0:00:44 > 0:00:47Today, the Roadshow marks a welcome return to Glasgow.
0:00:47 > 0:00:49The impressive buildings, old and new,
0:00:49 > 0:00:52all around the centre say, boldly,
0:00:52 > 0:00:54"This is Scotland's largest city."
0:00:57 > 0:00:59Sprinkled among these proud statements of architecture
0:00:59 > 0:01:03are buildings by Glasgow's most renowned designer -
0:01:03 > 0:01:05and a name we often hear on the Antiques Roadshow -
0:01:05 > 0:01:07Charles Rennie Mackintosh.
0:01:10 > 0:01:14His world-famous masterpiece, the Glasgow School of Art,
0:01:14 > 0:01:15is being renovated.
0:01:17 > 0:01:19Sadly, early in 2014,
0:01:19 > 0:01:23this iconic building made the news because it was devastated by a fire,
0:01:23 > 0:01:26completely destroying the Art Nouveau library.
0:01:30 > 0:01:32Now, the building is covered in scaffolding,
0:01:32 > 0:01:33and is a hive of activity.
0:01:33 > 0:01:36Fortunately, many of Mackintosh's works inside
0:01:36 > 0:01:38were saved from the fire,
0:01:38 > 0:01:42but, still, it will be years before the building is fully restored,
0:01:42 > 0:01:44and all this scaffolding comes off.
0:01:46 > 0:01:49Luckily for us, just up the road at today's Roadshow venue,
0:01:49 > 0:01:53Kelvingrove Art Gallery and Museum, there's more Mackintosh to see.
0:02:00 > 0:02:02This is just a small selection of his work -
0:02:02 > 0:02:05painting, lighting, furniture.
0:02:05 > 0:02:07It covers so many disciplines.
0:02:07 > 0:02:09There wasn't much that Mackintosh didn't do.
0:02:11 > 0:02:13Born in Glasgow, in 1868,
0:02:13 > 0:02:17Charles Rennie Mackintosh started his working life as an architect,
0:02:17 > 0:02:21taking evening classes in drawing at the Glasgow School of Art.
0:02:21 > 0:02:23From here, his talents flourished.
0:02:24 > 0:02:27Mackintosh championed the Art Nouveau movement,
0:02:27 > 0:02:31a rejection of Victorian fussiness, using nature as an inspiration.
0:02:31 > 0:02:34It was about focusing on the pure sculpture of
0:02:34 > 0:02:36an object or architecture,
0:02:36 > 0:02:39and, in fact, he often painted a lot of his furniture white
0:02:39 > 0:02:42so that the colour wouldn't distract from the object itself.
0:02:45 > 0:02:48Well, I don't know if we'll see anything by Mackintosh today.
0:02:48 > 0:02:50It would be nice if something turned up,
0:02:50 > 0:02:54but let's see what the residents of his home city have brought along.
0:02:54 > 0:02:58We both know that it weighs what appears to be half a tonne!
0:02:58 > 0:02:59It's a hefty piece of glass.
0:02:59 > 0:03:02And how long have you been heaving it around the place?
0:03:02 > 0:03:04Aye, it's been in our house for about 20 years.
0:03:04 > 0:03:06Before that, it was my father-in-law's -
0:03:06 > 0:03:08he was a collector -
0:03:08 > 0:03:11and it belongs to my mother-in-law, but her house is a bit small now,
0:03:11 > 0:03:13so we keep it in our house.
0:03:13 > 0:03:15If I turn it upside down,
0:03:15 > 0:03:19there's a very interesting mark moulded onto the base.
0:03:19 > 0:03:23We haven't been able to find anything about the mark.
0:03:23 > 0:03:26My wife was interested to find out, as I was.
0:03:26 > 0:03:29We thought, because of the colour of the glass, it might be Lalique,
0:03:29 > 0:03:33but it doesn't look like a Lalique mark.
0:03:33 > 0:03:36You're wise to dismiss Lalique, because it's not Lalique.
0:03:36 > 0:03:38And, although we're in Scotland,
0:03:38 > 0:03:40it would be rather nice to think it was Scottish,
0:03:40 > 0:03:45but, in fact, it's good news for people watching in Holland...
0:03:45 > 0:03:48It's Dutch. ..because it's Dutch. Yes.
0:03:48 > 0:03:50The mark on the base is for Leerdam,
0:03:50 > 0:03:53and they were, you know, one of the foremost glassworks.
0:03:53 > 0:03:55I'm glad to hear that it's from Holland,
0:03:55 > 0:03:57cos I spent a lot of time in Holland,
0:03:57 > 0:04:00and lived in Haarlem for a wee while, so that's just coincidence,
0:04:00 > 0:04:02but it's quite nice to know.
0:04:02 > 0:04:03Yeah, it is good to know,
0:04:03 > 0:04:07and behind the mask is an interesting sculptress.
0:04:07 > 0:04:13Her name was Cornelie Caroline van Asch van Wijck,
0:04:13 > 0:04:15which is a bit of a mouthful, isn't it?
0:04:15 > 0:04:16It is a bit. And she was aristocracy.
0:04:16 > 0:04:19She was a lady. She knocks on the door of Leerdam,
0:04:19 > 0:04:22and says "I've sculptured this particular mask.
0:04:22 > 0:04:24"Would you be interested?"
0:04:24 > 0:04:27And, to their credit, they cast it,
0:04:27 > 0:04:30and she actually won a gold medal for this in...
0:04:30 > 0:04:33I think it was 1930 in Antwerp.
0:04:33 > 0:04:37They made it either to be just as a piece of sculpture,
0:04:37 > 0:04:42or they actually put it within a chromed-metal circular mount
0:04:42 > 0:04:43as a wall light.
0:04:43 > 0:04:46So, if I hold this up to the light,
0:04:46 > 0:04:52you will see that she is transformed once the light starts permeating it.
0:04:52 > 0:04:54Absolutely. Erm...
0:04:54 > 0:04:58Now, I suppose it would be good to know what it might be worth.
0:04:58 > 0:05:00Yes. I'd be interested.
0:05:00 > 0:05:03I'm here to tell you that this is worth
0:05:03 > 0:05:06in the region of ?3,000.
0:05:06 > 0:05:07Good grief!
0:05:09 > 0:05:12That is... That was totally unexpected.
0:05:12 > 0:05:16I'm sure my father-in-law bought it for a few quid somewhere
0:05:16 > 0:05:20in an auction. That's fabulous.
0:05:23 > 0:05:25Now, some of us know the Glasgow Boys,
0:05:25 > 0:05:28but not all of us know the Glasgow Girls,
0:05:28 > 0:05:32and here we've got a watercolour by Norah Neilson-Gray
0:05:32 > 0:05:35and, I must say, I think it's completely lovely.
0:05:35 > 0:05:40The design of it is just breathtakingly simple and charming
0:05:40 > 0:05:42and, yet, it's a sophisticated picture.
0:05:42 > 0:05:46It's about, I think, from the early 1920s,
0:05:46 > 0:05:48just after the war.
0:05:48 > 0:05:52It's yours? We got it at an auction about a year and a bit ago.
0:05:52 > 0:05:54Oh, really quite recent? Yes. Yeah, yeah...
0:05:54 > 0:05:57And what appealed to you about it?
0:05:57 > 0:05:59Probably, just, what you've just mentioned,
0:05:59 > 0:06:01and the fact of the colours and the mood it engenders,
0:06:01 > 0:06:04and the, sort of, pointillist effect that she had,
0:06:04 > 0:06:06and that it was just very attractive.
0:06:06 > 0:06:08It's very clever, that, isn't it?
0:06:08 > 0:06:09Because you see these broad blocks of colour?
0:06:09 > 0:06:11They're very much influenced by Japanese wood-block prints.
0:06:11 > 0:06:13That's how the colours appear,
0:06:13 > 0:06:16and then you look at them and they're deeply textured.
0:06:16 > 0:06:19There's the area, here, for example,
0:06:19 > 0:06:21consists of many, many dabs of paint,
0:06:21 > 0:06:22like a pointillist picture.
0:06:22 > 0:06:26So, what at first sight looks flat, is, in fact, multi-textural.
0:06:26 > 0:06:28It goes right the way back,
0:06:28 > 0:06:32and I love these trees, which are just so, sort of,
0:06:32 > 0:06:34well, they're so Glasgow - so Mackintosh.
0:06:34 > 0:06:35Very much so, yeah. They're just amazing.
0:06:35 > 0:06:38It's called October In The Highlands. Yes.
0:06:38 > 0:06:39Very, very beautiful.
0:06:39 > 0:06:41And these two very pretty, little children
0:06:41 > 0:06:44and their extremely pretty mother, I assume.
0:06:44 > 0:06:47I love the reflection of the heather in the water, don't you?
0:06:47 > 0:06:50Just the whole thing is lovely, and all the...
0:06:50 > 0:06:52The way she's balanced that up is just beautiful.
0:06:52 > 0:06:56So, in that sale, there must have been other Glasgow pictures,
0:06:56 > 0:06:57and you plumped for this one?
0:06:57 > 0:06:59Yes, we did. We...
0:06:59 > 0:07:00I went with my son and my wife,
0:07:00 > 0:07:03and they both thought it was by far the best picture.
0:07:03 > 0:07:05And what did this make? About ?2,000.
0:07:05 > 0:07:09?2,000? Well, yeah, well, we'll come to that.
0:07:09 > 0:07:10What do you think about the frame?
0:07:10 > 0:07:12It's an incredibly wide mount, isn't it?
0:07:12 > 0:07:14I presumed that was original. It certainly looked it,
0:07:14 > 0:07:17but, certainly, I felt that probably was original.
0:07:17 > 0:07:19I think it's very original, as well.
0:07:19 > 0:07:22And do you know what her nickname at art school was? I don't.
0:07:22 > 0:07:24She was called "Purple Patch",
0:07:24 > 0:07:26because she insisted that her students
0:07:26 > 0:07:29look for colour in the darks,
0:07:29 > 0:07:31because that's where you found the most tonal range,
0:07:31 > 0:07:34and when you look at this picture, you can actually see that.
0:07:34 > 0:07:37She's really looking for a great deal of differences in colour -
0:07:37 > 0:07:41in her clothes, there, and in some of the darker areas of the picture.
0:07:41 > 0:07:43The whole thing is a synthesis of different ideas
0:07:43 > 0:07:45that work incredibly well.
