0:00:02 > 0:00:06'Britain is stuffed with places famous for their antiques,
0:00:06 > 0:00:08'and each object has a story to tell.'
0:00:08 > 0:00:10Hello!
0:00:10 > 0:00:12'I'm Tim Wonnacott,
0:00:12 > 0:00:13'and as the crowds gather
0:00:13 > 0:00:16'for their favourite outdoor events around the country,
0:00:16 > 0:00:19'I'll be pitching up with my silver trailer
0:00:19 > 0:00:23'to meet the locals with their precious antiques and collectables.'
0:00:23 > 0:00:26I'm feeling inspired myself, thank you very much.
0:00:27 > 0:00:30'Their stories will reveal why the places we visit
0:00:30 > 0:00:33'deserve to be on the Great Antiques Map of Britain.
0:00:37 > 0:00:39'Today I'm just up the road from Glasgow,
0:00:39 > 0:00:42'at the Loch Lomond Shores Farmers' Market.
0:00:44 > 0:00:46'Lots of lovely eager owners have come along
0:00:46 > 0:00:49'to show us their interesting items...
0:00:49 > 0:00:51This is a dream, isn't it?
0:00:51 > 0:00:52I love it.
0:00:52 > 0:00:55'..representing Glasgow's unique antiques heritage.'
0:00:55 > 0:00:59They made this glass bubble in the furnace.
0:01:00 > 0:01:02'And, of course,
0:01:02 > 0:01:04'they want to find out what their precious objects are worth.'
0:01:04 > 0:01:06Between £1,500 and £2,000.
0:01:06 > 0:01:08£500-£800.
0:01:08 > 0:01:10£40-£60.
0:01:10 > 0:01:11'Have a guess at what
0:01:11 > 0:01:14'this fabulous Glaswegian eye-catcher could fetch.'
0:01:14 > 0:01:17It's in brilliant state, and it's a gorgeous subject.
0:01:25 > 0:01:28In antiques circles, if you mention Glasgow,
0:01:28 > 0:01:32you tend to think of Charles Rennie Mackintosh
0:01:32 > 0:01:34or the Glasgow Boys.
0:01:34 > 0:01:37But, of course, there's much more here than that.
0:01:37 > 0:01:41This region is home to many famous names, objects and industries,
0:01:41 > 0:01:44and one in particular stands out.
0:01:45 > 0:01:47I'm driving through Glasgow,
0:01:47 > 0:01:50a city spawned by the River Clyde
0:01:50 > 0:01:52where shipbuilding once thrived.
0:01:52 > 0:01:55And what an extraordinary place it is.
0:01:59 > 0:02:02Extraordinary because of its history, and its scale.
0:02:02 > 0:02:04Did you know that, at its peak,
0:02:04 > 0:02:07a fifth of all the world's ships were built here?
0:02:10 > 0:02:15Liners like the QE2 took shape at John Brown's Yard.
0:02:15 > 0:02:18Around 30,000 ships in all were built and launched
0:02:18 > 0:02:20for cargo, pleasure and war,
0:02:20 > 0:02:24and that meant work for tens of thousands on the river.
0:02:26 > 0:02:30Just a few short miles from the industrial Clyde
0:02:30 > 0:02:32lie the beautiful banks of Loch Lomond,
0:02:32 > 0:02:36and that's where I'm headed, bright and early, to beat the rush.
0:02:42 > 0:02:44'The farmers' market's in full swing,
0:02:44 > 0:02:48'with plenty of plucky locals braving the elements.'
0:02:48 > 0:02:51- I've had it for 20, 25 years, you know?- Yes.
0:02:51 > 0:02:54'Hard to imagine that in the 18th and 19th centuries,
0:02:54 > 0:02:58'this area was taken up with bleaching fields and textile works.
0:02:58 > 0:03:02'Our first object was produced right here in the Vale of Leven,
0:03:02 > 0:03:05'quite possibly by this company.
0:03:05 > 0:03:07'It's a vibrant Victorian bedspread,
0:03:07 > 0:03:12'and was spotted in a Glasgow flea market by eagle-eyed Freda.'
0:03:12 > 0:03:15Freda, this is a dream, isn't it?
0:03:15 > 0:03:16I love it.
