to be a fan, actually.
0:23:55 > 0:23:58And the netsuke
0:23:58 > 0:24:00is of manju form,
0:24:00 > 0:24:03which is rice cake.
0:24:03 > 0:24:05And again, very nicely carved,
0:24:05 > 0:24:07particularly nicely carved, this one.
0:24:07 > 0:24:10That's going to be worth around
0:24:10 > 0:24:13- £700 to £900.- Oh, gosh!
0:24:15 > 0:24:16Did you buy them?
0:24:16 > 0:24:19No, they belonged to my uncle.
0:24:19 > 0:24:22He gave me this one some years ago,
0:24:22 > 0:24:26but these all arrived very badly packaged from Africa
0:24:26 > 0:24:30just recently, because he lived over there
0:24:30 > 0:24:34and he has recently died and left me these.
0:24:34 > 0:24:36- Do you like them?- Yes, I love them.
0:24:36 > 0:24:40I've always liked them. I saw them as a child.
0:24:40 > 0:24:43Now, we quite like this, don't we?
0:24:43 > 0:24:46Yes, that's an interesting one because of the...
0:24:49 > 0:24:51It's a two-case inro.
0:24:51 > 0:24:54That is to say, one there, one there
0:24:54 > 0:24:56and the lid.
0:24:56 > 0:24:58That makes it a two-case.
0:24:58 > 0:25:02Carved with a dragon on one side...
0:25:03 > 0:25:07..and seal characters on the other.
0:25:07 > 0:25:09It's actually great fun.
0:25:09 > 0:25:13And I particularly like the netsuke, because we've got
0:25:13 > 0:25:16the pod of a lotus...
0:25:18 > 0:25:20..which has got the seeds
0:25:20 > 0:25:23- popping out. - Perfect, but they've no purpose.
0:25:23 > 0:25:26They've no purpose - just a bit of amusement.
0:25:26 > 0:25:29And if you think of the skill
0:25:29 > 0:25:31of cutting that round
0:25:31 > 0:25:34so that you've carved it all the way round
0:25:34 > 0:25:36to let the seed pop out,
0:25:36 > 0:25:38but NOT pop out...
0:25:38 > 0:25:44- It's incredible. I didn't realise it was all made in one piece.- Oh, yes.
0:25:44 > 0:25:46That dates from around...
0:25:49 > 0:25:51..1850, somewhere around there.
0:25:51 > 0:25:53And that's worth
0:25:53 > 0:25:56- £700 to £900.- Oh, right!
0:25:56 > 0:25:58This is the one that intrigues me.
0:26:00 > 0:26:03Because it is not a material that is much used
0:26:03 > 0:26:06for making inro.
0:26:06 > 0:26:08- And that's ivory.- Yes.
0:26:08 > 0:26:10I thought it might be.
0:26:10 > 0:26:14And this is a one...two...three...three-case inro,
0:26:14 > 0:26:18which has been very finely
0:26:18 > 0:26:21gilt and painted
0:26:21 > 0:26:23with landscapes.
0:26:23 > 0:26:27And they're really sort of in the Chinese style of painting
0:26:27 > 0:26:29rather than the Japanese style of painting,
0:26:29 > 0:26:31although it's Japanese.
0:26:33 > 0:26:34That's, I think, slightly later.
0:26:34 > 0:26:37We're probably looking at the early 20th century there.
0:26:38 > 0:26:40But it's a nice thing.
0:26:40 > 0:26:42Yes, it is.
0:26:44 > 0:26:46- What's that?- What's that, yes?
0:26:46 > 0:26:51Well, you wouldn't know from that. It's apparently just a black blob.
0:26:51 > 0:26:55But actually what it is is silver,
0:26:55 > 0:26:58which has tarnished.
0:26:58 > 0:26:59And that's the moon.
0:26:59 > 0:27:03- Oh, I was going to say, is it the sun?- Silvery moon.
0:27:03 > 0:27:06That would make...
0:27:06 > 0:27:08£3,000 to £5,000.
0:27:08 > 0:27:10What?!
0:27:10 > 0:27:12Oh, my God!
0:27:15 > 0:27:17What's it worth overall?
0:27:17 > 0:27:19I would have thought
0:27:19 > 0:27:21that you are probably looking at
0:27:21 > 0:27:24around £10,000 to £15,000 worth here.
0:27:24 > 0:27:27Good heavens!
0:27:27 > 0:27:29I had no idea!
0:27:29 > 0:27:31- Good!- No idea.
0:27:31 > 0:27:34Well, it was an inheritance, actually.
0:27:34 > 0:27:37- Yeah.- So, wonderful.
0:27:39 > 0:27:41We meet some remarkable characters
0:27:41 > 0:27:43while recording the Antiques Roadshow.
0:27:43 > 0:27:45Few have left such an impression as this man -
0:27:45 > 0:27:47Colonel Oliver Keith.
0:27:47 > 0:27:49We discovered he was here on a family outing
0:27:49 > 0:27:51in rather moving circumstances.
0:27:51 > 0:27:55I met his wife Gillian and daughter Serena to discover more.
0:27:56 > 0:27:59We'll be talking to your father and your husband a little bit later on.
0:27:59 > 0:28:02He's brought along, amongst other things, some lead soldiers
0:28:02 > 0:28:04that I know Graham Lay wants to look at.
0:28:04 > 0:28:08It's an unusual set of circumstances that have brought you here
0:28:08 > 0:28:09to the Roadshow, isn't it?
0:28:09 > 0:28:12It is. My father was diagnosed with cancer
0:28:12 > 0:28:15and they decided to stop the chemotherapy
0:28:15 > 0:28:17back in December.
0:28:17 > 0:28:20Since then, we have taken a decision to go through his house
0:28:20 > 0:28:23and start filming him ourselves
0:28:23 > 0:28:24with some of his items,
0:28:24 > 0:28:27to get a potted history,
0:28:27 > 0:28:30not only for ourselves but also for his grandchildren,
0:28:30 > 0:28:31so that as they grow up,
0:28:31 > 0:28:33they can get to know their grandfather.
0:28:33 > 0:28:35From that, we discovered some lead soldiers
0:28:35 > 0:28:38and we discovered the history behind them.