0:07:45 > 0:07:49So, you only bought it a year and a half ago, and you paid ?2,000,
0:07:49 > 0:07:53so it would be crazy of me to put 3,000-5,000
0:07:53 > 0:07:56or even, God forbid, ?4,000-?6,000 on it, wouldn't it?
0:07:56 > 0:07:57Yes, I would think so.
0:07:57 > 0:08:00I'm nonetheless going to do that, ?4,000-?6,000. Right.
0:08:00 > 0:08:03That's lovely. And the reason I'm going to do it is because
0:08:03 > 0:08:05I don't think anyone was looking at it properly, except for you.
0:08:05 > 0:08:07I think it's the most ravishing thing
0:08:07 > 0:08:11and, if that came up in London, I think it would do that now.
0:08:11 > 0:08:13That's very interesting. Thanks very much, indeed.
0:08:15 > 0:08:18It's small. It's battered.
0:08:18 > 0:08:19Yeah, it is.
0:08:19 > 0:08:21It's broken. Yes.
0:08:21 > 0:08:23It's worn... Very.
0:08:23 > 0:08:24..but it's amazing.
0:08:24 > 0:08:27Is it? It's amazing, yes.
0:08:27 > 0:08:28OK. What made you bring it here?
0:08:28 > 0:08:30It was the last thing I put in my bag this morning.
0:08:30 > 0:08:32But what made you put it in your bag?
0:08:32 > 0:08:34It's just, the kids have played with it for years,
0:08:34 > 0:08:36in with their farm toys...
0:08:36 > 0:08:41Really? ..and when they grew out of the farm toys, it went into a box...
0:08:41 > 0:08:45My goodness. ..and then it just, sort of, sat in the cupboard.
0:08:45 > 0:08:46Have you any idea where it's from?
0:08:46 > 0:08:50No. My grandparents had it
0:08:50 > 0:08:55and when they moved into an old-age home, years ago -
0:08:55 > 0:08:57And it just was a toy for the children.
0:08:57 > 0:08:59Shall I tell you where it's from?
0:08:59 > 0:09:01OK, yes. It's from Africa.
0:09:01 > 0:09:02Oh! OK.
0:09:02 > 0:09:08It's Ashanti. Right.
0:09:08 > 0:09:12Wow. And this would have been put on one side of the scales...
0:09:12 > 0:09:15Uh-huh. ..while the gold dust would be in a pan, on the other...
0:09:15 > 0:09:18Right. ..and the buyer and the seller would know exactly
0:09:18 > 0:09:20how much gold the weight of this represented.
0:09:20 > 0:09:23OK. And they were always made figuratively
0:09:23 > 0:09:28and they represented myths and legends in their culture.
0:09:28 > 0:09:31This is probably the nicest one I've ever seen.
0:09:31 > 0:09:33Wow.
0:09:33 > 0:09:35Erm, it's an equestrian figure.
0:09:35 > 0:09:37Yeah.
0:09:37 > 0:09:41Equestrian figures represent high status.
0:09:41 > 0:09:43Not many people in Africa rode horses.
0:09:43 > 0:09:45Right. Its legs are broken...
0:09:45 > 0:09:47Yes. ..but it's still amazing.
0:09:47 > 0:09:49Right. This is exactly the sort of thing
0:09:49 > 0:09:52that influenced modern 20th-century sculptors,
0:09:52 > 0:09:56like the Giacometti brothers, Diego and Alberto,
0:09:56 > 0:09:58Henry Moore, John Skeaping... Gosh.
0:09:58 > 0:10:02They looked at things like this and it inspired them to
0:10:02 > 0:10:04make all the wonderful bronzes you seen now...
0:10:04 > 0:10:06Wow. ..that are all part of our culture.
0:10:06 > 0:10:09People like Barbara Hepworth would... Yes.
0:10:09 > 0:10:12..rub and hone things down until they had a beautiful surface
0:10:12 > 0:10:13to them, just like this.
0:10:13 > 0:10:15The surface is everything.
0:10:15 > 0:10:19Its reduced, primitive simplicity
0:10:19 > 0:10:22is what they were searching for in their works.
0:10:22 > 0:10:24It's small, but monumental. Uh-huh.
0:10:24 > 0:10:27So it shouldn't have been in the farm, with the kids' toys?
0:10:27 > 0:10:30Well, at least it was used and enjoyed. Definitely.
0:10:30 > 0:10:33But this, I can't determine its age properly.
0:10:33 > 0:10:35I would say it was 18th-century.
0:10:35 > 0:10:38He's got a quirt, can you see, holding here,
0:10:38 > 0:10:41whipping the buttocks of the horse? Yeah. OK.
0:10:41 > 0:10:44A nice, equestrian Ashanti bronze of the normal type -
0:10:44 > 0:10:46it's probably ?150.
0:10:46 > 0:10:49Oh, that's exciting. I would stick my neck out with this
0:10:49 > 0:10:51and I would think this could make...
0:10:51 > 0:10:54?1,000-?1,500.
0:10:54 > 0:10:55Oh, my!
0:10:57 > 0:11:00OK. I was excited at 100!
0:11:00 > 0:11:03Well, it's more than ten times that, in my opinion. Gosh.
0:11:03 > 0:11:07I think it's the most beautiful Ashanti gold weight
0:11:07 > 0:11:08I have ever seen.
0:11:08 > 0:11:10You have made my day.
0:11:10 > 0:11:14Oh, I'm glad. I know. You've made my day!
0:11:14 > 0:11:16Wow! I'm glad I stuck it in my bag.
0:11:16 > 0:11:17I'm so glad you did too.
0:11:19 > 0:11:22You know what's quite poignant,
0:11:22 > 0:11:24when you look at old jewellery,
0:11:24 > 0:11:26is that you realise that they are
0:11:26 > 0:11:29a representation of the time that they were made.
0:11:29 > 0:11:33When such pieces like this would have been worn very frequently,
0:11:33 > 0:11:37you know, a lady would have gone out to some great ball or function -
0:11:37 > 0:11:39a cocktail party -
0:11:39 > 0:11:42and then they would have worn their diamond watch,
0:11:42 > 0:11:43and their diamond brooch,
0:11:43 > 0:11:46and they would have carried their powder compact with them.
0:11:46 > 0:11:48Now, I'm assuming, therefore,
0:11:48 > 0:11:51that these would have been worn by someone that was in your family?
0:11:51 > 0:11:56They were my aunt's and she married a wealthy Egyptian in the '40s,
0:11:56 > 0:12:02and these were parts of her treasure trove, I guess, from that period.
0:12:02 > 0:12:06These have been kept in a safety deposit box for many years,
0:12:06 > 0:12:08and I'm just interested to find out
0:12:08 > 0:12:10a little bit of their history, really.
0:12:10 > 0:12:13Well, I'm going to come on to these two pieces in a moment,
0:12:13 > 0:12:17but I just wanted to talk about this, which is a powder compact.
0:12:17 > 0:12:20Yeah. Powder compacts somehow evoke
0:12:20 > 0:12:23the age that they were really being used.
0:12:23 > 0:12:27It's very pretty. You've got this silver-coloured frame,
0:12:27 > 0:12:30and then you've got this detail of the two birds in gold,
0:12:30 > 0:12:32with little rubies.
0:12:32 > 0:12:37Now, we are careful how we open it, not to get the cloud of powder.
0:12:37 > 0:12:39There we are.
0:12:39 > 0:12:44If I rub away at the edge,
0:12:44 > 0:12:46I can see a word there... Uh-huh. Yes. Right.
0:12:46 > 0:12:49..and that word is "Boucheron, Paris".
0:12:49 > 0:12:51Wow.
0:12:51 > 0:12:54Now, Boucheron is one of the great makers...
0:12:54 > 0:12:57Yeah. Mmm-hmm. ..and in the 1940s...
0:12:57 > 0:13:00Mmm-hmm. ..actually during the war years,
0:13:00 > 0:13:02they used to make these powder compacts,
0:13:02 > 0:13:04and they were very popular.
0:13:04 > 0:13:08And, you know, we need to remember that business went on in the 1940s,
0:13:08 > 0:13:10but they... Yeah.
0:13:10 > 0:13:14They made the frames, not in silver or white gold or platinum,
0:13:14 > 0:13:17they made them in white metal, because there was no money about
0:13:17 > 0:13:20and there wasn't the precious metal. Yeah. Yeah.
0:13:20 > 0:13:24Now, the watch. Cocktail watches were all the rage
0:13:24 > 0:13:27from around about 1925 right the way through,
0:13:27 > 0:13:29certainly till the war years. Mmm-hmm.
0:13:29 > 0:13:32It's mounted up in platinum.
0:13:32 > 0:13:34It's set throughout with diamonds,
0:13:34 > 0:13:37typically in a rectangular shape. Yeah.
0:13:37 > 0:13:40This watch, when you look at it with a lens,
0:13:40 > 0:13:45it's signed "Vacheron Constantin", one of the great makers.
0:13:45 > 0:13:48So, here we've got a lady
0:13:48 > 0:13:51who doesn't only have very chic items... Mm-hmm.
0:13:51 > 0:13:53..but she's had them made for her
0:13:53 > 0:13:58by some of the top, leading houses of the day. Mmm-hmm. Mmm-hmm.
0:13:58 > 0:14:01Let's move on to the third component of this group. Yeah.
0:14:01 > 0:14:06Double-clip brooches were the look of the Deco period. Yeah.
0:14:06 > 0:14:10You would wear a smart little jacket -
0:14:10 > 0:14:11let's suppose it was navy or black -
0:14:11 > 0:14:14and then you would remove the clips
0:14:14 > 0:14:17by splitting them into two components... Yeah.
0:14:17 > 0:14:20..and then you would put one on each lapel of your jacket,
0:14:20 > 0:14:23and you can imagine how chic - how smart. Yeah. Yeah.
0:14:23 > 0:14:26So, she'd go to this ball or function
0:14:26 > 0:14:30wearing her Vacheron diamond watch,
0:14:30 > 0:14:34her Boucheron powder compact and her diamond double-clips.
0:14:34 > 0:14:37She was some girl. Mmm-hmm.
0:14:37 > 0:14:41Now, white metal - it's not silver.
0:14:41 > 0:14:44This box is probably worth ?1,000-?1,500...