0:03:16 > 0:03:18- You love it?- It never fades.
0:03:18 > 0:03:22This is called Turkey Redwork,
0:03:22 > 0:03:27because the colour, this delicious and incredibly rich red colour.
0:03:27 > 0:03:31Look at that, at the back, where it's just plain.
0:03:31 > 0:03:33It's amazing, isn't it?
0:03:33 > 0:03:36We're talking about something here that was probably printed
0:03:36 > 0:03:40- around 1900, maybe 1880-1900.- Yes.
0:03:40 > 0:03:44The colour comes from the root of a madder
0:03:44 > 0:03:47and you extract alizarin,
0:03:47 > 0:03:50which is a difficult thing to extract from the root.
0:03:50 > 0:03:52But, having got that, you mix it
0:03:52 > 0:03:55with gum, oil, sheep's urine,
0:03:55 > 0:03:57with dung, ha,
0:03:57 > 0:03:59which fixes the colour.
0:03:59 > 0:04:04What it is a tour de force of the printer's art,
0:04:04 > 0:04:10and each one of those colours has to be inked and printed from a block.
0:04:10 > 0:04:13And that block is then refreshed
0:04:13 > 0:04:17and placed on a particular part of the cloth.
0:04:17 > 0:04:19And then removed and re-coloured
0:04:19 > 0:04:22and then placed on the same piece of cloth
0:04:22 > 0:04:24to overlay that colour again.
0:04:24 > 0:04:26And when you think about it,
0:04:26 > 0:04:29the skills that existed in this part of the world
0:04:29 > 0:04:33enabling this complicated printing process to work,
0:04:33 > 0:04:36where the register has to be just so perfect
0:04:36 > 0:04:38is very, very difficult.
0:04:38 > 0:04:41I bought it about 20 years ago,
0:04:41 > 0:04:43and it was Paddy's Market
0:04:43 > 0:04:45and if I paid £2
0:04:45 > 0:04:47- that would have been an expensive purchase...- Really?
0:04:47 > 0:04:50..from Paddy's Market. £2?
0:04:50 > 0:04:53- Yes, about that.- Well, I think you'd get a bit more than £2 for it today,
0:04:53 > 0:04:55were you to ever want to sell it.
0:04:55 > 0:05:00I think, in an appropriate auction, here in Scotland, in Glasgow,
0:05:00 > 0:05:04you'd be quite likely to get, maybe, £40-£60, £50-£70,
0:05:04 > 0:05:06- something like that.- Not bad, yes.
0:05:06 > 0:05:09Something to tuck you up and keep you warm in the winter.
0:05:11 > 0:05:15'Next up, this delightful Scottish painting called Down By The Sea,
0:05:15 > 0:05:16'which for the last 30 years,
0:05:16 > 0:05:21'has provided endless pleasure to Sandy from Bearsden.'
0:05:21 > 0:05:24The thing I liked about it was, when I was a wee boy,
0:05:24 > 0:05:26the first summer holiday that my parents took us to
0:05:26 > 0:05:29was the Ayrshire coast,
0:05:29 > 0:05:32and the beach here is just like the places that we went to.
0:05:32 > 0:05:34And I've a nice memory of my brothers and I playing there,
0:05:34 > 0:05:37- cos my brothers are not all around now.- Right.- So, it's...
0:05:38 > 0:05:39It means a lot.
0:05:39 > 0:05:41Did you build sandcastles down there?
0:05:41 > 0:05:43- We did.- You did.
0:05:44 > 0:05:45- I did.- My brothers knocked them down.
0:05:45 > 0:05:47Oh, they knocked them down.
0:05:47 > 0:05:50- Yes, naughty brothers.- So, that's what it's like.- Yes, exactly.
0:05:50 > 0:05:52And you decorated them with seaweed on the top, didn't you?
0:05:52 > 0:05:54- Absolutely.- Lovely.
0:05:54 > 0:05:58So, William Miller Frazer is one of those artists
0:05:58 > 0:06:02- who specialised in just this sort of scene.- Yes, indeed.
0:06:02 > 0:06:05And he loved it on the West Coast of Scotland,
0:06:05 > 0:06:09- so, it is, undoubtedly, the West Coast of Scotland.- Is it well.
0:06:09 > 0:06:13- But what this man did was to have a bright and jolly palette...- Yes.