0:28:38 > 0:28:42We saw the Antiques Roadshow was coming to Eastbourne,
0:28:42 > 0:28:44so we gave the researchers a call
0:28:44 > 0:28:46and just asked them if they'd be interested
0:28:46 > 0:28:48and to our shock, huge shock,
0:28:48 > 0:28:51they said yes, they'd love to come and see them.
0:28:51 > 0:28:53Well, honestly, we feel rather honoured
0:28:53 > 0:28:55that this precious time you have left together,
0:28:55 > 0:28:58that you've chosen to come and spend a day with us.
0:28:58 > 0:29:02I was talking to you earlier on and you're wonderfully upbeat and jolly
0:29:02 > 0:29:05and he's a great character. We've been having some laughs together.
0:29:05 > 0:29:06How is he dealing with it all?
0:29:06 > 0:29:09I think he's gone on for another day because he's meeting you!
0:29:09 > 0:29:11It gave us another day to...
0:29:11 > 0:29:14He's fine. He's a soldier.
0:29:14 > 0:29:16He comes from a long military background
0:29:16 > 0:29:18and that's how you do deal with it.
0:29:18 > 0:29:21And he's just enjoying
0:29:21 > 0:29:24whatever we do now. We're all very lucky.
0:29:24 > 0:29:26Well, we're very lucky to have you here.
0:29:26 > 0:29:28And we're so looking forward to meeting him later on.
0:29:28 > 0:29:29- Thank you.- Thank you.
0:29:29 > 0:29:32Now, I really love these things.
0:29:32 > 0:29:34Where did you get it?
0:29:34 > 0:29:36It belonged to my late mother.
0:29:36 > 0:29:39I don't know where she actually got it from,
0:29:39 > 0:29:42- but I know it's been in the family for such a long time.- How long?
0:29:42 > 0:29:45I don't know. I just remember it from when I was very young.
0:29:45 > 0:29:48Yes, well, obviously not since the 1920s, when I think it was done.
0:29:48 > 0:29:50No, I don't think so!
0:29:50 > 0:29:53- But you don't know who it's by, I suspect?- No.
0:29:53 > 0:29:55I don't know anything about it, really, at all.
0:29:55 > 0:29:58The minute I saw it, I knew who it was by. He's such a cool chap.
0:29:58 > 0:30:00He's called William Barribal,
0:30:00 > 0:30:02and he's the inventor of the Barribal Girl,
0:30:02 > 0:30:05as it became known, because he used to do posters
0:30:05 > 0:30:07for the railways.
0:30:07 > 0:30:10And in fact, recruitment posters for World War I at first.
0:30:10 > 0:30:13He was classically trained as an artist,
0:30:13 > 0:30:15went to the Academie Julian in Paris,
0:30:15 > 0:30:17but came back and became one of Britain's
0:30:17 > 0:30:20best commercial artists in the 1920s and between the wars.
0:30:20 > 0:30:22He worked for Waddingtons
0:30:22 > 0:30:25and produced a series of playing cards
0:30:25 > 0:30:27with beautiful flapper girls on them.
0:30:27 > 0:30:29With a very distinct style,
0:30:29 > 0:30:31hence the Barribal Girl.
0:30:31 > 0:30:33And she is a Barribal Girl.
0:30:33 > 0:30:34Oh, right!
0:30:34 > 0:30:37And I was wondering...because this picture has got a dedication -
0:30:37 > 0:30:40"To Rene, from his pal Barrie".
0:30:40 > 0:30:43That's William Barribal, and that's his signature underneath.
0:30:43 > 0:30:44"Barribal", you can just see it.
0:30:44 > 0:30:47I don't know. We don't have a Rene in the family.
0:30:47 > 0:30:49Oh, I see.
0:30:49 > 0:30:52So, William Barribal, fantastic artist.
0:30:52 > 0:30:55Except it's not entirely the whole story.
0:30:55 > 0:30:58You see, it is a William Barribal, no question of that,
0:30:58 > 0:30:59but it's over a print.
0:30:59 > 0:31:02It's over a print of his own picture.
0:31:02 > 0:31:04So what he's done is he's picked out the figure
0:31:04 > 0:31:07in body colour, in this white heightening
0:31:07 > 0:31:12and this streak of light forming a gap in the curtains behind her,
0:31:12 > 0:31:15and little dabs of red, here and here,
0:31:15 > 0:31:17just focusing on the girl
0:31:17 > 0:31:19in a very dramatic way.
0:31:19 > 0:31:23Done by him, over a print of his own picture.
0:31:23 > 0:31:24Why would he have done that?
0:31:24 > 0:31:26Well, because I think perhaps
0:31:26 > 0:31:29he might have wanted to give Rene a gift,
0:31:29 > 0:31:32but didn't want to give Rene an original.
0:31:32 > 0:31:33Something like that,
0:31:33 > 0:31:36or perhaps was in a hurry, couldn't do it.
0:31:36 > 0:31:39Something like that. You often do get that. Artists will do that.
0:31:39 > 0:31:42They'll give them a print they've gone over, then dedicate it.
0:31:42 > 0:31:45But I don't care. It's a Barribal.
0:31:45 > 0:31:46And the fact that it's over a print,
0:31:46 > 0:31:48well, it's still a Barribal
0:31:48 > 0:31:51and it's one of the very nicest, funnest ones I've ever seen.
0:31:51 > 0:31:52Don't you agree?
0:31:52 > 0:31:54I love it. I love the dramatic background,
0:31:54 > 0:31:57but also, it's very, very delicate
0:31:57 > 0:32:00and I love the red that just brings it all together.
0:32:00 > 0:32:01It's lovely.
0:32:01 > 0:32:04These little sort of dabs of red give a real mystery to it,
0:32:04 > 0:32:07and the fact that she's picked out in that white
0:32:07 > 0:32:10means that she really stands out against this background.
0:32:10 > 0:32:13- I think it's really dramatic and fun.- Yes, it is.
0:32:13 > 0:32:16I think it's worth between £800 and £1,200. About £1,000.
0:32:16 > 0:32:19- Lovely!- Worth every penny.- Yes.
0:32:20 > 0:32:23Do you know, I absolutely love pieces like this!
0:32:23 > 0:32:25- OK.- But where did you get it from?
0:32:25 > 0:32:28It actually belongs to my wife's family.
