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Britain is stuffed with places | 0:00:02 | 0:00:04 | |
famous for their antiques | 0:00:04 | 0:00:06 | |
and each object has a story to tell. | 0:00:06 | 0:00:09 | |
Hello! | 0:00:09 | 0:00:11 | |
I'm Tim Wonnacott and, as the crowds gather for their favourite outdoor | 0:00:11 | 0:00:15 | |
events around the country, I'll be pitching up with my silver trailer | 0:00:15 | 0:00:19 | |
to meet the locals with their precious antiques and collectables. | 0:00:19 | 0:00:23 | |
I'm feeling inspired myself, thank you very much. | 0:00:23 | 0:00:26 | |
Their stories will reveal why the places | 0:00:26 | 0:00:28 | |
we visit, deserve to be on The Great Antiques Map Of Britain. | 0:00:28 | 0:00:32 | |
Today, we're at the Harbour Festival in Bristol, | 0:00:33 | 0:00:36 | |
the gateway to the West Country. | 0:00:36 | 0:00:38 | |
Lots of eager owners have come along to show us their intriguing items... | 0:00:42 | 0:00:46 | |
Ta-dum! It has got something that is beyond price here in Bristol. | 0:00:47 | 0:00:51 | |
..which represent this area's unique antiques heritage. | 0:00:51 | 0:00:55 | |
To have this, is a delight in Bristol Blue. | 0:00:55 | 0:00:57 | |
Also, of course, | 0:00:57 | 0:00:59 | |
they want to find out what their precious objects might be worth. | 0:00:59 | 0:01:02 | |
£100-£200. £2500-£3500. £200-£300. £5,000. | 0:01:02 | 0:01:09 | |
Have a guess how much this 1913 ladies motorcycle could | 0:01:09 | 0:01:13 | |
fetch at auction. | 0:01:13 | 0:01:14 | |
This is just to perfection in every detail. | 0:01:14 | 0:01:17 | |
This harbour has seen some life. | 0:01:24 | 0:01:26 | |
Bristol used to be England's second city and port. | 0:01:26 | 0:01:30 | |
Well, you have to go back to Medieval times, | 0:01:30 | 0:01:32 | |
but that's how important it once was. | 0:01:32 | 0:01:35 | |
Cabot sailed off from here in his Matthew to Newfoundland. | 0:01:35 | 0:01:39 | |
Brunel built important ships. And business - with Europe, Africa | 0:01:39 | 0:01:43 | |
and the Americas in commodities like sugar, tobacco and, of course, | 0:01:43 | 0:01:47 | |
the slave trade - kept this place afloat. | 0:01:47 | 0:01:49 | |
And wealthy merchants' houses still dominate some | 0:01:51 | 0:01:54 | |
parts of the city. | 0:01:54 | 0:01:56 | |
The profits that these businesses in Bristol must have | 0:01:56 | 0:01:58 | |
made in the old days, well, it's just been tremendous. Look at it. | 0:01:58 | 0:02:03 | |
But those merchants wouldn't recognise Bristol's big hitters | 0:02:03 | 0:02:06 | |
of today, like the creative media, electronics and aerospace industry. | 0:02:06 | 0:02:11 | |
And the historic docks they sailed from, have been | 0:02:11 | 0:02:14 | |
redeveloped into a major visitor attraction. | 0:02:14 | 0:02:17 | |
So, it's absolutely fitting that we should be | 0:02:18 | 0:02:22 | |
here beside the water, as a part of the Bristol Harbour Festival. | 0:02:22 | 0:02:27 | |
It's been an annual event since 1971 | 0:02:29 | 0:02:31 | |
and now attracts 250,000 visitors each year. | 0:02:31 | 0:02:35 | |
And some of them seem very pleased to see us. | 0:02:36 | 0:02:39 | |
And we're off to a rip-roaring start with Bristol's Lord Mayor, no less. | 0:02:44 | 0:02:49 | |
Alastair Watson. He's brought along a hugely important Bristol antique. | 0:02:49 | 0:02:54 | |
-You come bearing arms, I see. -I do indeed, Tim. | 0:02:55 | 0:02:58 | |
But not just any ordinary piece of armament this, is it? | 0:02:58 | 0:03:02 | |
It's beautiful. It's our Pearl Sword. | 0:03:02 | 0:03:04 | |
-It's one of the treasures of the city. -It is a treasure. | 0:03:04 | 0:03:08 | |
It's one of our four swords and perhaps the finest. | 0:03:08 | 0:03:11 | |
Let me remove it, firstly, from the scabbard, | 0:03:11 | 0:03:14 | |
and I'm doing this somewhat gingerly, | 0:03:14 | 0:03:17 | |
because the antiquity of this piece, | 0:03:17 | 0:03:20 | |
-practically defies belief, doesn't it? -It does. | 0:03:20 | 0:03:23 | |
Because this is thought to have been made between about 1370 | 0:03:23 | 0:03:28 | |
and 1390 and it says on it in between these two shields, | 0:03:28 | 0:03:33 | |
"John Wells of London, grocer and Mayor to Bristol | 0:03:33 | 0:03:39 | |
"gave this sword fair." | 0:03:39 | 0:03:42 | |
Lovely. | 0:03:42 | 0:03:43 | |
We think he presented it to the City of Bristol when he was Mayor | 0:03:43 | 0:03:47 | |
of London in 1431 or 32 and it's remained in the city ever since. | 0:03:47 | 0:03:54 | |