0:06:13 > 0:06:15..which is what we've got here.
0:06:15 > 0:06:18And the medium is oil on canvas.
0:06:18 > 0:06:20Frazer painted a few watercolours,
0:06:20 > 0:06:23but, principally, he's a man that favours
0:06:23 > 0:06:28this very lose, sort of impressionistic style.
0:06:28 > 0:06:31And it had a number one advantage to him
0:06:31 > 0:06:35in that painting with thin oils, which is what he's done,
0:06:35 > 0:06:38enabled him to work very quickly.
0:06:38 > 0:06:40And you can see that, in part, if you look behind,
0:06:40 > 0:06:43because you can see the expanse of canvas
0:06:43 > 0:06:46and then, in front, the light actually coming through it.
0:06:46 > 0:06:51So, there's not a lot of...working up of layers of oil
0:06:51 > 0:06:52to create an effect.
0:06:52 > 0:06:55His effect is essentially very, very quick
0:06:55 > 0:06:56and it's on the surface.
0:06:56 > 0:06:59And, by jingo, it worked,
0:06:59 > 0:07:04because this man exhibited for 78 consecutive years
0:07:04 > 0:07:06at the Royal Scottish Academy.
0:07:06 > 0:07:09Of course, Sandy, this is a very commercial picture.
0:07:09 > 0:07:12On its most superficial level,
0:07:12 > 0:07:14it's a picture that pleases the eye
0:07:14 > 0:07:16which is always a good feature.
0:07:16 > 0:07:18There are lots of people who would love to have this
0:07:18 > 0:07:22hanging on their wall, because it is such an attractive subject.
0:07:22 > 0:07:26'So, how much would you pay for such a charming painting?
0:07:26 > 0:07:28'Find out my valuation later on.'
0:07:35 > 0:07:38'Glasgow is full of impressive architecture,
0:07:38 > 0:07:41'with buildings recalling its importance
0:07:41 > 0:07:43'as a centre for trade and industry.
0:07:44 > 0:07:46'This handsome structure is
0:07:46 > 0:07:48'the Kelvingrove Art Gallery And Museum,
0:07:48 > 0:07:52'which showcases the local manufacture of glass.
0:07:52 > 0:07:55'Within the collection is some Clutha Glass,
0:07:55 > 0:07:59'invented by James Couper and Sons in the Victorian age.
0:07:59 > 0:08:04'Alison Brown, Curator of Decorative Arts, is a modern-day expert.'
0:08:05 > 0:08:09- Tell me, Clutha is the name of the type of glass they produced...- Yes.
0:08:09 > 0:08:13This art glass, but where does that name come from?
0:08:13 > 0:08:17Well, some say it's the Scots Gaelic for the River Clyde,
0:08:17 > 0:08:21but, actually, its origins go back to the second century AD,
0:08:21 > 0:08:25and it seems to stem from the word clota, which means fast flowing,
0:08:25 > 0:08:29which actually seems a very apt name to apply for molten glass.
0:08:29 > 0:08:36And it appears in a Roman map of that time for clota, for the Clyde.
0:08:36 > 0:08:38'Coupers' smart move was to commission
0:08:38 > 0:08:42'the well-travelled, industrial design guru,
0:08:42 > 0:08:44'Dr Christopher Dresser.'
0:08:44 > 0:08:47He's bringing with him to this glass
0:08:47 > 0:08:51a sense of the sort of Central American designs,
0:08:51 > 0:08:54as well as looking to Roman origins.
0:08:54 > 0:08:56You're looking to some of the shapes that he employs,
0:08:56 > 0:09:00- you're looking more to sort of Peruvian and Japanese.- Yeah.
0:09:00 > 0:09:04And he was, basically, aiming to create simple, simple wares,
0:09:04 > 0:09:06simply-designed wares,
0:09:06 > 0:09:08that hasn't got too much imposed on them.
0:09:08 > 0:09:11So, with the glass, it's allowing the qualities of the glass
0:09:11 > 0:09:12to be expressive.
0:09:12 > 0:09:15For the worker to, basically, make something very quickly,
0:09:15 > 0:09:17in a few seconds, to shape it in a few seconds,
0:09:17 > 0:09:20rather than it to become a laboured piece
0:09:20 > 0:09:23that's in the factory using sort of more mechanical processes.