0:32:28 > 0:32:33Way back, I think it belongs to the great-grand-uncle
0:32:33 > 0:32:37and then pass it on to the great-uncle
0:32:37 > 0:32:38then to my wife's mum,
0:32:38 > 0:32:40who is here,
0:32:40 > 0:32:43and then to my wife, so we have it with us in the house.
0:32:43 > 0:32:47Absolutely fascinating as a piece. Do you know how old it is?
0:32:47 > 0:32:50Um, no clue. That is why we are here.
0:32:50 > 0:32:53- We want to know the history of it. - OK.
0:32:53 > 0:32:56Well, actually, history is important here.
0:32:56 > 0:32:59And I think social history is important,
0:32:59 > 0:33:03because today, we're in the throwaway society.
0:33:03 > 0:33:06Something's damaged, it gets thrown away.
0:33:06 > 0:33:10But this is actually quite early.
0:33:10 > 0:33:13The date of the ceramic part
0:33:13 > 0:33:17is late 15th, early 16th century.
0:33:17 > 0:33:20So...
0:33:20 > 0:33:23when you think that is about 500 years old...
0:33:25 > 0:33:26Not bad.
0:33:26 > 0:33:29But when it was new,
0:33:29 > 0:33:31which it was 500 years ago,
0:33:31 > 0:33:33it was taller than this.
0:33:33 > 0:33:34Ah!
0:33:34 > 0:33:38And then, somebody's managed to drop it...
0:33:38 > 0:33:40- OK.- ..damaged the top.
0:33:40 > 0:33:42Of course, they wanted to keep it going.
0:33:42 > 0:33:43So they trimmed it back
0:33:43 > 0:33:45and put a silver mount on,
0:33:45 > 0:33:47just to keep it going.
0:33:47 > 0:33:49No marks on the silver mount, but that's quite usual.
0:33:49 > 0:33:52It could be 16th, 17th century.
0:33:54 > 0:33:55I love them.
0:33:55 > 0:34:01But...despite the fact that the pot itself is about 500 years old,
0:34:01 > 0:34:04it's actually worth very little money.
0:34:04 > 0:34:06- Wow!- Sorry about that!
0:34:06 > 0:34:10That's...that's not the big issue.
0:34:10 > 0:34:13The thing in there is the story
0:34:13 > 0:34:15and the history behind it.
0:34:15 > 0:34:17I'm so pleased you said that!
0:34:17 > 0:34:19So...
0:34:19 > 0:34:20What is it worth?
0:34:20 > 0:34:22Well, if it was just the pot on its own,
0:34:22 > 0:34:25er...£50.
0:34:26 > 0:34:28But because it's got the silver mount,
0:34:28 > 0:34:31this has actually come off better
0:34:31 > 0:34:33than had it been in its original state.
0:34:33 > 0:34:35It's now worth more.
0:34:35 > 0:34:39And...we're looking probably £200, £250.
0:34:39 > 0:34:41That's nice.
0:34:41 > 0:34:42That's good, yeah.
0:34:42 > 0:34:43That's good.
0:34:43 > 0:34:46At least we know it is 500 years.
0:34:46 > 0:34:49It's lived to that age
0:34:49 > 0:34:52and we've got it with us.
0:34:52 > 0:34:55When you think, they've just dug up the bones of Richard III.
0:34:55 > 0:34:58And that's the sort of date we're looking at here.
0:34:58 > 0:34:59Wow!
0:35:04 > 0:35:09This is a lovely little collection of lead soldiers, lead figures.
0:35:09 > 0:35:10Why have you brought them along?
0:35:10 > 0:35:13I've brought them along because they've been in the family
0:35:13 > 0:35:16since my grandfather collected them
0:35:16 > 0:35:18in the early 1870s.
0:35:18 > 0:35:20He was born in 1858
0:35:20 > 0:35:23and he was the youngest of three brothers.
0:35:23 > 0:35:25They were a Liverpool family
0:35:25 > 0:35:28and he was the odd one out
0:35:28 > 0:35:31in that he was mad keen about the Army.
0:35:31 > 0:35:34Ever since he could sort of get off his mother's knee.
0:35:34 > 0:35:37And he was obviously too young to join the Army.
0:35:37 > 0:35:40He had an army of his own - lead soldiers.
0:35:40 > 0:35:43- And this is the army - his army? - Yes.
0:35:43 > 0:35:45- What was his name?- George.
0:35:45 > 0:35:47This photograph here - this isn't him, is it?
0:35:47 > 0:35:49That's George up there.
0:35:49 > 0:35:54- Good grief!- When he was in fact serving in South Africa.
0:35:54 > 0:35:57Did he travel all over the world with his service?
0:35:57 > 0:35:59Yes. He started his service in Burma.
0:35:59 > 0:36:02He had two tours there.
0:36:02 > 0:36:06A lot of the rest of the time he was in India,
0:36:06 > 0:36:08up on the Northwest Frontier.
0:36:08 > 0:36:10Did he take his army with him?
0:36:10 > 0:36:13This is his personal army, isn't it?
0:36:13 > 0:36:16He took the army with him, but what we don't know is how much,
0:36:16 > 0:36:21because certain parts were left in Liverpool with his two brothers.
0:36:21 > 0:36:24Would they send instructions to each other, the brothers?
0:36:24 > 0:36:26Did they ever!
0:36:26 > 0:36:27By letters.
0:36:27 > 0:36:30Were they fighting any particular battles or any particular countries?
0:36:30 > 0:36:34They were not fighting any particular battle in real life.
0:36:34 > 0:36:36It was all on this make-believe land
0:36:36 > 0:36:41of which he, George - Emperor George - ruled with a rod of iron.
0:36:41 > 0:36:46And his two brothers were only ever promoted to be generals.
0:36:46 > 0:36:49Bearing in mind he was the youngest of three sons.
0:36:49 > 0:36:53As far as we know, they obeyed his instructions,
0:36:53 > 0:36:58such as firing a 21-gun salute on their mother's birthday.
0:36:58 > 0:37:00- What, with one of these cannons? - Oh, yes.
0:37:00 > 0:37:03I have to say, it looks like... If you look at this one, for example,
0:37:03 > 0:37:06it looks like it's actually been fired.
0:37:06 > 0:37:08Certainly that one has.
0:37:08 > 0:37:12And I can tell you from experience, I have fired them.