So, solid silver is the handle that has been flashed in gold, | 0:03:54 | 0:03:58 | |
called silver gilt, and in fact I'm going to put it back in | 0:03:58 | 0:04:01 | |
the scabbard because the scabbard has a bit of a story to tell too. | 0:04:01 | 0:04:05 | |
It does. It's our pearl scabbard. | 0:04:05 | 0:04:08 | |
When Queen Elizabeth I visited Bristol in the 1570s, | 0:04:08 | 0:04:15 | |
a pearl scabbard was applied to the sword at that time and that | 0:04:15 | 0:04:20 | |
scabbard stayed on the sword | 0:04:20 | 0:04:21 | |
until the middle of the 20th century, | 0:04:21 | 0:04:23 | |
when this replacement to commemorate | 0:04:23 | 0:04:25 | |
-the coronation of Queen Elizabeth II came about. -Indeed, yes. | 0:04:25 | 0:04:29 | |
We still have that old scabbard but it was in pretty poor | 0:04:29 | 0:04:33 | |
condition, so we had this new one made and replaced the seed pearls. | 0:04:33 | 0:04:37 | |
We called it the Pearl Sword because of the Elizabethan scabbard. | 0:04:37 | 0:04:41 | |
And a very nice title it is for it. Absolutely delightful. | 0:04:41 | 0:04:45 | |
Ordinarily on this programme, we arrive at this moment | 0:04:45 | 0:04:47 | |
and we have a bit of a valuation. | 0:04:47 | 0:04:49 | |
But on this particular occasion, I'm going | 0:04:49 | 0:04:51 | |
to dip out on that and simply tell you that your sword is priceless. | 0:04:51 | 0:04:54 | |
-Thank you. -Is that good enough? -We believe that too. | 0:04:54 | 0:04:57 | |
-Thank you very much. -Thank you for having us, it's been great. | 0:04:57 | 0:05:00 | |
A pleasure. Thank you, Tim. | 0:05:00 | 0:05:01 | |
Britain's oldest continually running theatre is Bristol's Old Vic | 0:05:04 | 0:05:09 | |
which opened for business in 1766. | 0:05:09 | 0:05:12 | |
In order to raise the funds to build it, | 0:05:12 | 0:05:14 | |
the developers offered investors free entry to all shows for ever, | 0:05:14 | 0:05:20 | |
if they bought a specially made token, | 0:05:20 | 0:05:22 | |
and Peter has one to show us. | 0:05:22 | 0:05:24 | |
I brought along what looks like a coin | 0:05:24 | 0:05:26 | |
but actually is a silver ticket from the Theatre Royal in Bristol. | 0:05:26 | 0:05:30 | |
Peter, on the face of it, this is a rather dull looking, | 0:05:31 | 0:05:35 | |
leather-covered jewellery box, but if I open it up - ta-da! - | 0:05:35 | 0:05:38 | |
it's got something that is beyond price here in Bristol, right? | 0:05:38 | 0:05:42 | |
Absolutely. | 0:05:42 | 0:05:44 | |
We seem to have a theatre token made in solid silver | 0:05:44 | 0:05:47 | |
but beautifully engraved. | 0:05:47 | 0:05:49 | |
It says "King Street, Bristol Theatre, May 1766", and then | 0:05:49 | 0:05:54 | |
if we turn it over, "The proprietor of this ticket is entitled | 0:05:54 | 0:05:58 | |
-"to the sight of every performance to be exhibited in this house." -Yes. | 0:05:58 | 0:06:06 | |
And that is what it says and that is what it means, right? | 0:06:06 | 0:06:10 | |
Absolutely, even today. | 0:06:10 | 0:06:11 | |
They are a direct link with the people who actually | 0:06:11 | 0:06:14 | |
had the theatre built back in 1766. | 0:06:14 | 0:06:17 | |
So, if I had invested my money in 1766 and bought this ticket, | 0:06:17 | 0:06:23 | |
my successors, my inheritors, would still hold the ticket and could | 0:06:23 | 0:06:29 | |
still see every performance in what is now the Bristol Old Vic? | 0:06:29 | 0:06:33 | |
Yes. | 0:06:33 | 0:06:34 | |
Originally, you'd have had to pay £50 and then because there was | 0:06:34 | 0:06:37 | |
a cost overrun on building the theatre, as always, | 0:06:37 | 0:06:40 | |
you had to pay another 30. | 0:06:40 | 0:06:42 | |
-So, it cost me £80? -Absolutely. | 0:06:42 | 0:06:44 | |
But to be able to watch, or as they say rather sweetly, have a "sight | 0:06:44 | 0:06:48 | |
"of every performance" that would ever have happened in that theatre. | 0:06:48 | 0:06:52 | |
-Yes. -So, how many of the original theatre tokens were there in 1766? | 0:06:52 | 0:06:58 | |
There were 48 of them and every now and again someone turns up | 0:06:58 | 0:07:01 | |
-and finds one. -Exactly. | 0:07:01 | 0:07:04 | |
Well, I think it's a fascinating story and it's a thrill to be | 0:07:04 | 0:07:07 | |
able to handle one of these tokens | 0:07:07 | 0:07:09 | |
because they are extremely rare. And if you could find one, | 0:07:09 | 0:07:13 | |
you would have your handle on a fair degree of cash were you to | 0:07:13 | 0:07:17 | |