0:09:23 > 0:09:26So, he's celebrating the craftsmanship of the glass blower.
0:09:27 > 0:09:30'Some designers preferred symmetry...
0:09:30 > 0:09:32'but not Dresser.'
0:09:32 > 0:09:35So, Alison, what is special about this dish?
0:09:35 > 0:09:38Well, this is a lovely example of early Clutha glass,
0:09:38 > 0:09:39and you can see with the way that
0:09:39 > 0:09:42the shape has a gorgeous flow about it.
0:09:42 > 0:09:45So, there's a whole idea of Clutha and molten,
0:09:45 > 0:09:48you can see this is worked by the glass-maker's hand.
0:09:48 > 0:09:49It's very simple.
0:09:49 > 0:09:53You've got this rather large dramatic brown swirl in the centre,
0:09:53 > 0:09:56which, in a way, emphasises the actual spinning process
0:09:56 > 0:09:58of creating the glass in itself.
0:09:58 > 0:10:01You've got the little characteristic opal white streaks
0:10:01 > 0:10:04running through the glass. And here, in this one,
0:10:04 > 0:10:07you've got quite chunky silver metallic inclusions.
0:10:07 > 0:10:10This is part of the range that Dresser designed for Liberty's
0:10:10 > 0:10:13and registered on the 6th June in 1888.
0:10:13 > 0:10:16There seems to be a very faint acid-etched mark here.
0:10:16 > 0:10:19Well, this is the mark for Liberty and basically it says
0:10:19 > 0:10:22Clutha, Designed, CD Registered
0:10:22 > 0:10:24and it has the little lotus flower in the middle.
0:10:24 > 0:10:28So, Registered CD means registered Christopher Dresser,
0:10:28 > 0:10:31- so this is a genuine Dresser-designed piece.- Yes.
0:10:31 > 0:10:32Very few were marked.
0:10:32 > 0:10:38'So, Dressers' marks and designs may not always be clearly identifiable,'
0:10:38 > 0:10:40'but there are telltale clues.
0:10:43 > 0:10:45'David's the owner of this piece.
0:10:45 > 0:10:47'He has a thing about glass.'
0:10:47 > 0:10:49I do collect glass.
0:10:49 > 0:10:52I love the form and the manufacturing process
0:10:52 > 0:10:55and beauty of glass.
0:10:55 > 0:10:57And that's one of my best pieces.
0:11:00 > 0:11:04Well, David, this is a most peculiar-looking glass pot.
0:11:04 > 0:11:09This piece of glass displays all those characteristics.
0:11:09 > 0:11:12It is incredibly thinly blown
0:11:12 > 0:11:14and it's lightweight
0:11:14 > 0:11:18as a result of there being very little metal or glass in it.
0:11:18 > 0:11:22And it does display, in spades,
0:11:22 > 0:11:27the bubbled and extraordinary nature of this overheated glass.
0:11:27 > 0:11:31They made this glass bubble in the furnace,
0:11:31 > 0:11:34so that when it was taken out and it solidified,
0:11:34 > 0:11:37those air bubbles are all within it.
0:11:37 > 0:11:41And everything else that we saw in the Kelvingrove Collections
0:11:41 > 0:11:46are displayed, in that piece, in spades.
0:11:46 > 0:11:47I absolutely adore it.
0:11:47 > 0:11:51'But how much might you have to pay for such a beautiful piece?
0:11:51 > 0:11:53'I will reveal all later.'
0:11:57 > 0:12:01'Kelvingrove houses not only beautiful Scottish glass,
0:12:01 > 0:12:04'and one of Europe's great art collections,
0:12:04 > 0:12:08'but the extraordinary building is also celebrated on souvenirs,
0:12:08 > 0:12:10'like this commemorative plate,
0:12:10 > 0:12:12'brought to us by Gordon.'
0:12:12 > 0:12:15We do enjoy having a few collectables
0:12:15 > 0:12:17and we go to antique fairs
0:12:17 > 0:12:18and we have things we've,
0:12:18 > 0:12:21over the years, from family.