0:37:12 > 0:37:14That will disappear over there.
0:37:14 > 0:37:16That will disappear in two bits.
0:37:16 > 0:37:19And they are rather lethal.
0:37:19 > 0:37:20Yes, I can imagine!
0:37:22 > 0:37:24But how long ago was he playing with these?
0:37:24 > 0:37:28Well, he would have started, I think, when he was about 14, 15.
0:37:28 > 0:37:31So that would have been 18...
0:37:31 > 0:37:34- 1875, something like that? - Yes, a bit before that.
0:37:34 > 0:37:38Because in fact he got a competitive commission
0:37:38 > 0:37:43in the Army, in the Royal Scots Fusiliers, in 1878.
0:37:43 > 0:37:45You see, the thing that puzzles me
0:37:45 > 0:37:48is that it's understood, as far as I'm aware,
0:37:48 > 0:37:52that war gaming as a pastime
0:37:52 > 0:37:56actually started at the beginning of the 20th century.
0:37:56 > 0:38:00Now, here we have possible proof
0:38:00 > 0:38:02that actually war gaming started,
0:38:02 > 0:38:05maybe even with your grandfather,
0:38:05 > 0:38:0925 years earlier than that.
0:38:09 > 0:38:11You're correct,
0:38:11 > 0:38:14because in his letters home,
0:38:14 > 0:38:16he does mention
0:38:16 > 0:38:18he took the bulk of the army out
0:38:18 > 0:38:21on his first posting to Burma, to Rangoon,
0:38:21 > 0:38:26where he shared a bungalow with the regimental surgeon
0:38:26 > 0:38:28who was a bachelor
0:38:28 > 0:38:30and indeed, they war-gamed.
0:38:30 > 0:38:34They laid out on the floor of their living room
0:38:34 > 0:38:36an enormous sort of canvas mat
0:38:36 > 0:38:38and that was it.
0:38:38 > 0:38:40Well, I think what is wonderful
0:38:40 > 0:38:44is not just having your grandfather George's
0:38:44 > 0:38:46model soldiers,
0:38:46 > 0:38:51with which he played war games with his brothers
0:38:51 > 0:38:52and other friends.
0:38:52 > 0:38:55You've got the fascinating book
0:38:55 > 0:39:00which describes how the war games took place.
0:39:00 > 0:39:03You've also got - and this is what amazes me -
0:39:03 > 0:39:05these fantastic photographs
0:39:05 > 0:39:07of your grandfather.
0:39:07 > 0:39:10So we can see the man himself
0:39:10 > 0:39:14who actually played with these, I think,
0:39:14 > 0:39:16wonderful little objects.
0:39:16 > 0:39:18And you've got how many hundreds?
0:39:18 > 0:39:20I would think altogether we've got about 1,000.
0:39:20 > 0:39:22I've never actually counted them!
0:39:22 > 0:39:25OK. Of actually very early figures.
0:39:25 > 0:39:27Together with the book, together with the photograph
0:39:27 > 0:39:30- and presumably a lot of other ephemera...- Yes.
0:39:30 > 0:39:34I would think we'd be looking in terms of
0:39:34 > 0:39:36£3,000 to £5,000.
0:39:36 > 0:39:38Yes.
0:39:38 > 0:39:40It's a great little collection.
0:39:40 > 0:39:44Thank you so much for bringing them along. It's been a pleasure.
0:39:46 > 0:39:49So it's got everything you want from a miniature carriage clock
0:39:49 > 0:39:50and I'm going to ask you first -
0:39:50 > 0:39:52do you like it or do you think it's a bit twee?
0:39:52 > 0:39:55It's very nice. I appreciate the artwork.
0:39:55 > 0:39:57I think it's very well made.
0:39:57 > 0:39:59But I know nothing about it at all.
0:39:59 > 0:40:02- Do you have it working at home? - No, I don't.
0:40:02 > 0:40:05I don't know how to wind it up, and there's two ends to that key.
0:40:05 > 0:40:07I'll explain it all later, but in the meantime,
0:40:07 > 0:40:13I'll start by saying it's a lovely size. It's a miniature size.
0:40:13 > 0:40:15It's got a very pretty dial,
0:40:15 > 0:40:17it's got a beautifully cast case
0:40:17 > 0:40:21and the obviously lovely thing about it
0:40:21 > 0:40:26are the miniature panels on the sides of the clock.
0:40:26 > 0:40:29- Now, they're actually painted on ivory.- Wow!
0:40:29 > 0:40:31She's in perfect condition.
0:40:31 > 0:40:34And this one, she has a little crack,
0:40:34 > 0:40:36but bar that, they've very, very pretty.
0:40:36 > 0:40:40The dial is very typically circa 1900
0:40:40 > 0:40:44with these beautiful floral reserves there.
0:40:44 > 0:40:49And the mask is also engraved with foliage.
0:40:49 > 0:40:50Super.
0:40:50 > 0:40:54The case is cast
0:40:54 > 0:40:58with little caryatid figures, that sort of half-human figures,
0:40:58 > 0:41:00and then just going away to the bottom of the case
0:41:00 > 0:41:02and looking lovely.
0:41:02 > 0:41:05And the whole thing of course is cast in brass
0:41:05 > 0:41:08and it's been gilded, so it's gilt brass.
0:41:08 > 0:41:09And...
0:41:09 > 0:41:12a lovely little clock like this SHOULD
0:41:12 > 0:41:15have a maker's name. Have you ever looked inside?
0:41:15 > 0:41:18I can't find a name. I can find a number, but no name.
0:41:18 > 0:41:20A number but no name.
0:41:20 > 0:41:24In there, about a quarter of the size of my little fingernail,
0:41:24 > 0:41:27is a stamp which has a beehive on it.
0:41:27 > 0:41:30And on the top it says "A and M"
0:41:30 > 0:41:33and that is the factory stamp of Margaine,
0:41:33 > 0:41:36who is a very fine maker of carriage clocks.
0:41:36 > 0:41:39You mentioned it had a number and it does.
0:41:39 > 0:41:42Underneath that little impressed mark is a number
0:41:42 > 0:41:43and that number
0:41:43 > 0:41:46is exactly the same as the number on the key.
0:41:46 > 0:41:49So that's the original key to the clock.