-want to sell this token, which you never would. -Never, never. | 0:07:17 | 0:07:22 | |
Deep intake of breath. | 0:07:22 | 0:07:24 | |
But what would today's value be of such an extraordinary item? | 0:07:25 | 0:07:28 | |
Find out later. | 0:07:28 | 0:07:29 | |
You can't come to Bristol without | 0:07:35 | 0:07:36 | |
talking about Isambard Kingdom Brunel. | 0:07:36 | 0:07:40 | |
His legacy is everywhere. | 0:07:40 | 0:07:41 | |
Brunel was a man with big ideas and he made things happen. | 0:07:44 | 0:07:48 | |
Just downstream from here is the famous Clifton Suspension Bridge | 0:07:48 | 0:07:53 | |
and this is the SS Great Britain, a ship built right here | 0:07:53 | 0:07:59 | |
in Bristol that it is said, quite literally, | 0:07:59 | 0:08:02 | |
changed the world. | 0:08:02 | 0:08:05 | |
Like all of Brunel's achievements, it's an incredible | 0:08:05 | 0:08:08 | |
piece of engineering and was the first of its kind in the world. | 0:08:08 | 0:08:13 | |
Eleni Papavasileiou is a curator at the SS Great Britain Trust. | 0:08:13 | 0:08:17 | |
Tell me, what is so special about the SS Great Britain? | 0:08:19 | 0:08:22 | |
Well, there was no ship like the Great Britain before her, really. | 0:08:22 | 0:08:26 | |
When Brunel conceived her, she was to be the largest iron-hulled, | 0:08:26 | 0:08:30 | |
screw-propelled steamship in the world. | 0:08:30 | 0:08:32 | |
So that was his vision, really, for that | 0:08:32 | 0:08:34 | |
kind of technology and innovation in the ship building world. | 0:08:34 | 0:08:38 | |
And she turned out to be commercially very successful. | 0:08:38 | 0:08:41 | |
Absolutely. | 0:08:41 | 0:08:42 | |
The first few years saw her going to New York as a luxury cruise liner. | 0:08:42 | 0:08:45 | |
She enjoyed great glory, | 0:08:45 | 0:08:47 | |
if you like, but also managed to fulfil Brunel's vision of being | 0:08:47 | 0:08:50 | |
part of the chain of transport from London to Bristol | 0:08:50 | 0:08:54 | |
using the Great Western Railways | 0:08:54 | 0:08:56 | |
and continuing on to New York on the ships. | 0:08:56 | 0:08:58 | |
It's sort of one-ticket travel, in a way. | 0:08:58 | 0:09:00 | |
Yes, exactly, it's almost like the full package, | 0:09:00 | 0:09:03 | |
which was really ahead of his time to come up with that kind of concept. | 0:09:03 | 0:09:07 | |
You could say, indeed, that this revolutionised travel for all time. | 0:09:07 | 0:09:11 | |
Indeed, yes, a great, great vision. | 0:09:11 | 0:09:13 | |
The Trust has amassed an awesome archive, | 0:09:15 | 0:09:18 | |
giving a fantastic insight into Brunel, man and boy. | 0:09:18 | 0:09:23 | |
What's that little sketch of a hobbyhorse? | 0:09:23 | 0:09:26 | |
Oh, this is a very special item from the collection. | 0:09:26 | 0:09:29 | |
It's a sketch of a rocking horse that Brunel drew | 0:09:29 | 0:09:32 | |
-when he was only six. -Really? | 0:09:32 | 0:09:34 | |
I think it's a brilliant indicator of his early observational skills | 0:09:34 | 0:09:37 | |
and his artistic talent and he's very good at applying his artistic | 0:09:37 | 0:09:41 | |
sensibilities in everything that he does. | 0:09:41 | 0:09:43 | |
Amongst Brunel's other achievements, I guess | 0:09:43 | 0:09:47 | |
the first thing that people think about is the suspension bridge. | 0:09:47 | 0:09:51 | |
That's right. | 0:09:51 | 0:09:52 | |
In our collection, there are four plans that | 0:09:52 | 0:09:54 | |
he submitted for the first competition of the bridge in 1829. | 0:09:54 | 0:09:58 | |
Four different concepts, | 0:09:58 | 0:09:59 | |
basically, for what he envisaged the bridge to be during that time. | 0:09:59 | 0:10:02 | |
There are pencil drawings that show an aesthetic | 0:10:02 | 0:10:05 | |
view of the bridge, basically, and there are two engineering | 0:10:05 | 0:10:08 | |
sections as well, so he combines two elements there. | 0:10:08 | 0:10:10 | |
An artistic and a more engineering, | 0:10:10 | 0:10:13 | |
if you like, scientific take to that. | 0:10:13 | 0:10:15 | |
His connection with the age of steam, the Great Western line, | 0:10:15 | 0:10:19 | |
was an achievement, wasn't it? | 0:10:19 | 0:10:21 | |
Brunel's railway, the Great Western Railway, changed the landscape. | 0:10:21 | 0:10:24 | |
It became a means of transport that people could rely on | 0:10:24 | 0:10:27 | |
and use much more and it had an implication on time. | 0:10:27 | 0:10:29 | |
There was a time difference, for instance, from London to Bristol. | 0:10:29 | 0:10:32 | |
So that became the same. | 0:10:32 | 0:10:34 | |