0:12:21 > 0:12:27The International Empire Exhibition in 1901
0:12:27 > 0:12:30was supposed to commemorate
0:12:30 > 0:12:3450 years since the Great Exhibition in London in 1851.
0:12:34 > 0:12:38If you visit an exhibition, you want to take home a souvenir
0:12:38 > 0:12:41and Bell's Glasgow Pottery twigged that
0:12:41 > 0:12:44and produced a whole lot of commemorative things like this dish.
0:12:44 > 0:12:46- Yes.- Now, if we turn it over,
0:12:46 > 0:12:50we can see on the back stamp you've got an impressed bell...
0:12:50 > 0:12:51- Yes.- ..which is nice.
0:12:51 > 0:12:56And then a transfer printed back stamp for Bell's Pottery,
0:12:56 > 0:13:01which went from about 1840, 1841
0:13:01 > 0:13:03till about 1929.
0:13:03 > 0:13:06And, principally, they produced wares, like this,
0:13:06 > 0:13:08in earthenware that were transfer printed,
0:13:08 > 0:13:12just like what was being produced in Stoke on Trent.
0:13:12 > 0:13:15So, a very, very competitive marketplace.
0:13:15 > 0:13:18What I like about it is it's cheaply produced,
0:13:18 > 0:13:22- but look how clear that transfer print is.- Yes.
0:13:22 > 0:13:24- It's brilliant, isn't it? - It's done in Italian...
0:13:24 > 0:13:28- Spanish, Spanish...- Yes. - ..architecture
0:13:28 > 0:13:30But it seemed to be, come over as the impression of being
0:13:30 > 0:13:32more Oriental in appearance.
0:13:32 > 0:13:34When you go to Kelvingrove today,
0:13:34 > 0:13:37and you look at those towers and minarets,
0:13:37 > 0:13:41there is something about the Orient and Spain.
0:13:41 > 0:13:43- Yes.- It's an odd mixture.
0:13:43 > 0:13:46But here, we've got the pavilions of the exhibition,
0:13:46 > 0:13:51- through which 11 million people went in barely six months.- Yes.
0:13:51 > 0:13:54- I mean, it's unbelievable, isn't it? - It is, it's astounding.
0:13:54 > 0:13:57This is a good-sized dish,
0:13:57 > 0:14:03and I guess, if you were to want to sell this in Glasgow today,
0:14:03 > 0:14:06you could get the top end of £50 for it.
0:14:06 > 0:14:08I think this is the most appropriate thing
0:14:08 > 0:14:12that we could possibly wish to find in the Glasgow region.
0:14:12 > 0:14:14- Thank you very much. - Thank you, pleasure.
0:14:22 > 0:14:25'This is Glasgow Cathedral,
0:14:25 > 0:14:27'otherwise known as St Mungo's.
0:14:27 > 0:14:30'He's the city's very own patron saint.
0:14:30 > 0:14:32'It dates back to the 12th century,
0:14:32 > 0:14:38'but in 1910, the medieval choir roof underwent major restoration.
0:14:38 > 0:14:41'On the outside, copper replaced lead.
0:14:44 > 0:14:47'On the inside, a team of master craftsmen
0:14:47 > 0:14:51'recreated the carvings of the original designs.
0:14:51 > 0:14:56'I asked Adrian Cox, archaeologist for Historic Scotland,
0:14:56 > 0:14:58'to show me their handiwork close-up.'
0:14:58 > 0:15:01Now, Adrian, these bosses are extraordinary, aren't they?
0:15:01 > 0:15:02They're wonderful.
0:15:02 > 0:15:06Deep relief carvings and, probably, in the old oak,
0:15:06 > 0:15:09because we know they re-used as much of the original oak
0:15:09 > 0:15:11as they possibly could.
0:15:11 > 0:15:13So, we have a barrel vault
0:15:13 > 0:15:19that was effectively completely removed and restored around 1910.
0:15:19 > 0:15:21Yes. There was a survey beforehand.
0:15:21 > 0:15:24The chap in charge was the Principal Architect of Scotland,
0:15:24 > 0:15:26a man called William Oldrieve.
0:15:26 > 0:15:29He did a complete survey of the roof timbers in 1909.
0:15:29 > 0:15:34Decided, really, the best thing to do was a complete restoration job.