0:14:44 > 0:14:47Mmm. Wow. Very good. ..or something like that.
0:14:47 > 0:14:51The watch, because it's by such a fine manufacturer...
0:14:51 > 0:14:54?3,000-?4,000. Whoa. Wow.
0:14:54 > 0:14:57Now, the double-clip, in this light,
0:14:57 > 0:14:59can you see how white the diamonds are? Yes. Yeah.
0:14:59 > 0:15:02They are a combination of brilliant-cut stones
0:15:02 > 0:15:05and baguette-cut stones, mounted up in platinum.
0:15:05 > 0:15:07I can tell you, having looked at them with my lens,
0:15:07 > 0:15:09they are beautiful.
0:15:09 > 0:15:12?8,000-?10,000. Wow! Wow.
0:15:12 > 0:15:14So, combined value...
0:15:14 > 0:15:16?12,000-?15,000.
0:15:16 > 0:15:18Fantastic. Amazing.
0:15:25 > 0:15:29This is a great little book by Yoko Ono, called Grapefruit... Yeah.
0:15:29 > 0:15:32..and it's a, kind of, a little collection of poems and missives
0:15:32 > 0:15:35and things like that. Very little poems, some of them -
0:15:35 > 0:15:37like one-liners, one-worders. Yeah, yeah, yeah.
0:15:37 > 0:15:40It's very interesting but, actually, what's more interesting about it is
0:15:40 > 0:15:43that when I open it up, I notice that it's actually
0:15:43 > 0:15:46signed by Yoko Ono and John Lennon, so what's the story?
0:15:46 > 0:15:49I was on holiday with my family when I was 15,
0:15:49 > 0:15:51and we were in Oxford Street in London. Right, yes.
0:15:51 > 0:15:55There was a commotion outside of Selfridges book department. Yes.
0:15:55 > 0:15:57It's happened to be a signing session. Right.
0:15:57 > 0:15:58We were told we weren't getting in,
0:15:58 > 0:16:00but I climbed under the policemen's legs.
0:16:00 > 0:16:02My dad threw me a 50p piece.
0:16:02 > 0:16:04The door got closed - I was the last one in.
0:16:04 > 0:16:07My brother, my wee brother had his nose against the window,
0:16:07 > 0:16:08but no luck. Uh-huh.
0:16:08 > 0:16:11So I got in, stood in the queue, and after John Lennon had signed it,
0:16:11 > 0:16:13he signed it first, I went to take it back
0:16:13 > 0:16:15and he immediately took it back and he said,
0:16:15 > 0:16:16"Do you not want Yoko to sign it?"
0:16:16 > 0:16:18"I'm sorry, sorry, sorry!" Brilliant.
0:16:18 > 0:16:20But they were both excellent.
0:16:20 > 0:16:22And what's brilliant about it is that it's worth...
0:16:22 > 0:16:24?300-?500.
0:16:29 > 0:16:30These came out of a box.
0:16:30 > 0:16:33Yes. And you paid how much for the box?
0:16:33 > 0:16:35?40. Oh, dear. Mmm-hmm?
0:16:35 > 0:16:38These are worth ?1. Yes. I hope the rest of the box was good.
0:16:38 > 0:16:39Right, yes. And this?
0:16:39 > 0:16:43Yes, in with another two or three items, ?28.
0:16:43 > 0:16:46Do you know what it is?
0:16:46 > 0:16:47A parrot.
0:16:47 > 0:16:48A parrot?
0:16:48 > 0:16:51I haven't seen a parrot like this for a very long time... Really?
0:16:51 > 0:16:52..alive or dead. Right.
0:16:52 > 0:16:54Fantastic colours. Mmm-hmm.
0:16:54 > 0:16:58I think he's probably around 1780. Right.
0:16:58 > 0:17:01He belongs to a group we called Prattware. Right.
0:17:01 > 0:17:04Prattware was made all over Staffordshire... Yes.
0:17:04 > 0:17:07..into Yorkshire, and even up into Scotland.
0:17:07 > 0:17:11I know his wing is broken, but he is very lovely and naive,
0:17:11 > 0:17:13that's what people want. He is very naive, yeah.
0:17:13 > 0:17:15I would say, you know,
0:17:15 > 0:17:18you'd be lucky to buy this for...
0:17:18 > 0:17:21?300. ?300.
0:17:26 > 0:17:30We've just unpacked this, to my eye, magnificent silver tea service,
0:17:30 > 0:17:32from what looks like a storage box,
0:17:32 > 0:17:34almost like it's been stored away for a while.
0:17:34 > 0:17:39It's been stored in a box since the 1950s,
0:17:39 > 0:17:45when the tea set came to my family from another family who owed a debt,
0:17:45 > 0:17:49and it was stored in the bank for many years, unknown to us,
0:17:49 > 0:17:50until the bank were moving,
0:17:50 > 0:17:54and they phoned my parents to say they had this tea set,
0:17:54 > 0:17:55and could we come and collect it?
0:17:55 > 0:17:57Time to come and move it, yes.
0:17:57 > 0:18:00But, obviously it's not been cleaned particularly recently.
0:18:00 > 0:18:01Is it something that you now use,
0:18:01 > 0:18:03now that you've brought it out of the bank?
0:18:03 > 0:18:05No, we don't. We haven't used it.
0:18:05 > 0:18:08I mean, is there a reason for that? You just...?
0:18:08 > 0:18:10Just, it looks too good to use.
0:18:10 > 0:18:11It looks too good to use.
0:18:11 > 0:18:14It's made by a firm called West Son of Dublin.
0:18:14 > 0:18:17Now, they are top-range Dublin silversmiths,
0:18:17 > 0:18:20going back into the 19th century - this is a bit later.
0:18:20 > 0:18:23And they made things for the Great Exhibition in 1851.
0:18:23 > 0:18:26They copied a lot of medieval-style brooches,
0:18:26 > 0:18:30all with this heavy Celtic influence.
0:18:30 > 0:18:32Now, this dates from around 1912 -
0:18:32 > 0:18:34we've had a look at the hallmarks -
0:18:34 > 0:18:37and that ties in with their style for this period.
0:18:37 > 0:18:42It's a heavy, heavy gauge of silver, you've probably noticed. Yes.
0:18:42 > 0:18:44you would find that that pours,
0:18:44 > 0:18:48for instance, the teapot, very nicely.
0:18:48 > 0:18:54which is an unusual thing to get nowadays.
0:18:54 > 0:18:57when I said Celtic, you'll know what we mean by this -
0:18:57 > 0:19:00intertwined, interlaced decoration. Yes.
0:19:00 > 0:19:02But, also, the feet,
0:19:02 > 0:19:04which I think really lift it into something special.
0:19:04 > 0:19:07These, they call it zoomorphic style,
0:19:07 > 0:19:10so it's mythical beasts, basically... Mmm-hmm.
0:19:10 > 0:19:13..and the same is on the spout of the tea kettle here.
0:19:13 > 0:19:15And the thing I like about this is
0:19:15 > 0:19:19it's still got the original spirit burner and stand,
0:19:19 > 0:19:21so, thinking about the practicality of it,
0:19:21 > 0:19:26this would keep the teapot hot using the little spirit burner underneath.
0:19:26 > 0:19:28So, it's been carefully thought out
0:19:28 > 0:19:31and very carefully constructed. Mmm-hmm.
0:19:31 > 0:19:33If that came on the market today,
0:19:33 > 0:19:36we'd be looking at an estimate of about...
0:19:36 > 0:19:39?2,500-?3,000. Mmm-hmm.
0:19:39 > 0:19:42So, it's a good tea set of its type. Yes.
0:19:42 > 0:19:44Most tea services are not worth that much. OK.
0:19:44 > 0:19:53So, I would not implore you, but urge you, to consider,
0:19:55 > 0:19:58For me, one of the most wonderful things about being on
0:19:58 > 0:20:02the Antiques Roadshow is that, every time I go on the Roadshow,
0:20:02 > 0:20:04I see something I've never seen before,
0:20:04 > 0:20:09and here we have the perfect example of
0:20:09 > 0:20:13Let's start with the things that I can tell us about,
0:20:13 > 0:20:21The handles, of course - this lovely repousse handle.
0:20:21 > 0:20:23So, a Scottish piece of furniture,
0:20:23 > 0:20:25at least made, perhaps, for a Scotsman. Yes.
0:20:25 > 0:20:29More handles on the sides - these lovely brass handles,
0:20:29 > 0:20:32suggesting it was made for carrying around. Yes. Yes.
0:20:32 > 0:20:34What a heavy thing to carry around.
0:20:34 > 0:20:35Quite heavy, yes.
0:20:35 > 0:20:38So, what does it do? Let's just quickly open it.
0:20:38 > 0:20:41We've got these lopers, as they're called - bureau-type lopers.
0:20:41 > 0:20:43This opens up.
0:20:45 > 0:20:48So you've got a writing desk, baize-lined.
0:20:48 > 0:20:50Lots of little areas for inks and things like that.
0:20:50 > 0:20:52It's been well used -
0:20:52 > 0:20:54it's not a piece that's been made and stuck in a house and never used.
0:20:54 > 0:20:57Mmm-hmm. What history do you have on it?
0:20:57 > 0:21:01Well, my parents were given a gift of ?50 sometime in the late '50s.
0:21:01 > 0:21:04They went to an antique shop in the Grassmarket in Edinburgh,
0:21:04 > 0:21:05which was closing down,
0:21:05 > 0:21:07so I hope that meant they got a bargain.
0:21:07 > 0:21:10We wondered if it was something in an estate office,
0:21:10 > 0:21:13where they maybe had to use it as a desk sometimes,
0:21:13 > 0:21:14but it's not been used all the time.
0:21:14 > 0:21:15Also, the height of it -
0:21:15 > 0:21:18this isn't a height that you would sit at.
0:21:18 > 0:21:19It's probably more you're standing,
0:21:19 > 0:21:21paying out wages, something like that.
0:21:21 > 0:21:23Therefore, they might have taken it from one part of
0:21:23 > 0:21:24the estate to another. Yes.
0:21:24 > 0:21:27That's a very interesting point - didn't occur to me at all.
0:21:27 > 0:21:29But, in that case, why does it have this bottom drawer,
0:21:29 > 0:21:32which I had a sneak preview at? Ah, well, that's the mystery.