People were in the same time, if you like, from 1840 onwards | 0:10:34 | 0:10:37 | |
and that is because of the railway. Can you imagine? | 0:10:37 | 0:10:39 | |
Different time zones in Britain. Not really. | 0:10:39 | 0:10:41 | |
How very confusing. | 0:10:41 | 0:10:42 | |
But that is how it was before the age of Brunel's railway. | 0:10:42 | 0:10:46 | |
Well, you've got all this fascinating material | 0:10:46 | 0:10:49 | |
here in Bristol. | 0:10:49 | 0:10:50 | |
It sits in this building at the moment. | 0:10:50 | 0:10:51 | |
What are the plans for the future? | 0:10:51 | 0:10:53 | |
Well, we have in excess of 12,000 objects that relate to Brunel | 0:10:53 | 0:10:57 | |
and we're planning a £7 million project | 0:10:57 | 0:11:00 | |
on the site to show artefacts, | 0:11:00 | 0:11:02 | |
rare, unique artefacts that have never been seen before by the public. | 0:11:02 | 0:11:05 | |
So that is very exciting for us. | 0:11:05 | 0:11:07 | |
Well you've got your work cut out. | 0:11:07 | 0:11:09 | |
I wonder if Brunel had any Bristol blue glass on his mantelpiece. | 0:11:11 | 0:11:16 | |
It's probably one of Bristol's most famous products | 0:11:16 | 0:11:19 | |
and Francis is a keen collector. | 0:11:19 | 0:11:21 | |
I'm a bit of a glass nerd and I do collect English glass. | 0:11:23 | 0:11:27 | |
I've brought along some pieces of Bristol blue glass | 0:11:27 | 0:11:30 | |
of the 18th century, some of them signed by Isaac Jacobs, who | 0:11:30 | 0:11:35 | |
was the most famous glassmaker in the city at the end of the 18th century. | 0:11:35 | 0:11:39 | |
Now, this particular dish is lovely, isn't it? | 0:11:41 | 0:11:44 | |
Because it's got this Greek key fret pattern | 0:11:44 | 0:11:47 | |
and a little rosette in the middle. | 0:11:47 | 0:11:49 | |
And, I guess, because it's a signed piece, and we've got | 0:11:49 | 0:11:53 | |
"I Jacobs Bristol" | 0:11:53 | 0:11:55 | |
-on the back, that makes it really rather special, doesn't it? -It is. | 0:11:55 | 0:11:58 | |
We know that he sent this pattern of decanter stand | 0:11:58 | 0:12:01 | |
-to sell in a shop in Bond Street in London in 1805. -Very interesting. | 0:12:01 | 0:12:06 | |
Then we've got another piece by the same maker | 0:12:06 | 0:12:09 | |
and this is a favourite type, for me. | 0:12:09 | 0:12:12 | |
I think decanters are a marvellous collecting area | 0:12:12 | 0:12:14 | |
and to have this is a delight in Bristol blue. | 0:12:14 | 0:12:18 | |
And then if you fancied a bit of rum, | 0:12:18 | 0:12:20 | |
probably imported into Bristol via the dock over there, | 0:12:20 | 0:12:24 | |
it says "rum" on it and even the stopper is initialled R for rum | 0:12:24 | 0:12:29 | |
so you make quite sure you've got | 0:12:29 | 0:12:31 | |
the right stopper in the right decanter. | 0:12:31 | 0:12:34 | |
But there's one very special piece, which is this finger bowl. | 0:12:34 | 0:12:37 | |
We can see it's got Prince of Wales feathers in gilt on it, | 0:12:37 | 0:12:40 | |
-but this is another important named piece, isn't it? -Yes. | 0:12:40 | 0:12:45 | |
We know that that little bowl was decorated by a mid-18th century | 0:12:45 | 0:12:51 | |
decorator called James Giles. | 0:12:51 | 0:12:54 | |
We think that it was made about 1763, | 0:12:54 | 0:12:59 | |
because in November 1763, there was a royal birth, | 0:12:59 | 0:13:03 | |
a new Prince of Wales who later became George IV. | 0:13:03 | 0:13:09 | |
Very strange occurrence that the only source of blue in | 0:13:09 | 0:13:13 | |
Britain for glass-making | 0:13:13 | 0:13:15 | |
and ceramics had to come through the port of Bristol, | 0:13:15 | 0:13:19 | |
and for that curious 20, 30-year period, this is where it was all at. | 0:13:19 | 0:13:25 | |
Any idea what these blue beauties would fetch at auction? | 0:13:25 | 0:13:29 | |
All will be revealed later on. | 0:13:29 | 0:13:30 | |
Britain abolished slavery in 1807, | 0:13:35 | 0:13:38 | |
thereby ending a cruel trade that had made some Bristolians rich. | 0:13:38 | 0:13:43 | |
Local publican Mark | 0:13:43 | 0:13:45 | |
has brought along the table relating to the centenary of that event. | 0:13:45 | 0:13:49 | |
It's a cast-iron pub table made in Bristol. | 0:13:52 | 0:13:55 | |
It was created to mark the centenary of the abolition of the slave trade | 0:13:55 | 0:13:59 | |
way back in the early 1900s. | 0:13:59 | 0:14:02 | |
I'm hoping to find out if Tim can corroborate that | 0:14:02 | 0:14:04 | |
and perhaps know the value, because I've got three of them. | 0:14:04 | 0:14:08 | |