0:41:50 > 0:41:53- Have you the carrying case? - I'm afraid I don't, no.
0:41:53 > 0:41:55Because that lovely little case
0:41:55 > 0:41:57probably would have been numbered as well,
0:41:57 > 0:41:59so the whole thing would have been en suite.
0:41:59 > 0:42:01- Yes.- But it's gorgeous.
0:42:01 > 0:42:03And you really don't know how to wind it up?
0:42:03 > 0:42:06No, and I'm also worried about over-winding it.
0:42:06 > 0:42:08Difficult to over-wind,
0:42:08 > 0:42:12because you're not going to put too much vigour into the winding of it.
0:42:12 > 0:42:15So the fat end of the key goes on that square there
0:42:15 > 0:42:18to wind the clock up.
0:42:18 > 0:42:20And then the thin end of the key
0:42:20 > 0:42:23goes on this hand-setting bit here,
0:42:23 > 0:42:26which says "aiguilles", which is the French for hand-set,
0:42:26 > 0:42:30- but only ever turn the hand in the direction of the arrow.- OK.
0:42:30 > 0:42:32So that's the point of the double-ended key.
0:42:33 > 0:42:35So...well, let me tell you
0:42:35 > 0:42:38that it is, of its type, it's top of the range.
0:42:38 > 0:42:40It's a beautiful little clock
0:42:40 > 0:42:42by a very good maker.
0:42:42 > 0:42:44Numbered key.
0:42:44 > 0:42:46The sort of thing collectors love.
0:42:47 > 0:42:48Price at auction
0:42:48 > 0:42:50is going to be in the region of
0:42:50 > 0:42:53£3,000 to £4,000.
0:42:53 > 0:42:54Good heavens!
0:42:54 > 0:42:57- Gosh!- And by the time it's done up,
0:42:57 > 0:42:59in other words, cleaned and overhauled,
0:42:59 > 0:43:02maybe have that little crack in the ivory sorted out,
0:43:02 > 0:43:05- it certainly would be retailing for about £6,000.- Good heavens!
0:43:05 > 0:43:07Thank you.
0:43:09 > 0:43:12It's difficult to imagine how revolutionary
0:43:12 > 0:43:15this vase must have looked to the eyes of people in late 1930,
0:43:15 > 0:43:17early 1931,
0:43:17 > 0:43:21when this Clarice Cliff piece was made.
0:43:21 > 0:43:23Can you tell me what you know about it?
0:43:23 > 0:43:25Well, it was my grandmother's.
0:43:25 > 0:43:27She lived in Bethnal Green in East London,
0:43:27 > 0:43:30and a friend had given it to her.
0:43:30 > 0:43:32Someone who lived there as well.
0:43:32 > 0:43:35And so it's just always been in the family.
0:43:35 > 0:43:38But she never really valued it - she just put her sweet papers in it!
0:43:38 > 0:43:42So it was never really anything of importance.
0:43:42 > 0:43:44- It was just something we all liked. - Something you lived with.
0:43:44 > 0:43:48Yeah, and we've all bid for through the generations.
0:43:48 > 0:43:50Have you ever been tempted to find how much it might be worth?
0:43:50 > 0:43:54I did, actually. Last year, I took it to a local valuation.
0:43:54 > 0:43:58And they would have offered me £1,000 for it.
0:43:58 > 0:44:03So that just gave me the inclination that perhaps it was worth something.
0:44:03 > 0:44:06So we've put it high up on the bookcase, behind the books,
0:44:06 > 0:44:08just so it's safe!
0:44:08 > 0:44:11OK. Well, it's a Clarice Cliff vase.
0:44:11 > 0:44:14The factory name for the shape
0:44:14 > 0:44:18is a twin-handled lotus jug.
0:44:18 > 0:44:21And it's decorated with the Lugano pattern.
0:44:21 > 0:44:23I'll just turn it round.
0:44:24 > 0:44:26Really, really wonderful bright colours.
0:44:28 > 0:44:30It's from a range called the Applique range.
0:44:30 > 0:44:32And the Applique range
0:44:32 > 0:44:35is called that because of the technique
0:44:35 > 0:44:37that was used to decorate the piece.
0:44:37 > 0:44:39And that was done using Indian ink.
0:44:39 > 0:44:42They outlined the design in Indian ink.
0:44:42 > 0:44:45They then applied the colour,
0:44:45 > 0:44:47and then in the heat of the kiln, the Indian ink burnt away
0:44:47 > 0:44:51and that gave them a really nice clean, sharp edge.
0:44:51 > 0:44:54And it's a difficult technique
0:44:54 > 0:44:58and it meant that the vase was really quite an expensive vase.
0:44:58 > 0:45:00And as a result, not many of them sold.
0:45:00 > 0:45:03It is actually a very, very rare
0:45:03 > 0:45:06- Clarice Cliff vase.- Oh, right.
0:45:06 > 0:45:08This is only the fourth example
0:45:08 > 0:45:11that's been recorded with a blue sky like this.
0:45:11 > 0:45:14They come with a blue sky, sometimes an orange sky.
0:45:14 > 0:45:17This is only the fourth example with a blue sky.
0:45:17 > 0:45:19Right.
0:45:20 > 0:45:22I have just noticed,
0:45:22 > 0:45:24rather unfortunately, there's a fine hair crack.
0:45:24 > 0:45:26And it makes me wonder
0:45:26 > 0:45:29if you ought to have accepted that offer of £1,000.
0:45:29 > 0:45:32I don't think so, because it's part of our family now.
0:45:32 > 0:45:36We're used to seeing it and used to just telling everyone to be careful,
0:45:36 > 0:45:38you know, don't jump on the floorboards,
0:45:38 > 0:45:40because it makes things rattle and it could fall off.
0:45:40 > 0:45:44I don't think so. I don't think I regret that.
0:45:44 > 0:45:45No, OK.
0:45:46 > 0:45:48Well, I don't think you should regret it.
0:45:48 > 0:45:51Because I think it's worth five...
0:45:52 > 0:45:53£5,000?!
0:45:53 > 0:45:55..to £7,000.
0:45:55 > 0:45:57Oh, my God!
0:45:57 > 0:45:58Oh!
0:45:58 > 0:45:59I've got to get it home!