0:21:32 > 0:21:35Why, why do you carry...?
0:21:35 > 0:21:36Presumably that's made for bottles.
0:21:36 > 0:21:39Well, maybe you want a dram at the end of the day.
0:21:39 > 0:21:40That's...
0:21:40 > 0:21:43My first reaction when I saw it was
0:21:43 > 0:21:46imagining this is in an officers' mess or something like that,
0:21:46 > 0:21:48and with the bottle carriers. Yes.
0:21:48 > 0:21:50You know those big sideboards? Yes.
0:21:50 > 0:21:52They have a drawer like this, a fitted drawer on the one side.
0:21:52 > 0:21:55On the other side, it's for a chamber pot.
0:21:55 > 0:21:56Ah, so, at the end of the day,
0:21:56 > 0:21:59you were fully equipped for anything that would happen.
0:21:59 > 0:22:02When the ladies retired. I'm sure that's what it's for, so... Wow.
0:22:02 > 0:22:06..perhaps it was used more for an office or something like that,
0:22:06 > 0:22:09as a type of campaign piece, I don't know. Right.
0:22:09 > 0:22:11So, ?50.
0:22:11 > 0:22:13Yup.
0:22:13 > 0:22:15Mahogany furniture like this, Georgian furniture,
0:22:15 > 0:22:16it's, about, made in roughly 1800,
0:22:16 > 0:22:19from the style of the manufacturer... Yes.
0:22:19 > 0:22:22..is not popular.
0:22:22 > 0:22:23But, it's so unusual,
0:22:23 > 0:22:25and I think the handles will lift it a little bit. Yes.
0:22:25 > 0:22:28The Scottish handles. Yes.
0:22:28 > 0:22:30?2,000.
0:22:30 > 0:22:31That sounds fair enough, yes.
0:22:31 > 0:22:33I mean, we're hanging onto it.
0:22:33 > 0:22:35You know, it's a family piece.
0:22:35 > 0:22:39My brother has it now in Glasgow. It used to live in Edinburgh, but...
0:22:39 > 0:22:41So I don't think we're wanting to move it on,
0:22:41 > 0:22:43but it's interesting to know what you think.
0:22:43 > 0:22:45So, it's not going south of the border?
0:22:45 > 0:22:47No, no, no.
0:22:47 > 0:22:49Thank you very much. Thank you. Thank you.
0:22:52 > 0:22:59Some people say swords can't possibly be romantic,
0:22:59 > 0:23:01but this one is, and it's got a really romantic story.
0:23:01 > 0:23:05When I got engaged to my husband some 50-odd years ago,
0:23:05 > 0:23:07I wanted to give him a gift to impress him.
0:23:07 > 0:23:10He collected weapons, so I bought him this sword,
0:23:10 > 0:23:12which seemed to please him.
0:23:12 > 0:23:14I'm not surprised.
0:23:14 > 0:23:16I mean, I think that's just a wonderful thing.
0:23:16 > 0:23:18Most people give rings or something dreadful.
0:23:18 > 0:23:20You gave him this.
0:23:20 > 0:23:22Yes. You've got excellent taste. SHE LAUGHS
0:23:22 > 0:23:27This is the 1803 pattern infantry sword.
0:23:27 > 0:23:31This one is for general or staff officers. Uh-huh.
0:23:31 > 0:23:34Oh, right. It's incredibly high-quality.
0:23:34 > 0:23:39Oh, right. You've got fire-blue and gilt decoration.
0:23:39 > 0:23:42Uh-huh. Stirrup-hilted, in the shape of a stirrup.
0:23:45 > 0:23:47Ivory grip - that gives us the clue
0:23:47 > 0:23:50it's a general or staff officer's sword. Uh-huh.
0:23:50 > 0:23:52Top, top-quality sword.
0:23:52 > 0:23:56Oh, right. In terms of, and we'll talk about it as a sword,
0:23:56 > 0:23:58as a fighting weapon, erm, no. Uh-huh.
0:23:58 > 0:24:01With a curve on it like that,
0:24:01 > 0:24:02it's almost impossible to do anything with.
0:24:02 > 0:24:05It's a badge of office. Oh, right.
0:24:05 > 0:24:07And if we'll just turn it,
0:24:07 > 0:24:11without me cutting your fingers off,
0:24:11 > 0:24:14the blue on that side is possibly even better. Yes.
0:24:14 > 0:24:17This is heat-blued,
0:24:17 > 0:24:19but you can see the huge curve on it.
0:24:19 > 0:24:21Yes.
0:24:21 > 0:24:23When you bought it, what did you pay for it then?
0:24:23 > 0:24:26It wouldn't be much money cos I didn't have much money then.
0:24:26 > 0:24:29Fine. Well, whatever you paid for it,
0:24:29 > 0:24:32it's probably gone up in value a little bit. Mmm-hmm.
0:24:32 > 0:24:39I would think, a sword like this, wonderful quality, beautifully made,
0:24:39 > 0:24:40I think that's...
0:24:40 > 0:24:42?2,500 worth. Oh, wow.
0:24:44 > 0:24:45Excellent.
0:24:48 > 0:24:51I've brought a pot that's been in my family,
0:24:51 > 0:24:53passed down from our Aunt Kitty... OK.
0:24:53 > 0:24:56..and we call it "the ugly pot".
0:24:56 > 0:25:00Well, beauty is in the eye of the beholder,
0:25:00 > 0:25:04and there are some people who would think this was a beautiful pot,
0:25:04 > 0:25:06rather than an ugly pot,
0:25:06 > 0:25:08and I'll tell you why.
0:25:08 > 0:25:11It's a double-gourd vase,
0:25:11 > 0:25:15but what we have on the base
0:25:15 > 0:25:18is this magic name of Christopher Dresser,
0:25:18 > 0:25:21and Christopher Dresser was an extremely futuristic designer,
0:25:21 > 0:25:24because this probably dates from 1880,
0:25:24 > 0:25:26made for the Ault Company.
0:25:26 > 0:25:28Christopher Dresser designed for Linthorpe.
0:25:28 > 0:25:32He designed textiles, furniture...
0:25:32 > 0:25:35He was a big name in design circles.
0:25:35 > 0:25:39These are maybe a, sort of, strange gazelle creature
0:25:39 > 0:25:41with one of its feet -
0:25:41 > 0:25:43you see this on a lot of his furniture
0:25:43 > 0:25:44and a lot of pieces of furniture.
0:25:44 > 0:25:47And then, these are South American designs.
0:25:47 > 0:25:49Christopher Dresser travelled all around the world,
0:25:49 > 0:25:55taking bits of Peruvian, bits of Japanese, bits of all other places,
0:25:55 > 0:25:57countries, and merging them all together,
0:25:57 > 0:25:59and now he is part of British design,
0:25:59 > 0:26:01so we've been all around the world,
0:26:01 > 0:26:04brought it all together, and now we're British.
0:26:04 > 0:26:07But, what do you think about it, personally?
0:26:07 > 0:26:09I wouldn't sleep with it on the bedside table.
0:26:09 > 0:26:11But there's a lot of people
0:26:11 > 0:26:13who would sleep with it on the bedside table
0:26:13 > 0:26:15and, for that reason, it's got a value,
0:26:15 > 0:26:17and I found that one recently sold...
0:26:17 > 0:26:20for ?2,000.
0:26:20 > 0:26:23You may have noticed there's a little bit of damage on it.
0:26:23 > 0:26:27Your grandfather, who's taken his drill to this,
0:26:27 > 0:26:31has put a hole in it, to drill it as a bedside lamp,
0:26:31 > 0:26:34so this ugly pot is worth...
0:26:34 > 0:26:35?1,000.
0:26:40 > 0:26:42I can't tell you how lucky I feel.
0:26:42 > 0:26:44First of all, here we are at Kelvingrove,
0:26:44 > 0:26:47and you've brought in two oil paintings
0:26:47 > 0:26:50by one of my favourite Scottish painters, William McTaggart.
0:26:50 > 0:26:52Now, they look in wonderful, original condition.
0:26:52 > 0:26:55They look like they've probably been with you for a long time.
0:26:55 > 0:26:57Tell me a little bit of the history you have.
0:26:57 > 0:27:00Well, William McTaggart was my great-grandfather,
0:27:00 > 0:27:02so they've come to me through my mother, obviously,
0:27:02 > 0:27:03who is his granddaughter,
0:27:03 > 0:27:07and they've been in the family all the time. They've never left.
0:27:07 > 0:27:08And they must be cherished.
0:27:08 > 0:27:10Oh, very much so, yeah.
0:27:10 > 0:27:12He's such a unique artist, William McTaggart -
0:27:12 > 0:27:13there's no-one quite like him -
0:27:13 > 0:27:16and I remember when I was about 17 or 18,
0:27:16 > 0:27:18as soon as I passed my driving test, the first thing I did -
0:27:18 > 0:27:20I loved the Glasgow Boys -
0:27:20 > 0:27:23I got into my mother's car and drove all the way up to Scotland
0:27:23 > 0:27:25and went around all the major galleries,
0:27:25 > 0:27:27Aberdeen, Edinburgh and Glasgow,
0:27:27 > 0:27:31and I discovered McTaggart and his contemporaries.
0:27:31 > 0:27:34And there's something so unique and special about his style.
0:27:34 > 0:27:36What do you like about his work?
0:27:36 > 0:27:38There's a life in all of them.
0:27:38 > 0:27:40I particularly like the seascapes he does,
0:27:40 > 0:27:43cos it's as if the water is actually moving when you look at them.
0:27:43 > 0:27:45Yes. But there's always something going on
0:27:45 > 0:27:47and, in many cases, you actually have to look to find it,
0:27:47 > 0:27:49because of his style of painting.
0:27:49 > 0:27:51You know, sometimes the paintings are easier to see
0:27:51 > 0:27:54when you stand a wee bit further away from them. Yes.
0:27:54 > 0:27:57Of course, he was born in 1835,
0:27:57 > 0:28:01and is he is recognised as the Scottish impressionist artist.
0:28:01 > 0:28:06That's because he paints such a free-flowing style.
0:28:06 > 0:28:10I suspect these are probably around 1890-1900 in date.
0:28:10 > 0:28:14If we look at the little oil on panel over by your side...
0:28:16 > 0:28:18All those whites, that's really the panel that's prepared -
0:28:18 > 0:28:20the white preparation. Right, right.