Well, what we're looking at is something that is loosely | 0:14:09 | 0:14:13 | |
called, as a type, a Britannia pub table. | 0:14:13 | 0:14:16 | |
All my life I've known them as Britannia pub tables | 0:14:16 | 0:14:20 | |
and it's got some very interesting details. | 0:14:20 | 0:14:23 | |
Now, Britannia is Britannia and Britannia rules the waves | 0:14:23 | 0:14:26 | |
and if you're patriotic, you go into a pub | 0:14:26 | 0:14:29 | |
and you sit as table that has got Britannia cast onto it. | 0:14:29 | 0:14:33 | |
Which is where the term Britannia pub tables comes from. | 0:14:33 | 0:14:36 | |
She's traditionally standing, holding the shield, with | 0:14:36 | 0:14:40 | |
a bit of the Union flag within that shield. | 0:14:40 | 0:14:43 | |
But what we can see here is "slavery abolished". | 0:14:43 | 0:14:47 | |
You're absolutely right in your surmise that this was cast | 0:14:47 | 0:14:52 | |
specifically for 1907, the centenary, | 0:14:52 | 0:14:54 | |
celebrating the abolition of slavery. | 0:14:54 | 0:14:57 | |
The stretcher is also cast iron, | 0:14:57 | 0:15:00 | |
and in it, it says, "G Jones, 69 Castle Street Bristol." | 0:15:00 | 0:15:04 | |
We know that G Jones started in Bristol in the 1870s. | 0:15:04 | 0:15:08 | |
There are a variety of these tables about. | 0:15:08 | 0:15:11 | |
You can buy a WG Grace Britannia table. For example, General Gordon. | 0:15:11 | 0:15:16 | |
So it's a very interesting subject. | 0:15:16 | 0:15:18 | |
But my big tip would be, | 0:15:18 | 0:15:19 | |
if you're at all keen on Britannia pub tables, is to go out | 0:15:19 | 0:15:23 | |
and make a collection of these rarities, and grace your pub | 0:15:23 | 0:15:27 | |
with all these Britannia tables, and then you can become the world's | 0:15:27 | 0:15:31 | |
leading collector of Britannia tables with all kinds of novelties. | 0:15:31 | 0:15:34 | |
-How about that for an idea? -Great tip, Tim, thank you. | 0:15:34 | 0:15:37 | |
Why not? They'll come flocking in for another pint. | 0:15:37 | 0:15:39 | |
The normal price range is about £100-£150 but I fancy with | 0:15:41 | 0:15:46 | |
this slavery abolished version and with its trade-related | 0:15:46 | 0:15:51 | |
stretcher, it would make a tad more, particularly more here in Bristol. | 0:15:51 | 0:15:54 | |
-So, £200-£300. -Brilliant. | 0:15:54 | 0:15:56 | |
-How many have you got in your pub? -I've got three. | 0:15:56 | 0:15:58 | |
Oh! Greedy guts! | 0:15:58 | 0:16:01 | |
In 1907, William and Edwin Douglas transformed their Bristol | 0:16:08 | 0:16:13 | |
blacksmith and foundry business into an engineering | 0:16:13 | 0:16:16 | |
manufacturer of motorbikes. | 0:16:16 | 0:16:19 | |
Initially successful, the business finally closed in 1957 | 0:16:19 | 0:16:23 | |
and remaining bikes have become collectors' items. | 0:16:23 | 0:16:26 | |
I went to Kingswood Heritage Museum to meet Bill Douglas, | 0:16:26 | 0:16:30 | |
great-grandson of one of the founders. | 0:16:30 | 0:16:32 | |
Well, Bill, this is the holy of holies in here as far | 0:16:35 | 0:16:38 | |
-as Douglas is concerned, isn't it? -It's quite a collection, yes. | 0:16:38 | 0:16:42 | |
If we start off with this earliest motorised bicycle, | 0:16:42 | 0:16:46 | |
if you had said to me, what's the date and age of that bicycle frame? | 0:16:46 | 0:16:51 | |
I should have said 1950. And there we are - 1905 and made in Bristol. | 0:16:51 | 0:16:57 | |
Barter was the name of the man that designed the engine. | 0:16:57 | 0:17:01 | |
He came up with this strap-on engine. | 0:17:01 | 0:17:04 | |
The castings were done by Douglas. | 0:17:04 | 0:17:07 | |
Douglas then started producing bikes. | 0:17:07 | 0:17:10 | |
At the outbreak of war, the company suddenly became hugely busy, | 0:17:12 | 0:17:17 | |
making this model. | 0:17:17 | 0:17:18 | |
This is the Douglas motor bicycle that made the company name, really. | 0:17:18 | 0:17:23 | |
Really, yes. They were asked to supply the Army with bikes | 0:17:23 | 0:17:28 | |
and one of the lowly office workers said, | 0:17:28 | 0:17:31 | |
"When do they want the 300 that you've agreed to?" And no-one | 0:17:31 | 0:17:35 | |
seemed to know, so he said, "We had better read through the paperwork." | 0:17:35 | 0:17:39 | |
They found to their utter astonishment | 0:17:39 | 0:17:42 | |
that they'd signed for 300 a month for the duration of the war. | 0:17:42 | 0:17:46 | |
They thought it was 300 a year, did they? | 0:17:46 | 0:17:48 | |
-They just thought it was a one-off offer. -Oh. 300 a month? My gosh. | 0:17:48 | 0:17:54 | |
