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