0:28:20 > 0:28:23And he rather cleverly uses very little paint
0:28:23 > 0:28:27to create amazing energy from the sea,
0:28:27 > 0:28:29but also the figures are hustled in that boat. Indeed, yeah.
0:28:29 > 0:28:33And, of course, they've had a good time, haven't they? Very much, yes.
0:28:33 > 0:28:37The boat's full of herrings. Yeah.
0:28:37 > 0:28:43He gets an incredible energy.
0:28:43 > 0:28:49No, I like it, it's very lively.
0:28:49 > 0:28:52so, with the painting that is nearest to me,
0:28:52 > 0:28:54you've got probably a study for a much larger canvas...
0:28:54 > 0:28:58Yes, that's true. ..which is bustled with activity and energy,
0:28:58 > 0:29:02but again, the canvas is used as part of the picture,
0:29:02 > 0:29:05and the human element seems to, sort of,
0:29:05 > 0:29:08form part of the seascape and landscape.
0:29:08 > 0:29:12These figures are almost abstract in the way they're painted. Yes, yes.
0:29:12 > 0:29:14You really can sense what's going on.
0:29:14 > 0:29:18This lovely figurative group in the boat, in the foreground.
0:29:18 > 0:29:20The sails, the masts...
0:29:20 > 0:29:23The figure flying the, sort of, white handkerchief
0:29:23 > 0:29:24in the foreground on the left,
0:29:24 > 0:29:27and you can sense there's a real energy, and wind,
0:29:27 > 0:29:30and the weather is really proving itself.
0:29:30 > 0:29:31Absolutely, yes, yes. Yes.
0:29:31 > 0:29:35I have seen photographs of him on the beach... Yes.
0:29:35 > 0:29:41..you know, with the canvas there and the wind blowing around.
0:29:41 > 0:29:43and all you could see was the son's legs,
0:29:43 > 0:29:45to stop it blowing away.
0:29:45 > 0:29:50There's the influence, perhaps, of Constable and Turner in his skies.
0:29:50 > 0:29:54Just wonderful. Good, well, thank you.
0:29:54 > 0:29:57The little finished oil on panel, even though it's a...
0:29:57 > 0:30:08It's kind of a finished sketch.
0:30:08 > 0:30:14I'd say ?6,000-?8,000.
0:30:14 > 0:30:16Well, thank you very much.
0:30:16 > 0:30:22But they are delicious... Well...
0:30:24 > 0:30:26So, the language of this glass is pretty clear.
0:30:26 > 0:30:30We have, on one side, "James Carmichael" -
0:30:30 > 0:30:31a nice Scottish name.
0:30:31 > 0:30:32"Dundee".
0:30:34 > 0:30:36"1871".
0:30:36 > 0:30:40And just a wodge of Masonic insignia.
0:30:40 > 0:30:42So, where does it fit into your life?
0:30:42 > 0:30:44Cos you don't look like a Mason.
0:30:44 > 0:30:46Well, I don't know who James Carmichael is,
0:30:46 > 0:30:52but it's my great-grandad's, and it's...
0:30:52 > 0:30:54who's asked me to bring it here, today.
0:30:54 > 0:31:00Sweet. Well, I'm sure that everything about it makes sense.
0:31:00 > 0:31:05This is 150 years old.
0:31:05 > 0:31:07and it's interesting that...
0:31:07 > 0:31:09I was just doing a little bit of basic research on
0:31:09 > 0:31:09Scottish Masonry, and the Masons were founded in Scotland.
0:31:09 > 0:31:15It is a Scottish organisation, originally. Oh, right.
0:31:15 > 0:31:18It's spread all over the world now, and now it's an international one,
0:31:18 > 0:31:21and Robbie Burns was an ardent Mason.
0:31:21 > 0:31:23He's famous for one of...
0:31:23 > 0:31:26I mean, other than his poetry, he's famous for being a Mason.
0:31:26 > 0:31:32And this idea of your wee dram in your tumbler at the Masonic lodge,
0:31:32 > 0:31:38I mean, it must be a common language to all,
0:31:38 > 0:31:47What's charming about it is the execution of the engraving,
0:31:47 > 0:31:50and that really means, if you imagine a ballpoint pen,
0:31:50 > 0:32:05but you replace the little ball with a diamond,
0:32:05 > 0:32:10You're breaking through the surface of the glass to leave that pattern.
0:32:10 > 0:32:12Oh, it's very naive.
0:32:12 > 0:32:14This is not the finest engraving,
0:32:14 > 0:32:18but I'm sure it was a friend of the Lodge.
0:32:18 > 0:32:22It would be a member of the lodge, probably, who was turning them out
0:32:22 > 0:32:25for the, you know, for his fellow members.
0:32:25 > 0:32:28So, do you ever use it? Was it stuck in the back of the cupboard or...?
0:32:28 > 0:32:30Oh, yeah, it was just in a dressing table.
0:32:30 > 0:32:33Oh, it's a shame. I do hate glasses that sleep too much.
0:32:33 > 0:32:35You know, I like glasses that do a bit of work.
0:32:35 > 0:32:37You know, fill it up and...
0:32:37 > 0:32:39And I'm not suggesting you have it every...
0:32:39 > 0:32:41have your orange juice in it every day or whatever,
0:32:41 > 0:32:46but I think a little historic glass like that is really charming,
0:32:46 > 0:32:48and it's a, kind of, connection to history.
0:32:48 > 0:32:50The value's not astounding.
0:32:50 > 0:32:52I mean, it's, what? ?100 or something.
0:32:52 > 0:32:55But I just think it's a pretty sweet thing.
0:32:55 > 0:32:57Great, thanks for bringing it in.
0:32:57 > 0:32:58Thank you.
0:33:01 > 0:33:03I'm a great collector of grand tour souvenirs -
0:33:03 > 0:33:06I love everything classical and neoclassical -
0:33:06 > 0:33:08and this appealed to me immediately,
0:33:08 > 0:33:10that I saw this bust,
0:33:10 > 0:33:11but, before we go into it,
0:33:11 > 0:33:13I want you to tell me what you know about it.
0:33:13 > 0:33:17Well, we found him in the garden of a house we moved into
0:33:17 > 0:33:19in 1959. You found him in the garden?
0:33:19 > 0:33:22That was a good find. Yes, it was just in a border.
0:33:22 > 0:33:24Yes. Very dirty,
0:33:24 > 0:33:26so I took him into the house and scrubbed him up,
0:33:26 > 0:33:29and he came up nice.
0:33:29 > 0:33:30What did you scrub him with?
0:33:30 > 0:33:34Just soap and a scrubbing brush, I think.
0:33:34 > 0:33:36Well, I'm sure you know he's made of marble.
0:33:36 > 0:33:38I think that, when he was originally made,
0:33:38 > 0:33:40he would have had quite a good polished finish to him.
0:33:40 > 0:33:42I would think so, yes. Do you know who he is?
0:33:42 > 0:33:45I think he's Antonius,
0:33:45 > 0:33:48who was the lover of the Emperor Hadrian,
0:33:48 > 0:33:50cos my daughter has done some research on him.
0:33:50 > 0:33:52You did a little bit of research, did you? Yes.
0:33:52 > 0:33:55I absolutely agree with you, I think it's Antonius,
0:33:55 > 0:33:58and he's a rather good-looking young man, isn't he? He is, indeed.
0:33:58 > 0:34:01This is a famous classical pose,
0:34:01 > 0:34:04always portrayed with this wreath. Yes.
0:34:04 > 0:34:06And we can see, actually, that while it was out in the garden,
0:34:06 > 0:34:09it probably suffered a little bit, because there are various
0:34:09 > 0:34:11chips off of the ivy leaves and things. Yes, yes.
0:34:11 > 0:34:15But, intrinsically, he's still in pretty good condition,
0:34:15 > 0:34:16I have to say. Yeah.
0:34:16 > 0:34:18He's 19th-century.
0:34:18 > 0:34:20I think he's probably mid-19th century. Yeah.
0:34:20 > 0:34:24He would have been picked up, perhaps in Rome,
0:34:24 > 0:34:25by someone on the grand tour,
0:34:25 > 0:34:29as they were touring all the main classical sites,
0:34:29 > 0:34:31and he would have made a handsome addition to
0:34:31 > 0:34:33any kind of library in a grand house,
0:34:33 > 0:34:36and I think he's rather lovely. Yes.
0:34:36 > 0:34:40Now, for that reason, because he's such a desirable-looking image,
0:34:40 > 0:34:44and because he's marble, he does have quite good value.
0:34:44 > 0:34:47I think, given that his finish isn't quite as good as it could be,
0:34:47 > 0:34:50and there are a few little chips and knocks,
0:34:50 > 0:34:52so I'm going to put an auction value of...
0:34:52 > 0:34:55?1,200-?1,800 on it.
0:34:55 > 0:34:56Oh, yes, yes.
0:34:56 > 0:34:59So, not bad for something that you found in the flower bed. It's not.
0:34:59 > 0:35:01It isn't, no, not bad at all,
0:35:01 > 0:35:03nut he's been one of the family for many years.
0:35:03 > 0:35:04Where does he sit now?
0:35:04 > 0:35:08Beside the fireplace. That sounds like a nice spot for him.
0:35:09 > 0:35:11Do you know what this is?
0:35:11 > 0:35:16Yes, I do. It's a 17th-century Scottish quaich,
0:35:16 > 0:35:19so it's a drinking vessel. It's a cup.
0:35:19 > 0:35:21Absolutely right.
0:35:21 > 0:35:25Specifically, the quaich was used for drinking whisky,
0:35:25 > 0:35:27but it was also
0:35:27 > 0:35:30the traditional present that was given at a marriage
0:35:30 > 0:35:31and, if we look at the handle here,
0:35:31 > 0:35:34we can see the initials of the original happy couple.
0:35:36 > 0:35:39But, you also rightly said that it's 17th-century,
0:35:39 > 0:35:44and any Scottish silver made before 1700 is pretty rare.
0:35:45 > 0:35:50Now, this is very much the standard form of quaich,
0:35:50 > 0:35:54except for one rather tragic, lacking part.
0:35:54 > 0:35:56It's missing a handle at the front here.
0:35:56 > 0:35:58What happened to that? Do you know?
0:35:58 > 0:36:00I've got no idea.