How many of these bikes did | 0:17:54 | 0:17:56 | |
they make in the course of the First World War, then? | 0:17:56 | 0:17:59 | |
25,000 of these dispatch rider's bikes, as they were known. | 0:17:59 | 0:18:03 | |
We don't have much chrome plate on it, do we? | 0:18:03 | 0:18:06 | |
No, they painted the rims | 0:18:06 | 0:18:07 | |
and the handlebars black because a sniper could well see | 0:18:07 | 0:18:12 | |
the reflection of the sun or some other form of lighting | 0:18:12 | 0:18:16 | |
and probably fell the rider. | 0:18:16 | 0:18:18 | |
But the old man also said as a retort, | 0:18:18 | 0:18:22 | |
"It was also a lot cheaper than nickel plating." | 0:18:22 | 0:18:26 | |
So, the Bristol motor bicycle manufacturers were what | 0:18:26 | 0:18:29 | |
they called "careful", were they? | 0:18:29 | 0:18:31 | |
Early motorbikes are celebrated every year in the Pioneer Run, | 0:18:33 | 0:18:36 | |
from Epsom Downs to Brighton. | 0:18:36 | 0:18:39 | |
To take part, your vehicle has to have been made before | 0:18:39 | 0:18:42 | |
1st January 1915. | 0:18:42 | 0:18:44 | |
Back at the Harbour Festival, | 0:18:47 | 0:18:48 | |
this racy looking rarity qualifies for the Pioneer Run. | 0:18:48 | 0:18:53 | |
Tony and his dad have been restoring it for the last 20 years. | 0:18:53 | 0:18:57 | |
If we stand back and admire it, I mean, | 0:18:57 | 0:19:00 | |
this is just perfection in every detail, isn't it? | 0:19:00 | 0:19:04 | |
It is very good. | 0:19:04 | 0:19:05 | |
Tell me, all these areas that you think of as being chromium-plated, | 0:19:05 | 0:19:09 | |
-it's nickel plate. -It's nickel-plated, yes. | 0:19:09 | 0:19:12 | |
Which is interesting, | 0:19:12 | 0:19:13 | |
and nickel has a completely different colour to chrome. | 0:19:13 | 0:19:17 | |
Yes, it shows it as a pioneer bike, really, the colouring, yeah. | 0:19:17 | 0:19:20 | |
It's amazing, isn't it? | 0:19:20 | 0:19:22 | |
You don't have a crossbar and that must be | 0:19:22 | 0:19:24 | |
-because this is for a lady, then. -This is for a lady, yes. | 0:19:24 | 0:19:27 | |
When you think about it, where it was | 0:19:27 | 0:19:29 | |
shocking for a woman before the First World War to expose | 0:19:29 | 0:19:33 | |
an ankle, an extraordinary thing for a woman to buy | 0:19:33 | 0:19:37 | |
a motor bicycle and risk all that, in a way. | 0:19:37 | 0:19:40 | |
Do you know anything about the history of the first owner? | 0:19:40 | 0:19:43 | |
Yes, the first owner was a lady called Margaret Frances Dackins, | 0:19:43 | 0:19:48 | |
-and her father was headmaster of Clifton College. -Really? | 0:19:48 | 0:19:52 | |
Yes, so a bit of local interest as well. | 0:19:52 | 0:19:55 | |
She could easily be an emancipated woman of the time, of course. | 0:19:55 | 0:19:59 | |
-I'd have thought so. -In advance of her time, if you like. | 0:19:59 | 0:20:02 | |
-Yeah. -Now, I don't pretend in any way to be a motor bicycle valuer, | 0:20:02 | 0:20:05 | |
so we're going to consult with Ben Walker at Bonhams. | 0:20:05 | 0:20:09 | |
-Hi, Ben, how are you doing? -'I'm doing good, and very much.' | 0:20:09 | 0:20:12 | |
How do you rate this machine? | 0:20:12 | 0:20:15 | |
'It is an extremely scarce motorcycle. | 0:20:15 | 0:20:19 | |
'In fact, I have never seen one this early being offered for sale | 0:20:19 | 0:20:26 | |
'or sold publicly before.' | 0:20:26 | 0:20:28 | |
So, what does he think it would fetch at auction? | 0:20:28 | 0:20:31 | |
You'll have to wait and see. | 0:20:31 | 0:20:32 | |
It's hard to believe, but this local beauty spot used to be | 0:20:35 | 0:20:38 | |
the epicentre of a thriving export business. | 0:20:38 | 0:20:41 | |
In the early 1700s, | 0:20:44 | 0:20:46 | |
Bristol was the hub of a triangular trade to West Africa. | 0:20:46 | 0:20:50 | |
From there to the West Indies and North America | 0:20:50 | 0:20:52 | |
and back to Bristol. | 0:20:52 | 0:20:53 | |
And the products the Africans were after were pans made of brass. | 0:20:55 | 0:21:00 | |
With four vital ingredients, copper from Cornwall, local zinc | 0:21:00 | 0:21:03 | |
and coal, and power from the steady flowing River Avon, | 0:21:03 | 0:21:08 | |
the Bristol Brass Company opened its mills alongside | 0:21:08 | 0:21:11 | |
this stretch of the river. | 0:21:11 | 0:21:13 | |
The restored Saltford Mill is the only one left | 0:21:13 | 0:21:15 | |
and local historian Tony Coverdale | 0:21:15 | 0:21:17 | |
knows all about their collection of late 19th-century brass pans. | 0:21:17 | 0:21:22 | |