0:46:02 > 0:46:04Well, the first thing I notice about this
0:46:04 > 0:46:06is this enormous crack across the front.
0:46:06 > 0:46:09- Have you been rather careless with your antiques?- No.
0:46:09 > 0:46:11He came into our house in 1943, apparently.
0:46:11 > 0:46:14And he was found on the back seat of my father's car
0:46:14 > 0:46:17from when he was in London.
0:46:17 > 0:46:19Apparently had a huge air raid on
0:46:19 > 0:46:23and this little man arrived through the back window of the car.
0:46:23 > 0:46:26- Catapulted out of someone's house? - Out of a building.
0:46:26 > 0:46:29Catapulted out of a building and into Father's car,
0:46:29 > 0:46:32so he said, "You've broken the window. I'm taking you home."
0:46:32 > 0:46:34And he's lived with us ever since.
0:46:34 > 0:46:37But it wasn't until the other day we looked at the back of it
0:46:37 > 0:46:39and we found it was...
0:46:39 > 0:46:41- A little bit older.- A little bit older than I thought it was.
0:46:41 > 0:46:44I can tell you that it is made out of wax.
0:46:44 > 0:46:45It's a wax relief,
0:46:45 > 0:46:48rather like a wax silhouette,
0:46:48 > 0:46:51although it's a little bit more three-dimensional
0:46:51 > 0:46:53than the wax silhouettes that we see.
0:46:53 > 0:46:55The unusual thing about it
0:46:55 > 0:46:59is that it isn't George III or a member of royalty.
0:46:59 > 0:47:00He's not a politician.
0:47:00 > 0:47:04And of course you could commission a wax relief like this
0:47:04 > 0:47:07of yourself, but you'd have to have a bit of money.
0:47:07 > 0:47:09You'd have to be reasonably rich.
0:47:09 > 0:47:11And he, to me, looks like a working man.
0:47:11 > 0:47:13Yes, I agree.
0:47:13 > 0:47:15Shirt sleeves rolled up, pipe in hand.
0:47:15 > 0:47:17Let's look at the back.
0:47:17 > 0:47:20- This is what you were talking about. - This is what I'm interested in.
0:47:20 > 0:47:22Well, it tells us a bit about him.
0:47:22 > 0:47:25He is Mr William Hoyle.
0:47:25 > 0:47:29Born March the 20th, 17...something.
0:47:29 > 0:47:34"Monday morning, about half past 11 o'clock."
0:47:34 > 0:47:37Pretty old English!
0:47:37 > 0:47:39It's not much of a claim to fame, is it?
0:47:39 > 0:47:41So we're still really none the wiser.
0:47:41 > 0:47:45"He worked at the Brown's factory
0:47:45 > 0:47:48"from the year 1787."
0:47:48 > 0:47:50One way and another,
0:47:50 > 0:47:53I think I've raised more questions than answering them.
0:47:53 > 0:47:56But perhaps one thing I can tell you
0:47:56 > 0:47:58is what I think it's worth.
0:47:58 > 0:48:00Oh, yes!
0:48:00 > 0:48:01That'd be nice.
0:48:03 > 0:48:05Well, I think it's worth around £300 to £400.
0:48:05 > 0:48:08That's very nice indeed. Thank you.
0:48:10 > 0:48:11Now, when it comes to half-dolls,
0:48:11 > 0:48:14there are half-dolls and there are half-dolls.
0:48:14 > 0:48:17And there are a number of factors that we have to consider,
0:48:17 > 0:48:19- and I'm pleased to say that yours are ticking all the boxes.- Yes.
0:48:19 > 0:48:21Number one, first and foremost,
0:48:21 > 0:48:24their arms are free from their body,
0:48:24 > 0:48:28meaning that they are more complicated to manufacture.
0:48:28 > 0:48:32Number two, they are the epitome of their fashion,
0:48:32 > 0:48:35with wonderful smoky-eyed make-up,
0:48:35 > 0:48:38beautiful fashionable cloche hats and bonnets.
0:48:38 > 0:48:42And number three, they are all holding things in their hands,
0:48:42 > 0:48:45from a powder box to a little bouquet of flowers
0:48:45 > 0:48:47- to a hand mirror.- Yes.
0:48:47 > 0:48:49All of these factors add up
0:48:49 > 0:48:53to make your half-dolls really right up there in the best that there are.
0:48:53 > 0:48:56So, where did you acquire these?
0:48:56 > 0:49:00- Where were these bought?- I bought them in Amsterdam in about the 1970s.
0:49:00 > 0:49:03- Do you remember what you paid for them at the time?- Yes.
0:49:03 > 0:49:06In guilders, the equivalent, about £45 each.
0:49:08 > 0:49:11There are many makers. All kinds of factories made these,
0:49:11 > 0:49:15from Heubach to Schneider to Ernst Bohne & Sohne.
0:49:15 > 0:49:17So in terms of the factories,
0:49:17 > 0:49:19they're sometimes difficult to identify.
0:49:19 > 0:49:21Are these all different makers?
0:49:21 > 0:49:22These are certainly all German.
0:49:22 > 0:49:25I think the two on the outside are probably the same factory,
0:49:25 > 0:49:27with a separate factory in the centre.
0:49:27 > 0:49:30But they are all so much of their period,
0:49:30 > 0:49:32so much of their style.
0:49:32 > 0:49:36And I think you've got to look in terms of value
0:49:36 > 0:49:39that they're going to have increased quite considerably
0:49:39 > 0:49:41from your £45.
0:49:41 > 0:49:44If you think they were £45 each originally,
0:49:44 > 0:49:47you are now looking at your half-dolls being worth
0:49:47 > 0:49:50£500 to £600.
0:49:50 > 0:49:52For the three of them? That's amazing.
0:49:52 > 0:49:54No, not for the three - each.
0:49:57 > 0:49:58That's nice to know.
0:49:58 > 0:50:03- You're looking at the best part of £1,500 to £2,000.- Really?!
0:50:03 > 0:50:07Gosh, fantastic. I'm pleased to hear that. Thank you.
0:50:08 > 0:50:10I came to Eastbourne today to the Roadshow
0:50:10 > 0:50:13really hoping to see an Eric Ravilious.
0:50:13 > 0:50:16The big local artist who lived in Eastbourne.