0:36:00 > 0:36:02It was like this when it was given to me,
0:36:02 > 0:36:04and I have seen another one,
0:36:04 > 0:36:06in the Burrell Collection in Glasgow,
0:36:06 > 0:36:08and it has two handles... Yeah.
0:36:08 > 0:36:11..and I can see there's damage there
0:36:11 > 0:36:13and I know there's something missing.
0:36:13 > 0:36:15Well, rather sadly, you know,
0:36:15 > 0:36:18that has a very serious effect to the value,
0:36:18 > 0:36:20which we'll come on to in a moment. Yeah.
0:36:20 > 0:36:25So, here, we can see it's lined to look like wooden staves,
0:36:25 > 0:36:28because the early ones were often made in wood... Yeah.
0:36:28 > 0:36:32..and so they've engraved the silver up to look like that.
0:36:32 > 0:36:37It's got the maker's mark, "GY", for George Yorston.
0:36:37 > 0:36:40It's got the Edinburgh mark, so it was hallmarked in Edinburgh.
0:36:40 > 0:36:45It's got the assay master's mark of John Borthwick,
0:36:45 > 0:36:49and the date letter for 1686.
0:36:49 > 0:36:53So, this is a really early quaich... Yes.
0:36:53 > 0:36:56..but, tragically, something very serious has happened to it.
0:36:56 > 0:36:59You haven't got the handle lying around at home, have you?
0:36:59 > 0:37:00No. No.
0:37:00 > 0:37:02Oh, that is such a shame,
0:37:02 > 0:37:06because Yorston is a fairly unusual maker,
0:37:06 > 0:37:08and if this was, you know,
0:37:08 > 0:37:12absolutely complete and in a really good, original state...
0:37:12 > 0:37:16Yeah, yeah. ..we would be looking at something very special,
0:37:16 > 0:37:20but it's got great blobs of solder around at the front here,
0:37:20 > 0:37:23where the handle has somehow been broken off. Yeah. Yeah.
0:37:23 > 0:37:27Now, it almost breaks my heart to tell you what this might be worth
0:37:27 > 0:37:29if it was in perfect condition. Yeah.
0:37:29 > 0:37:31That's OK. Go ahead.
0:37:31 > 0:37:35About ?8,000-?10,000. Oh, yeah. Yeah.
0:37:35 > 0:37:39But, in this condition, I'm really sorry, it's more like...
0:37:39 > 0:37:42?2,000. Yeah.
0:37:42 > 0:37:45Yeah, which is absolutely fine.
0:37:48 > 0:37:52I want you to imagine Paris circa 1900.
0:37:52 > 0:37:57It was a city that was really at the centre of the design world.
0:37:57 > 0:38:00Art Nouveau was at its absolute pinnacle,
0:38:00 > 0:38:06and what I'm holding is a wonderful example of that golden period.
0:38:06 > 0:38:08We're talking French porcelain,
0:38:08 > 0:38:13from their leading manufacturer, Sevres, circa 1900.
0:38:13 > 0:38:16So, before I go any further, I've got to ask,
0:38:16 > 0:38:19how did it end up here in Glasgow?
0:38:19 > 0:38:24It was in a box that I bought at auction
0:38:24 > 0:38:26for some clocks and clock parts,
0:38:26 > 0:38:30cos my hobby is repairing old clocks.
0:38:30 > 0:38:33I've got to ask you the question, how much was the box?
0:38:33 > 0:38:38I probably paid about ?10 or ?15.
0:38:38 > 0:38:40If we look underneath, there are a couple of lovely marks, there.
0:38:40 > 0:38:43We've got an Sevres back-stamp,
0:38:43 > 0:38:46absolutely right for that period,
0:38:46 > 0:38:49and then, just along the rim, we've got even more detail here -
0:38:49 > 0:38:53a double code there of "00", for 1900,
0:38:53 > 0:38:56a number "9", which is for the month of September,
0:38:56 > 0:39:01and then "PN" for pate-nouvelle.
0:39:01 > 0:39:06The body itself is decorated in a technique called pate-sur-pate,
0:39:06 > 0:39:09which was actually developed at Sevres
0:39:09 > 0:39:12in the middle of the 19th century,
0:39:12 > 0:39:17and it's a painstaking process, where layer upon layer of
0:39:17 > 0:39:22liquid slip is painted to give a slight 3-D effect.
0:39:24 > 0:39:29In terms of the designer, it's not marked, which is really frustrating.
0:39:29 > 0:39:31If I had to hang my hat,
0:39:31 > 0:39:36it's very much in the style of an artist called Genevieve Rault.
0:39:36 > 0:39:40This fluid, floral style is very much in her style.
0:39:40 > 0:39:43The one thing that is a great shame -
0:39:43 > 0:39:45as I turn the neck round,
0:39:45 > 0:39:49we have got two chips there on the top.
0:39:49 > 0:39:51The more frustrating thing is,
0:39:51 > 0:39:55they look really clean and really fresh,
0:39:55 > 0:39:56which makes me wonder,
0:39:56 > 0:39:58did they happen at the point when this vase
0:39:58 > 0:40:00got thrown into a box with a load of clocks?
0:40:00 > 0:40:02It wasn't me, and it was chipped when I got it.
0:40:02 > 0:40:04That's all right. I...
0:40:04 > 0:40:05LAUGHTER
0:40:05 > 0:40:07..I'm not looking to blame. I'm not looking to blame.
0:40:07 > 0:40:10You bought a box for ?10 or ?15.
0:40:10 > 0:40:12You got the clocks out of it that you wanted,
0:40:12 > 0:40:15and this was a bonus. Yes.
0:40:15 > 0:40:19OK. Well, in this condition,
0:40:19 > 0:40:22your bonus is going to be worth somewhere between ?500-?800.
0:40:22 > 0:40:24Oh.
0:40:24 > 0:40:25That's good.
0:40:27 > 0:40:28Very pleasing.
0:40:30 > 0:40:33So, what we have here, in a nutshell,
0:40:33 > 0:40:37is a French, inlaid-mahogany portico clock,
0:40:37 > 0:40:41but what particularly struck me about this clock is,
0:40:41 > 0:40:43well, the pendulum should be hanging there,
0:40:43 > 0:40:44but we've got it right here
0:40:44 > 0:40:46and, on the pendulum,
0:40:46 > 0:40:56we've got the names "John Pascoe" and "James Jennings".
0:40:56 > 0:41:03Now, I understand that John Pasco was Nelson's flag lieutenant,
0:41:03 > 0:41:08who hoisted "England expects every man to do his duty this day".
0:41:08 > 0:41:11Now, whether that is fact or not, I do not know,
0:41:11 > 0:41:16and it's come down the family, and it's come to me.
0:41:16 > 0:41:20John Pasco was, we believe,
0:41:20 > 0:41:24the signals officer on HMS Victory in 1805 at Trafalgar...
0:41:24 > 0:41:26Yeah, yeah.
0:41:26 > 0:41:30..and then, subsequently, he gave it to James Jennings,
0:41:30 > 0:41:33and I suspect that 1853 is the date of manufacture for the clock,
0:41:33 > 0:41:36because stylistically that's exactly the sort of date it would be.
0:41:36 > 0:41:38I mean, it's a fascinating history.
0:41:38 > 0:41:41If that's true, it really is interesting, isn't it?
0:41:41 > 0:41:43But, actually, there are some points about this clock
0:41:43 > 0:41:44that are quite interesting, too.
0:41:44 > 0:41:47The first is, have you noticed how the dial,
0:41:47 > 0:41:50which is beautifully engraved with flowers and then gilded,
0:41:50 > 0:41:54the seconds and the minutes and the hours are all subdivided?
0:41:54 > 0:41:56It's called a regulator dial... Mmm-hmm.
0:41:56 > 0:41:59..and the reason is so you can tell more precise time,
0:41:59 > 0:42:01so you can look for every second if you want to,
0:42:01 > 0:42:03or you can look at every minute if you want to,
0:42:03 > 0:42:06rather than the minutes and the hours and seconds being melded up.
0:42:06 > 0:42:09Interesting, yeah. And it's a clever way of portraying it,
0:42:09 > 0:42:11but, actually, most people find it slightly annoying,
0:42:11 > 0:42:14because it's actually quite difficult to read the time.
0:42:14 > 0:42:15Do you have any memories of it, back in your time,
0:42:15 > 0:42:17in your childhood, at all?
0:42:17 > 0:42:19Not really. I remember it being in the house.
0:42:19 > 0:42:21Erm...
0:42:21 > 0:42:23My mother had it on display, if you like,
0:42:23 > 0:42:26but she had it in the room, and...
0:42:26 > 0:42:28Did it have a dome at that time?
0:42:28 > 0:42:31It had a glass dome, which has got broken. Ah-hah. OK.
0:42:31 > 0:42:34There's a little door on the side of the case, here.
0:42:34 > 0:42:37Have you noticed that? No, and I've never opened it.
0:42:37 > 0:42:38And you've never opened it? No.
0:42:38 > 0:42:40I actually unscrewed a couple of screws, there.
0:42:40 > 0:42:44Right, OK. If we lift this off...
0:42:44 > 0:42:46inside the clock is a music box.
0:42:46 > 0:42:48Interesting. And you didn't know that?
0:42:48 > 0:42:50I didn't know that, no.
0:42:50 > 0:42:54To wind the movement up, you've got to open the door on the side here...
0:42:54 > 0:42:58Yeah. ..and I know that we can't do that, but, normally,
0:42:58 > 0:43:01you would open the door, wind it up and set it,
0:43:01 > 0:43:05and either the clock would set the music off at a certain time,
0:43:05 > 0:43:06usually on the hour,
0:43:06 > 0:43:09or, in this case, you can also set it off manually.
0:43:09 > 0:43:13It's Swiss-made, and the clock itself is French.
0:43:13 > 0:43:16It's going to take a little bit of restoring. Mmm-hmm.
0:43:16 > 0:43:18Apart from the fact that it needs a glass dome,
0:43:18 > 0:43:20and it needs a jolly good clean -
0:43:20 > 0:43:22and it'll look a lot nicer when it is -
0:43:22 > 0:43:26the musical movement, they cost a little bit of money to do.
0:43:26 > 0:43:29Hundreds of pounds to have cleaned, because it's a bit painstaking,
0:43:29 > 0:43:33but I would say, in this case, it's going to be worth it.