0:15:34 > 0:15:37The roof had become unstable, was decaying,
0:15:37 > 0:15:38so he really started from scratch
0:15:38 > 0:15:41but using the evidence from the timbers that he'd found.
0:15:41 > 0:15:45So, the skill-base of the carvers in 1910
0:15:45 > 0:15:50capable of reproducing something that is medieval is extraordinary.
0:15:50 > 0:15:52Yeah, this work is a real testament to the skill of
0:15:52 > 0:15:56- the carvers and carpenters in the Edwardian period.- Yeah.
0:15:56 > 0:16:00- Cos if you look at that boss, this is made of old oak...- Yeah.
0:16:00 > 0:16:02- ..potentially...- Yes.- ..but definitely a hardwood.- Yes.
0:16:02 > 0:16:05That craftsman has taken a tool
0:16:05 > 0:16:08and he's created the undercutting.
0:16:08 > 0:16:10That's the cutting underneath the solid
0:16:10 > 0:16:14- so that you get some texture, light and shade.- That's right.
0:16:14 > 0:16:16You get a bit of detail here
0:16:16 > 0:16:20which is the spine of this organic growth
0:16:20 > 0:16:22that's tightly drawn together.
0:16:22 > 0:16:25I mean, it's an extraordinary thing.
0:16:25 > 0:16:28And apart from all the carved bosses,
0:16:28 > 0:16:33there are 27 figural studies in wood up here too, aren't there?
0:16:33 > 0:16:37And the one that we can see easily here is the nativity.
0:16:37 > 0:16:38The nativity, that's right.
0:16:38 > 0:16:40That's really the first of the sequence of the life of Christ.
0:16:40 > 0:16:43It goes all the way to the far east end,
0:16:43 > 0:16:46where there's the crucifixion and, eventually, the ascension.
0:16:46 > 0:16:49I mean, if you went and looked at, I don't know,
0:16:49 > 0:16:53- important German Rhinish carvings... - Yes.
0:16:53 > 0:16:55..from the 13th or 14th centuries,
0:16:55 > 0:16:56they would just like these.
0:16:56 > 0:16:59They would. Yes, it's, you know, it's incredible work, isn't it?
0:16:59 > 0:17:01To copy the medieval style, the gothic...
0:17:01 > 0:17:03- I know.- ..and to do it so well.
0:17:03 > 0:17:05They took pride in their work, didn't they?
0:17:15 > 0:17:19'John Vickery was one of the highly-skilled carpenters
0:17:19 > 0:17:22'who worked on Glasgow Cathedral's roof.
0:17:22 > 0:17:25'His tool box has been inherited by his grandsons,
0:17:25 > 0:17:28'and Andrew has brought it in to be valued.'
0:17:28 > 0:17:30Do you use any of these chisels yourself?
0:17:30 > 0:17:34I don't, but my cousin Alec, who has them now, he has used some.
0:17:34 > 0:17:36- Has he?- Uh-huh, he has. - Well, there we are.
0:17:36 > 0:17:40I mean, it's an amazing selection, I have to say.
0:17:40 > 0:17:45Some 60 chisels, which are of a great variety.
0:17:45 > 0:17:49Beautifully crafted with hardwood handles,
0:17:49 > 0:17:51and they all vary tremendously,
0:17:51 > 0:17:53because each of these shapes,
0:17:53 > 0:17:56when it comes to the cutting edge, are different.
0:17:56 > 0:17:59Enabling your grandfather to give, for example,
0:17:59 > 0:18:04the carving in that cathedral roof all that variety.
0:18:04 > 0:18:05It's amazing really.
0:18:07 > 0:18:10'For a specialist's opinion on the Victorian tool box,
0:18:10 > 0:18:11'we're hooking up with
0:18:11 > 0:18:13'Leicestershire auctioneer Ian Stanley
0:18:13 > 0:18:15'to show him some of the contents.'
0:18:16 > 0:18:18I found this little plane.
0:18:18 > 0:18:22- The thumb piece is in rosewood, it's beautifully crafted.- Yes.
0:18:22 > 0:18:25Would that be a candidate for one of your auctions?
0:18:25 > 0:18:29It would be. I would imagine it's worth £40-£60
0:18:29 > 0:18:30or something in that area.
0:18:30 > 0:18:33Very good. And then, what do you make of that, Ian?