0:50:16 > 0:50:18But here
0:50:18 > 0:50:21we've got two woodblocks
0:50:21 > 0:50:24by another Eric - Eric Slater,
0:50:24 > 0:50:26who I know is a local artist.
0:50:26 > 0:50:28- He lived in Seaford, didn't he? - He did indeed.
0:50:28 > 0:50:30- Studied at Hastings.- Yes.
0:50:30 > 0:50:33And produced these wonderful woodblocks.
0:50:33 > 0:50:36Got a lovely 1920s, 1930s feel to them.
0:50:36 > 0:50:38And local views.
0:50:38 > 0:50:40Have you always been interested in him?
0:50:40 > 0:50:44My interest started when I was left a painting by my uncle,
0:50:44 > 0:50:46which is this one here.
0:50:46 > 0:50:47Um, and...
0:50:47 > 0:50:50I didn't know about Eric Slater, and I didn't even know
0:50:50 > 0:50:52about woodblocks,
0:50:52 > 0:50:55but I was moving to Seaford some years ago.
0:50:55 > 0:50:59I've now found out the way the pictures were put together
0:50:59 > 0:51:01and I'm just absolutely fascinated by it -
0:51:01 > 0:51:04the clouds, the colours and the perspective.
0:51:04 > 0:51:06With all these different colours,
0:51:06 > 0:51:10of course this represents a different colour for each woodblock,
0:51:10 > 0:51:11so he'd have to carve out each block
0:51:11 > 0:51:15and with the definition on the sky and the boat,
0:51:15 > 0:51:18and then have to place the block on the paper
0:51:18 > 0:51:20at different times to get the colours.
0:51:20 > 0:51:23And to get that all lined up is just extraordinary.
0:51:23 > 0:51:25- Absolutely amazing. - And a lot of work.
0:51:25 > 0:51:29And what I like - here we have a view of the entrance,
0:51:29 > 0:51:32which I'm pretty sure is Newhaven harbour.
0:51:32 > 0:51:33I think it must be.
0:51:33 > 0:51:35And called Morning Calm.
0:51:35 > 0:51:38And this to me is so evocative of the 1920s,
0:51:38 > 0:51:40'30s print-making.
0:51:41 > 0:51:43And today, this is very much in vogue.
0:51:43 > 0:51:46The top one here, which is the coastguard station,
0:51:46 > 0:51:49- that's Cuckmere Haven on the top, isn't it?- It is.
0:51:49 > 0:51:52I think that's lovely. Absolutely lovely.
0:51:52 > 0:51:54- And the two figures there.- Yes.
0:51:54 > 0:51:58And he's basically signed them here, Eric Slater,
0:51:58 > 0:51:59and you've got the title.
0:51:59 > 0:52:02And they would have been done in an edition,
0:52:02 > 0:52:06- and I think the edition is about 50 each, isn't it?- I believe so.
0:52:06 > 0:52:09Well, do you know, this is the sort of thing
0:52:09 > 0:52:11if I was collecting today
0:52:11 > 0:52:13would be collecting for the future.
0:52:13 > 0:52:16Because he doesn't make a huge amount of money,
0:52:16 > 0:52:18but that doesn't matter.
0:52:18 > 0:52:20- There's a lot of work that's gone into these.- Indeed so.
0:52:20 > 0:52:23And you'd probably pick these up for
0:52:23 > 0:52:26- I would think maximum £300 or £400 each.- Yes.
0:52:26 > 0:52:28- So, really lovely.- Yes.
0:52:28 > 0:52:32And it's just wonderful to have two great local scenes
0:52:32 > 0:52:35of the entrance to Newhaven and Cuckmere Haven
0:52:35 > 0:52:38- in this fantastic backdrop.- Yes.
0:52:38 > 0:52:42- With the sun shining. - And the sun shining as well.
0:52:44 > 0:52:46So, beside the seaside, beside the sea,
0:52:46 > 0:52:49with three jewels, or is it two?
0:52:49 > 0:52:50I think they're two.
0:52:50 > 0:52:52Tell me about it.
0:52:52 > 0:52:53Because this diamond
0:52:53 > 0:52:56used to be in this ring.
0:52:56 > 0:52:58And it was left to my daughter
0:52:58 > 0:53:00by my mother-in-law.
0:53:00 > 0:53:04And she's got very narrow, very small, beautiful fingers
0:53:04 > 0:53:06and she couldn't wear that one.
0:53:06 > 0:53:09- No.- So we thought it's better to use it
0:53:09 > 0:53:12so she can wear it.
0:53:12 > 0:53:13- We haven't damaged anything.- No.
0:53:13 > 0:53:16We've just taken out, very carefully,
0:53:16 > 0:53:18and made it into a ring to fit her.
0:53:18 > 0:53:21- And then I put that one in.- Yes.
0:53:21 > 0:53:25Just to have something, and I kept the original box.
0:53:25 > 0:53:28- Very, very sensible. - So it's actually two.
0:53:28 > 0:53:30Two jewels. That's what I suspected.
0:53:30 > 0:53:32Yes, it is, absolutely.
0:53:32 > 0:53:34But they both have got very, very interesting histories.
0:53:34 > 0:53:37- I think I want to deal with this one first.- That one belonged
0:53:37 > 0:53:39to my other daughter, from my mother-in-law again.
0:53:39 > 0:53:42Yes, and it's perfectly obvious it's by Boucheron.
0:53:42 > 0:53:45So who bought it at Boucheron?
0:53:45 > 0:53:48I don't know. My mother-in-law was born and brought up in France,
0:53:48 > 0:53:50by Greek origin,
0:53:50 > 0:53:57and then she married my father-in-law in 1925, 1924
0:53:57 > 0:53:59and she came to England.
0:53:59 > 0:54:02So they often went to Paris,
0:54:02 > 0:54:06so it could have been my father-in-law or her father.
0:54:06 > 0:54:10Well, I think it probably dates from her time in Paris
0:54:10 > 0:54:13and she was clearly a very discriminating buyer,
0:54:13 > 0:54:16because Boucheron is one of the most famous firms in the world
0:54:16 > 0:54:19for making jewellery, in tandem with Cartier and Faberge.
0:54:19 > 0:54:22And so it's the highest possible level of craftsmanship
0:54:22 > 0:54:23and here we see it.