0:43:33 > 0:43:35In this sort of condition,
0:43:35 > 0:43:40it's worth at auction between ?3,000-?5,000.
0:43:40 > 0:43:42About 4,000 quid.
0:43:42 > 0:43:44In perfect condition,
0:43:44 > 0:43:46with a really great dome that fits it well,
0:43:46 > 0:43:50with the musical movement working perfectly and a bit of a dust-down,
0:43:50 > 0:43:53it would be worth between ?6,000-?8,000.
0:43:53 > 0:43:55Interesting. Very interesting.
0:43:58 > 0:44:01This is making me feel rather like Dame Edna,
0:44:01 > 0:44:04so, they look beautiful, but I think I'll take them off.
0:44:04 > 0:44:06How did you start collecting these?
0:44:06 > 0:44:07Well, I've always loved vintage
0:44:07 > 0:44:11and I have always managed to pick up some nice vintage sunglasses.
0:44:11 > 0:44:15This particular collection, which is some very, very good names,
0:44:15 > 0:44:18was something I acquired just a few years ago at a car boot sale
0:44:18 > 0:44:20here in Glasgow,
0:44:20 > 0:44:23and there was a woman whose mother had passed away
0:44:23 > 0:44:25and she was clearing out her possessions.
0:44:25 > 0:44:27And I, just by chance, passing her stall,
0:44:27 > 0:44:30saw the little corner of a glasses case sticking out,
0:44:30 > 0:44:32and I'd forgotten my sunglasses,
0:44:32 > 0:44:37so I thought I'd take a look and out came a pair of Yves Saint Laurent.
0:44:37 > 0:44:40I was kind of in disbelief, and she said, "Oh, have another dig."
0:44:40 > 0:44:41Another pair of Yves Saint Laurent.
0:44:41 > 0:44:44And, suddenly, I could see there was half a box of sunglasses
0:44:44 > 0:44:46and I slightly lost it at that point,
0:44:46 > 0:44:49but, for the sake of a bargain, kept it cool, to a degree.
0:44:49 > 0:44:51So, how much did you pay?
0:44:51 > 0:44:52I paid ?5 per pair.
0:44:52 > 0:44:55Because you have really got some of the great names.
0:44:55 > 0:44:58You've got Christian Dior, as you said, Yves Saint Laurent,
0:44:58 > 0:45:02and some French makes, and they are quite distinctive. Mmm-hmm.
0:45:02 > 0:45:04Yeah. The great thing about buying vintage is that
0:45:04 > 0:45:05you're a one-off, aren't you?
0:45:05 > 0:45:08You don't walk down the street and see everybody else wearing them,
0:45:08 > 0:45:11and I'm fascinated by this particular style of sunglasses,
0:45:11 > 0:45:13because they're quite distinctive.
0:45:13 > 0:45:15Yeah. So that was just, they... They suit you?
0:45:15 > 0:45:18I just thought they were so beautiful that
0:45:18 > 0:45:20it would be crazy not to take them as well.
0:45:20 > 0:45:22They just... They're so stylish, and...
0:45:22 > 0:45:24Well, I mean, this is the age of glamour, isn't it?
0:45:24 > 0:45:26Yeah. From the '50s on,
0:45:26 > 0:45:29people loved wearing really decorative, big things.
0:45:29 > 0:45:30You know, not these little...
0:45:30 > 0:45:32tiny, little sunglasses we tend to wear now.
0:45:32 > 0:45:34These are really a statement... Absolutely.
0:45:34 > 0:45:38So, you paid ?5 each and there are seven of them... Yes.
0:45:38 > 0:45:40..so you paid ?35.
0:45:40 > 0:45:43Of course, vintage has become even more fashionable now.
0:45:43 > 0:45:47People love these, and I reckon most of these are...
0:45:47 > 0:45:49between ?50-?100 each.
0:45:49 > 0:45:50Oh, wow.
0:45:50 > 0:45:53So, it's not a bad investment. No.
0:45:53 > 0:45:56But the great thing is that you wear them, too. Oh, I do.
0:45:56 > 0:45:58I love wearing them.
0:46:04 > 0:46:07Originally, it came from my great-uncle,
0:46:07 > 0:46:11who ran an antique, second-hand store in Glasgow,
0:46:11 > 0:46:13and he gave it to my father when he was a boy... Mmm-hmm.
0:46:13 > 0:46:16..probably in the late 1920s, early '30s... Yeah.
0:46:16 > 0:46:18..and now it's come to me.
0:46:18 > 0:46:21But, this fabulous, five-masted clipper in here
0:46:21 > 0:46:23is a late 19th-century model.
0:46:23 > 0:46:26It has quite a bit of value, to be honest with you.
0:46:26 > 0:46:27You know, to a really good, kind of,
0:46:27 > 0:46:29ship-in-a-bottle collector or a folk art collector,
0:46:29 > 0:46:31this is worth ?400-?600.
0:46:31 > 0:46:33Very nice.
0:46:44 > 0:46:48Two pairs of very shiny cloisonne vases from Japan.
0:46:48 > 0:46:49Now, how did you get these?
0:46:49 > 0:46:52They belonged to my husband's grandmother
0:46:52 > 0:46:55and, after she passed away, we inherited them,
0:46:55 > 0:46:59so I really don't know how she came about to get them,
0:46:59 > 0:47:01or anything about them.
0:47:01 > 0:47:03You have a copper vase,
0:47:03 > 0:47:06you decide what design you want -
0:47:06 > 0:47:08it's probably been designed on a piece of paper first of all -
0:47:08 > 0:47:13and then you send your workmen to make outlines of the design in,
0:47:13 > 0:47:17in this case, silver and bronze wire.
0:47:17 > 0:47:20These wires are actually individually soldered
0:47:20 > 0:47:22on to the copper core.
0:47:22 > 0:47:24OK. OK?
0:47:24 > 0:47:27And once the whole design has been completed, including all the leaves,
0:47:27 > 0:47:30all the stems, the feathers on the eagles,
0:47:30 > 0:47:34once all of those outlines have been soldered on,
0:47:34 > 0:47:36you then pass it on to the enameller...
0:47:36 > 0:47:37OK.
0:47:37 > 0:47:41..and the enameller drops enamel colour into the cloissones -
0:47:41 > 0:47:44the cells that make up the design. OK.
0:47:44 > 0:47:45Then, when they've done that,
0:47:45 > 0:47:50they present it into a furnace, where the enamels shrink,
0:47:50 > 0:47:52the glass enamels shrink, and then you take it out,
0:47:52 > 0:47:55and you have to add more enamels, cos they shrank,
0:47:55 > 0:47:58more until the wires disappear.
0:47:58 > 0:48:00You then polish the whole vase
0:48:00 > 0:48:02and you reduce those enamels,
0:48:02 > 0:48:05that were beginning to bubble up over the surface,
0:48:05 > 0:48:07until the wires reappear.
0:48:07 > 0:48:11It's an incredibly complicated process... Fascinating, wow.
0:48:11 > 0:48:13..but these are particularly good.
0:48:13 > 0:48:14And, you can see, I mean,
0:48:14 > 0:48:16can you just imagine soldering individually
0:48:16 > 0:48:20or sticking these little wires on? Hmm. The detail, hmm.
0:48:20 > 0:48:23And the beauty of those vases is you've got a perfect pair.
0:48:23 > 0:48:27Eagles among rocks and trees,
0:48:27 > 0:48:29and then, over here, another pair.
0:48:29 > 0:48:31Erm...
0:48:31 > 0:48:35These are sort of mythical birds - what the Japanese call Hou-ou -
0:48:35 > 0:48:38and look at the variety of the colours they've used.
0:48:38 > 0:48:40I mean, I've tried to count the colours.
0:48:40 > 0:48:43I've come to 15 different enamel colours,
0:48:43 > 0:48:46including this sparkling one that, you know, that glitters...
0:48:46 > 0:48:49Yes, I noticed that one. Yeah. ..which we call aventurine.
0:48:49 > 0:48:52And, on these, you've got the added bonus of
0:48:52 > 0:48:56the lovely little finials in the form of chrysanthemums.
0:48:56 > 0:49:01Now, this is cloisonne work from Japan around the year 1900.
0:49:01 > 0:49:04That is the absolute peak of perfection.
0:49:04 > 0:49:07I can't put an absolute certainty on the artist,
0:49:07 > 0:49:09but there's one particular artist
0:49:09 > 0:49:12who is very good, who very often signs,
0:49:12 > 0:49:14who is called Namikawa Sosuke,
0:49:14 > 0:49:16and I have to say that these two near you
0:49:16 > 0:49:19are very, very much in his style.
0:49:19 > 0:49:20OK. Do you like them?
0:49:20 > 0:49:22Yes, they're beautiful.
0:49:22 > 0:49:25I mean, they are absolutely exquisite examples
0:49:25 > 0:49:26of cloisonne work.
0:49:26 > 0:49:31I don't think anybody has ever made better cloisonne
0:49:31 > 0:49:33than the Japanese around this period.
0:49:33 > 0:49:37Once you bruise cloisonne, it's impossible to repair.
0:49:37 > 0:49:39You can plug a bruise.
0:49:39 > 0:49:42In fact, on this one here, that happened,
0:49:42 > 0:49:44probably shortly after they were made,
0:49:44 > 0:49:47with a lacquer repair just there... Hmm.
0:49:47 > 0:49:49OK. OK. ..and that makes a difference to the value.
0:49:49 > 0:49:52I think that this little pair here
0:49:52 > 0:49:54is probably worth somewhere in the region of...
0:49:54 > 0:49:57somewhere between ?2,000-?4,000.
0:49:57 > 0:49:59Wow.
0:49:59 > 0:50:01OK. Hmm.
0:50:01 > 0:50:07And the damaged pair, which I think is quite likely Namikawa Sosuke,
0:50:07 > 0:50:09because of the damage,
0:50:09 > 0:50:12I think we're going to say...
0:50:12 > 0:50:14?3,000-?5,000.
0:50:14 > 0:50:17With the damage. Yeah. Wow.
0:50:17 > 0:50:19They're still very, very nice objects.
0:50:19 > 0:50:22Yeah, they're beautiful. So, together,
0:50:22 > 0:50:25you've got a little collection that's certainly worth...
0:50:25 > 0:50:27?5,000-?8,000.