This is known as a Lisbon pan, | 0:21:22 | 0:21:24 | |
sometimes called barber's basins, and these were made, going out to | 0:21:24 | 0:21:27 | |
Portugal, to Lisbon, and then on to West Africa. | 0:21:27 | 0:21:30 | |
This is known as a kettle. | 0:21:30 | 0:21:32 | |
A kettle is something with a handle that can be hung over a fire | 0:21:32 | 0:21:36 | |
and these were particularly known as Guinea kettles, which goes | 0:21:36 | 0:21:39 | |
back to the West Africa trade. These were made for West Africa. | 0:21:39 | 0:21:43 | |
The way you can tell that they were made here, | 0:21:43 | 0:21:45 | |
if you pick up this other example of a Lisbon pan, you can | 0:21:45 | 0:21:49 | |
actually see the battery marks within the pan. | 0:21:49 | 0:21:52 | |
And that is actually the marks of the hammers | 0:21:52 | 0:21:54 | |
which were used to form the pan. | 0:21:54 | 0:21:56 | |
This was called a battery mill, | 0:21:57 | 0:21:59 | |
literally knocking the brass into shape. | 0:21:59 | 0:22:02 | |
The African market liked to see the battery marks to prove | 0:22:02 | 0:22:06 | |
the quality of the brass. | 0:22:06 | 0:22:08 | |
Given that most Bristol brass was exported, | 0:22:08 | 0:22:11 | |
Joan is fortunate to own a rare Bristol pan. | 0:22:11 | 0:22:14 | |
I'm interested in industrial history. | 0:22:15 | 0:22:18 | |
I'm particularly interested in brass because it was very, | 0:22:18 | 0:22:24 | |
very typical of our area. | 0:22:24 | 0:22:26 | |
It's a handsome pan, isn't it? | 0:22:28 | 0:22:30 | |
And you know that it is from the Bristol Brass Company. | 0:22:30 | 0:22:34 | |
Yes, one of a group of mills | 0:22:34 | 0:22:36 | |
that were organised by the Bristol Brass Company. | 0:22:36 | 0:22:42 | |
And these, of course, were called hollowware, obviously | 0:22:42 | 0:22:45 | |
immensely useful for cooking because the brass conducts the heat very | 0:22:45 | 0:22:50 | |
quickly from the stove through the metal into whatever you're cooking. | 0:22:50 | 0:22:55 | |
This sort of pan is rather familiar as a wok-type pan | 0:22:55 | 0:23:00 | |
to anybody who does oriental cooking today. | 0:23:00 | 0:23:03 | |
But if you wanted to shallow fry something over a flame | 0:23:03 | 0:23:07 | |
then this shape of vessel would enable you to do it and you | 0:23:07 | 0:23:11 | |
can wiggle it around and stop it from burning, which is rather nice. | 0:23:11 | 0:23:15 | |
And I particularly like the handle. | 0:23:15 | 0:23:17 | |
Instead of it being a solid cast handle, it's hollow, | 0:23:17 | 0:23:20 | |
so that, I guess, when it gets hot, | 0:23:20 | 0:23:22 | |
it helps the insulation properties, | 0:23:22 | 0:23:25 | |
so your hand doesn't get hot when the pan gets hot | 0:23:25 | 0:23:28 | |
because the handle is hollow, which is quite fun. | 0:23:28 | 0:23:31 | |
I mean, they are always difficult things to age | 0:23:31 | 0:23:34 | |
because there is no hallmark and there was no dating system, but | 0:23:34 | 0:23:38 | |
I would think, with the Bristol Brass Company connection | 0:23:38 | 0:23:42 | |
and it being such an important industry, | 0:23:42 | 0:23:45 | |
you could get the top end of £100-£200 for this pan. | 0:23:45 | 0:23:49 | |
-Oh! -Not that you'll be selling it, will you? -No, I won't be selling it. | 0:23:49 | 0:23:54 | |
It will go back to Saltford Mill and be an attraction to visitors. | 0:23:54 | 0:24:02 | |
-Thank you very much for bringing it along. -I'm very pleased to do so. | 0:24:02 | 0:24:06 | |
If you had to name centres for pottery and porcelain, | 0:24:11 | 0:24:14 | |
you'd probably think of Staffordshire, London or Worcester. | 0:24:14 | 0:24:17 | |
But for a short period in the 18th century, | 0:24:17 | 0:24:19 | |
Bristol produced beautiful wares and Roger is a knowledgeable collector. | 0:24:19 | 0:24:24 | |
Today, I've brought along two examples of Bristol ceramics. | 0:24:24 | 0:24:28 | |
One is a Delftware plate from about 1760 | 0:24:28 | 0:24:31 | |
and the other is a Bristol porcelain figure from 1775. | 0:24:31 | 0:24:35 | |
Well, Bristol is an extraordinary place with an extraordinary | 0:24:35 | 0:24:39 | |
history in the ceramics industry, isn't it? | 0:24:39 | 0:24:41 | |
Yes, Bristol was second only to London in the 17th and 18th century | 0:24:41 | 0:24:45 | |
for ceramic production. | 0:24:45 | 0:24:46 | |
And this dish that we've got beside us | 0:24:46 | 0:24:49 | |
is an example of tin-glazed Bristol Delftware. | 0:24:49 | 0:24:52 | |