0:54:23 > 0:54:25This is a plaque of jade,
0:54:25 > 0:54:27mounted in platinum,
0:54:27 > 0:54:30with a sort of stylised ribbon behind in sapphires and diamonds.
0:54:30 > 0:54:33But this is superbly tight work,
0:54:33 > 0:54:37very meticulous, very shrill pitch of perfection indeed.
0:54:37 > 0:54:40And the disc of jade
0:54:40 > 0:54:43actually anticipates the Art Deco period,
0:54:43 > 0:54:46where there was a sort of whiff of the orient
0:54:46 > 0:54:48brought in to a rather geometric style.
0:54:48 > 0:54:53And I suspect this is just a hint before that breaks out, really.
0:54:53 > 0:54:56Maybe 1920 that this was made.
0:54:56 > 0:54:59And then, by 1925, 1927,
0:54:59 > 0:55:02things had got much more sort of geometric and robust.
0:55:02 > 0:55:05And that brings us on to this ring,
0:55:05 > 0:55:09which is actually a really beautiful expression of the Art Deco period,
0:55:09 > 0:55:13and in fact, it's a pulse-making object, really.
0:55:13 > 0:55:14It looks so modest.
0:55:14 > 0:55:17It is made of rock crystal, which is nothing to do with glass at all.
0:55:17 > 0:55:20- I didn't know that.- And it's a stone.
0:55:20 > 0:55:22And it's lapidary work,
0:55:22 > 0:55:26and it's cut... It looks almost a machine-age object, doesn't it?
0:55:26 > 0:55:29Yes, it does. I thought it was plastic!
0:55:29 > 0:55:31Well, that's good.
0:55:31 > 0:55:35Well, it most certainly isn't. It's ice-cold, water-white rock crystal.
0:55:35 > 0:55:38And it looks like sort of Fernand Leger,
0:55:38 > 0:55:40the painter Fernand Leger,
0:55:40 > 0:55:42the sort of machine age of jewellery.
0:55:42 > 0:55:44And that's all terribly relevant,
0:55:44 > 0:55:46because it's retailed by Rene Boivin,
0:55:46 > 0:55:49who is another very famous French jeweller,
0:55:49 > 0:55:53but famous also because they had a designer there
0:55:53 > 0:55:57who is becoming the absolute focus of interest in jewellery,
0:55:57 > 0:55:58called Suzanne Belperron
0:55:58 > 0:56:02and she was a manufacturer and a designer for Boivin
0:56:02 > 0:56:06and then went out and made her own reputation on her own,
0:56:06 > 0:56:09and I don't think there's a shadow of doubt
0:56:09 > 0:56:12that this is actually designed for Boivin by Belperron
0:56:12 > 0:56:15to accommodate this not insubstantial diamond.
0:56:15 > 0:56:20- Yes.- So you'd have a water-white rock crystal Art Deco ring
0:56:20 > 0:56:22with a water-white diamond in the middle,
0:56:22 > 0:56:24an older-cut diamond,
0:56:24 > 0:56:28- and it's sort of an essay in colourless-ness, isn't it?- Yes.
0:56:28 > 0:56:30And the return of light and scintillation...
0:56:30 > 0:56:32Two stones - one valuable,
0:56:32 > 0:56:34one perhaps not valuable, but decorative.
0:56:34 > 0:56:38And these are astonishing evocations
0:56:38 > 0:56:40of Parisian glamour, aren't they?
0:56:40 > 0:56:41- Yes.- They are.
0:56:41 > 0:56:44And it's exactly what people want today.
0:56:44 > 0:56:46And with want comes dizzy value.
0:56:46 > 0:56:49- Yes.- And I think that this Boucheron brooch here,
0:56:49 > 0:56:53made of actually tiny, tiny sapphires and diamonds,
0:56:53 > 0:56:56and jade of no particular value,
0:56:56 > 0:56:58is nudging
0:56:58 > 0:57:01- £18,000.- What?!
0:57:02 > 0:57:03Ooh!
0:57:03 > 0:57:04Yes.
0:57:04 > 0:57:07But that's not the end of it.
0:57:07 > 0:57:08Oh!
0:57:08 > 0:57:11- Because the diamond here...- Yes?
0:57:11 > 0:57:13..intrinsically is worth
0:57:13 > 0:57:17another dazzling £15,000.
0:57:17 > 0:57:18Ooh!
0:57:18 > 0:57:22And it was jolly fortunate that you kept the original context of it.
0:57:22 > 0:57:24You were very careful to have done that.
0:57:24 > 0:57:27And I'm going to sigh a breath of relief,
0:57:27 > 0:57:30because this is a very, very exciting moment indeed.
0:57:30 > 0:57:31You do have something
0:57:31 > 0:57:35that is the centre of jewellery collecting at the moment.
0:57:35 > 0:57:36People want this jewellery,
0:57:36 > 0:57:40this colourless Art Deco statement, more than you can ever imagine.
0:57:40 > 0:57:42And so I think,
0:57:42 > 0:57:45if you were to put that diamond back in there,
0:57:45 > 0:57:48that a value of something like
0:57:48 > 0:57:51£55,000 to £60,000 would be appropriate.
0:57:55 > 0:57:57Yes.
0:57:57 > 0:57:58Ah!
0:57:58 > 0:57:59Hmm. Ouch!
0:57:59 > 0:58:01BOTH LAUGH
0:58:03 > 0:58:05After over 30 years in the world of jewellery,
0:58:05 > 0:58:07it takes a lot to get Geoffrey Munn excited,
0:58:07 > 0:58:10but that proved a real pulse-raising moment for him
0:58:10 > 0:58:12and for us.
0:58:12 > 0:58:13We were rather hoping today
0:58:13 > 0:58:17that we might see some work by the local artist Eric Ravilious.
0:58:17 > 0:58:20Remember we saw his paintings at the top of the programme.
0:58:20 > 0:58:21Well, we nearly got there.
0:58:21 > 0:58:24What about those lovely images by another local artist,
0:58:24 > 0:58:26another Eric - Eric Slater.
0:58:26 > 0:58:28And how fitting to see them here in Eastbourne.
0:58:28 > 0:58:31From the bandstand and the whole Roadshow team,
0:58:31 > 0:58:34until next time, goodbye.
0:58:42 > 0:58:45Subtitles by Red Bee Media Ltd