0:50:27 > 0:50:29Wow.
0:50:29 > 0:50:30Amazing.
0:50:34 > 0:50:37Well, now, here's a very 1950s portrait,
0:50:37 > 0:50:40and it's by an artist I don't know called "Mackintosh",
0:50:40 > 0:50:43and it screams the 1950s at me,
0:50:43 > 0:50:46which makes me think it must be your mum. Is that true?
0:50:46 > 0:50:48Yeah, this is my mum - this is Maudey. Oh.
0:50:48 > 0:50:51Maudey was 19 in this painting.
0:50:51 > 0:50:53My mum worked in a chip shop
0:50:53 > 0:50:55in Riddrie in the east end of Glasgow at the time,
0:50:55 > 0:50:57and because she was so pretty and so beautiful,
0:50:57 > 0:51:00there was a young artist called John Mackintosh
0:51:00 > 0:51:03who came into the chip shop and asked to paint her.
0:51:03 > 0:51:05So, he painted this beautiful portrait,
0:51:05 > 0:51:07which we've always had in the house,
0:51:07 > 0:51:11but he also painted a full-length painting of her in a white dress
0:51:11 > 0:51:13and we don't where that is,
0:51:13 > 0:51:16and it would be wonderful to find out a bit more about that. Ah.
0:51:16 > 0:51:18Well, you never know.
0:51:18 > 0:51:19So, what was she like, your mother?
0:51:19 > 0:51:23My mum was the most fun, beautiful, lovely, kind woman.
0:51:23 > 0:51:25I never met anybody who didn't like her,
0:51:25 > 0:51:27but she had a wonderful sense of humour... Did she?
0:51:27 > 0:51:29..and just loved her family, yeah.
0:51:29 > 0:51:32Now, tell me, I haven't been able to find out much about the artist.
0:51:32 > 0:51:33Have you? Have you done any homework?
0:51:33 > 0:51:36Yeah, well, last year my mum was very ill
0:51:36 > 0:51:38and we decided to find out a bit more about John Mackintosh,
0:51:38 > 0:51:41and the Glasgow School of Art here were great.
0:51:41 > 0:51:42He was a student there.
0:51:42 > 0:51:45He was an award-winning student at Glasgow School of Art,
0:51:45 > 0:51:49and he has a self-portrait that was donated to the Glasgow School of Art
0:51:49 > 0:51:50hanging up there.
0:51:50 > 0:51:52Yeah, so he is a recognised artist? Yeah.
0:51:52 > 0:51:54But how come I haven't heard of him?
0:51:54 > 0:51:56Well, one of the sad things that we found out,
0:51:56 > 0:51:59my mum always remembers that he had a studio in Bath Street,
0:51:59 > 0:52:01and at the time he was painting the people...
0:52:01 > 0:52:04the people from... the celebrities of the time.
0:52:04 > 0:52:06Oh, so he was doing very well? He was doing very well,
0:52:06 > 0:52:11but when we started doing research, we seen that he died at 35.
0:52:11 > 0:52:13Oh, that is young. That might account for it.
0:52:13 > 0:52:17So, this is a really youthful work, anyway, of a youthful person,
0:52:17 > 0:52:23and it's absolutely luminous in colour, isn't it?
0:52:23 > 0:52:27It screams the date at you.
0:52:27 > 0:52:34Yes, but... But that must have been the height of fashion at the time.
0:52:34 > 0:52:38because that's not very complimentary,
0:52:38 > 0:52:42You know, it really sets off her hair and her eyes
0:52:42 > 0:52:45almost like a cigarette postcard idea of a very pretty girl
0:52:45 > 0:52:47at the time, isn't it?
0:52:47 > 0:52:52And, for that reason, it's going to work anywhere -
0:52:52 > 0:52:56and I think it's probably worth...
0:52:56 > 0:52:57Really? Yes.
0:52:57 > 0:53:00My goodness. I mean, it's invaluable to us,
0:53:00 > 0:53:02but I had no idea it would be worth anything like that.
0:53:05 > 0:53:08I'm so lucky to see some beautiful jewellery,
0:53:08 > 0:53:11and diamonds never fail to impress me,
0:53:11 > 0:53:13and these are pretty impressive.
0:53:13 > 0:53:15They have a lot of memories for me.
0:53:15 > 0:53:18My grandmother, who was born in 1900,
0:53:18 > 0:53:22she died about 30 years ago and she cared how she looked,
0:53:22 > 0:53:24but it was always about her jewellery.
0:53:24 > 0:53:26Her jewellery and furs were everything to her.
0:53:26 > 0:53:28And her horses. Oh, and her horses?
0:53:28 > 0:53:31Horses, yes. She had, my grandfather and her,
0:53:31 > 0:53:35they met in Philadelphia on horseback
0:53:35 > 0:53:38when they were 14 years old, and they were both born in 1900. Oh.
0:53:38 > 0:53:40And that was the time when, actually,
0:53:40 > 0:53:43platinum came into its own, then.
0:53:43 > 0:53:46Jewellery hadn't been made with platinum before.
0:53:46 > 0:53:48It was silver before then. Right.
0:53:48 > 0:53:52But, that era, these pieces really evoke that era.
0:53:52 > 0:53:54The piercing here that you can see,
0:53:54 > 0:53:56the tiny details that are in the, you know,
0:53:56 > 0:53:58the jewellery here and the rings,
0:53:58 > 0:54:00is so indicative of this period.
0:54:00 > 0:54:02So, when did you acquire these?
0:54:02 > 0:54:04Well, it was about a year ago.
0:54:04 > 0:54:05My dad is...
0:54:05 > 0:54:09He'll be 89 in March and he called my sister and myself
0:54:09 > 0:54:11and said, "Can you come to see me?
0:54:11 > 0:54:14""Just you, without your husbands or partners."
0:54:14 > 0:54:19So, we had a day with dad where he said we were old enough
0:54:19 > 0:54:21to have the family jewellery.
0:54:21 > 0:54:23SHE GASPS We were 54 and 55!
0:54:25 > 0:54:28You had to wait that long! Why did it take so long?
0:54:28 > 0:54:29What about my wedding, you know?
0:54:29 > 0:54:31But... So we... But it was lovely.
0:54:31 > 0:54:33We spent the whole day, and there was lots of jewellery.
0:54:33 > 0:54:40What's interesting is these were all made in America
0:54:40 > 0:54:45"14-carat", in fact, is inscribed on this bangle. Right. Right.
0:54:45 > 0:54:48And these two are platinum... Right.
0:54:48 > 0:54:50..and they've both been made by the same person
0:54:50 > 0:54:53because there's inscribed, "JKD",
0:54:53 > 0:54:55which is the initials of the maker.
0:54:55 > 0:54:57Oh, OK.
0:54:57 > 0:55:01But I don't who the maker is, but it's inscribed, "JKD". OK. OK.
0:55:01 > 0:55:08This is a diamond that was cut in about 1910, that sort of period.
0:55:08 > 0:55:10Right. OK. We'd call it a circular-cut diamond,
0:55:10 > 0:55:13or a transitional-cut diamond before it became
0:55:13 > 0:55:16the modern brilliant cut that we know today. Right.
0:55:16 > 0:55:18And this is about a carat and a half,
0:55:18 > 0:55:20and then, this one here, we have...
0:55:20 > 0:55:25It is again, same style, same period, same maker... Right.
0:55:25 > 0:55:28..but this has the three stone diamonds
0:55:28 > 0:55:31with the little triangles of sapphires in between,
0:55:31 > 0:55:35as well as, you've got diamonds set onto the side, too,
0:55:35 > 0:55:37so there was a, you know,
0:55:37 > 0:55:41a huge attention to detail for the craftsman. Oh. Mmm.
0:55:41 > 0:55:43But what I love, actually,
0:55:43 > 0:55:45with the three, is this bangle.
0:55:45 > 0:55:47This was her favourite piece.
0:55:47 > 0:55:50Was it? Out of all her jewellery, she loved this piece.
0:55:50 > 0:55:54What I like is that these diamonds, which, again, are the same period,
0:55:54 > 0:55:57but I think they might have come from another piece of jewellery
0:55:57 > 0:55:59cos they're all slightly different in sizes.
0:55:59 > 0:56:00Yes, I wondered that.
0:56:00 > 0:56:02They're not all uniform. Right, right.
0:56:02 > 0:56:05But it is this repousse work,
0:56:05 > 0:56:09which is an ancient technique going back to 1500 BC.
0:56:09 > 0:56:11You would push the metal away and out,
0:56:11 > 0:56:14and you would have it on a... On the back side?
0:56:14 > 0:56:17On the back side, exactly... Right. ..because this is hollow. Right.
0:56:17 > 0:56:20The gold lining has gone inside,
0:56:20 > 0:56:22so you've got another layer of gold to give it strength.
0:56:22 > 0:56:25Because it's quite light. It's quite light... Exactly.
0:56:25 > 0:56:27Values of these?
0:56:27 > 0:56:31I've no idea. Never been valued. Well...
0:56:31 > 0:56:34You would be looking at, with the bangle here,
0:56:34 > 0:56:37something between ?5,000-?7,000.
0:56:39 > 0:56:42And then we have, here, the three-stone ring
0:56:42 > 0:56:44with the sapphire triangles,
0:56:44 > 0:56:48and we would be looking at about ?4,000.
0:56:48 > 0:56:50Wow, OK.
0:56:50 > 0:56:52And then we have this one here,
0:56:52 > 0:56:54and we would be looking at...
0:56:54 > 0:56:56about ?5,000.
0:56:56 > 0:56:57Wow.
0:56:57 > 0:57:01So, collectively, you're looking at about...
0:57:01 > 0:57:03?15,000.
0:57:03 > 0:57:04Wow.
0:57:04 > 0:57:07Go, Grandma!
0:57:07 > 0:57:09She had beautiful taste.
0:57:09 > 0:57:11"Go, Grandma", exactly. Yeah, she had good taste.
0:57:11 > 0:57:14I think these are a better bet than the horses. Yeah.
0:57:14 > 0:57:16That's so true. Stick with these. I think I will.
0:57:18 > 0:57:20"Go, Grandma" indeed.
0:57:20 > 0:57:22What a gorgeous collection.
0:57:22 > 0:57:25From Kelvingrove and the whole Roadshow team,
0:57:25 > 0:57:26until next time, bye-bye.