What's so splendid about it is, of course, it's a continuous landscape. | 0:24:52 | 0:24:56 | |
And entirely freehand, there is no pattern, there is no transfer print. | 0:24:56 | 0:25:01 | |
This is entirely using the artistic skill of that decorator. | 0:25:01 | 0:25:06 | |
It's a perfectly balanced composition, it's a work of art. | 0:25:06 | 0:25:10 | |
If the man had been painting on canvas | 0:25:10 | 0:25:11 | |
and he'd done it in various colours, | 0:25:11 | 0:25:13 | |
he'd probably be in the National Gallery right now, | 0:25:13 | 0:25:16 | |
but as it was, he was a humble ceramics decorator | 0:25:16 | 0:25:19 | |
from just over there. | 0:25:19 | 0:25:21 | |
-Looking out the window and painting the ships going by. -Could well be. | 0:25:21 | 0:25:24 | |
Rather like us today. | 0:25:24 | 0:25:26 | |
The bit that I really like, | 0:25:26 | 0:25:28 | |
though, we have this example of something made in Bristol. | 0:25:28 | 0:25:31 | |
Yes, this is an example of Richard Champion's porcelain. | 0:25:31 | 0:25:34 | |
Champion was a 30-year-old Quaker merchant who took over the factory | 0:25:34 | 0:25:39 | |
in 1773 and he wanted to make it the most perfect production he could. | 0:25:39 | 0:25:44 | |
As we can see from this example, the production is absolutely exquisite. | 0:25:44 | 0:25:50 | |
-You will not find a finer or a rarer figure... -No. | 0:25:50 | 0:25:53 | |
..dating from the 18th century anywhere in our fair land, | 0:25:53 | 0:25:56 | |
than this Bristol-made figure. | 0:25:56 | 0:25:58 | |
The actual modelling of his arm and hands | 0:25:58 | 0:26:01 | |
and the little ruff of his jerkin, are exquisite. | 0:26:01 | 0:26:05 | |
He's taken the hat off his head, not an ordinary hat, | 0:26:05 | 0:26:09 | |
but a tricorn hat with a flower in it, that is bright green. | 0:26:09 | 0:26:14 | |
That's apple green, a difficult colour to create on porcelain, | 0:26:14 | 0:26:18 | |
and he's shoved it on the head of his dog. | 0:26:18 | 0:26:22 | |
As a piece of porcelain, I cannot imagine a more perfect example | 0:26:22 | 0:26:26 | |
and certainly worth its weight in gold. Well, jolly nearly. | 0:26:26 | 0:26:30 | |
'We've seen some highly treasured possessions today, | 0:26:30 | 0:26:32 | |
'but if anyone did want to sell, what are the objects worth? | 0:26:32 | 0:26:36 | |
'First, Roger's Bristol Delftware.' | 0:26:36 | 0:26:39 | |
Now, we come to a valuation moment. | 0:26:39 | 0:26:41 | |
The Delftware dish, perhaps, £300, something like that. | 0:26:41 | 0:26:45 | |
But the Champion figure is an exquisite example. | 0:26:45 | 0:26:48 | |
It could bring between £3,000 and £5,000. | 0:26:48 | 0:26:52 | |
'The last time a Bristol Old Vic Theatre ticket was auctioned | 0:26:52 | 0:26:56 | |
'was in 2009.' | 0:26:56 | 0:26:58 | |
I think you could expect to get sort of 2,500, maybe 2,800. | 0:26:58 | 0:27:04 | |
-It just depends on how passionately involved the bidder becomes. -Yes. | 0:27:04 | 0:27:10 | |
'What about those pieces of Georgian Bristol blue glass belonging | 0:27:10 | 0:27:13 | |
'to Francis? | 0:27:13 | 0:27:14 | |
The two pieces of Jacob's-decorated glass, £600-£900 apiece. | 0:27:14 | 0:27:21 | |
But the rather more important | 0:27:21 | 0:27:22 | |
and historically interesting finger bowl, Prince of Wales | 0:27:22 | 0:27:27 | |
connection, 2,500 to 3,500 would be about the mark of it, Francis. | 0:27:27 | 0:27:33 | |
That's what I would be happy to pay for it | 0:27:33 | 0:27:37 | |
but then I am a glass nerd. | 0:27:37 | 0:27:39 | |
Your words, not mine. | 0:27:40 | 0:27:42 | |
'And that 1913 Douglas motorcycle of Tony's. | 0:27:42 | 0:27:46 | |
'I pressed specialist Ben Walker for his valuation.' | 0:27:46 | 0:27:49 | |
The million-dollar question, Ben. What's it worth? | 0:27:49 | 0:27:52 | |
'Well, if I was estimating it for auction purposes, I'd put | 0:27:52 | 0:27:56 | |
'a broad figure of £12-£16,000, but, on a good day, maybe even £20,000. | 0:27:56 | 0:28:04 | |
'I mean, it's every pioneer motorcycle collector's dream.' | 0:28:04 | 0:28:08 | |
That is a surprise. That's more than I expected. | 0:28:08 | 0:28:10 | |
But what's so lovely is it was made just down the road here in Bristol. | 0:28:10 | 0:28:14 | |
-Here it is remaining at least at the moment. -Yes, thank you. | 0:28:14 | 0:28:18 | |
Well, what a day we have had, hey? | 0:28:22 | 0:28:24 | |
Great selection of local objects to view. | 0:28:24 | 0:28:27 | |
You could say, indeed, all shipshape and Bristol fashion. What? | 0:28:27 | 0:28:31 |