0:18:33 > 0:18:36That's a good..
0:18:36 > 0:18:39a good smoothing plane, steel smoothing plane.
0:18:39 > 0:18:42Again, probably with rosewood infill and brass lever,
0:18:42 > 0:18:45it's worth 50, 60, maybe £70.
0:18:45 > 0:18:48- Gosh.- The kit as a whole is...
0:18:49 > 0:18:50..should be kept as a kit.
0:18:50 > 0:18:54In our catalogue we would put an estimate of £400-£600 on it.
0:18:54 > 0:18:55£400-£600.
0:18:55 > 0:18:57- Thank you. - Thank you, thank you very much.
0:18:57 > 0:19:00Well, that's marvellous, isn't it? Is that a surprise to you?
0:19:00 > 0:19:03Very surprised because we had never thought about value
0:19:03 > 0:19:06and...they were just Grandfather's tools.
0:19:11 > 0:19:12'Awfully friendly around here
0:19:12 > 0:19:14'and more than willing to show off
0:19:14 > 0:19:16'their personal treasures and heirlooms,
0:19:16 > 0:19:17'whatever the weather.
0:19:17 > 0:19:20'Here's Kate with her favourite figurine.'
0:19:22 > 0:19:25My great-grandmother was a Newhaven fishwife
0:19:25 > 0:19:28- and they came from Newhaven. - She never was?- She did, yes.
0:19:28 > 0:19:30Must have been a hard life but...
0:19:30 > 0:19:32And so this is a family piece.
0:19:32 > 0:19:35So, from my great-grandmother to my grandmother, to my aunt, to me.
0:19:35 > 0:19:38- Gosh, so very precious then, actually.- Yes.
0:19:38 > 0:19:42It depicts a lady carrying her catch.
0:19:42 > 0:19:47There they are, the fish in this hod on her back
0:19:47 > 0:19:49as she goes off to market.
0:19:49 > 0:19:51And if we turn it upside down,
0:19:51 > 0:19:55it says, sure enough, Newhaven Fishwife.
0:19:55 > 0:19:57So, correct me if I'm wrong,
0:19:57 > 0:20:00but Newhaven is the fishing port just outside Edinburgh.
0:20:00 > 0:20:01Correct.
0:20:01 > 0:20:06And this Newhaven fishwife has landed the catch that morning,
0:20:06 > 0:20:07her husband has,
0:20:07 > 0:20:10and she's off to market, a mile and a half into Edinburgh,
0:20:10 > 0:20:12- to sell her fresh fish.- Yes.
0:20:12 > 0:20:16Well, the fact that it's got the back stamp on it for Royal Doulton
0:20:16 > 0:20:18tells us the factory.
0:20:18 > 0:20:22And, actually, it's quite a rare Royal Doulton figure.
0:20:22 > 0:20:25It was modelled by a man called Fenton,
0:20:25 > 0:20:27and he did it in 1930,
0:20:27 > 0:20:33- and then it went out in production from 1931-1936.- Oh.
0:20:33 > 0:20:37So a relatively short period of time.
0:20:37 > 0:20:42And this comes from Doulton's 1930s range of street sellers.
0:20:42 > 0:20:45Sometimes you get figures that have balloons,
0:20:45 > 0:20:49they have a model of...of a potter.
0:20:49 > 0:20:51- I didn't know that.- They have a model of various people
0:20:51 > 0:20:54going about their trade in the streets.
0:20:54 > 0:20:57And, if we look underneath,
0:20:57 > 0:21:00you can see it says, "Potted by Doulton & Co,"
0:21:00 > 0:21:03which is rather a nice script signature,
0:21:03 > 0:21:05as well as the green back stamp.
0:21:05 > 0:21:08As well as this number, which is the HN number,
0:21:08 > 0:21:10which is the code number.
0:21:10 > 0:21:13- Have you ever had it looked at, do you know what it's worth?- No.
0:21:13 > 0:21:14You don't?
0:21:14 > 0:21:17'It's a delightful little piece,
0:21:17 > 0:21:19'so what would a collector pay for it?
0:21:19 > 0:21:21'All will be revealed in a wee while.'
0:21:26 > 0:21:29While the men were labouring in the shipyards,
0:21:29 > 0:21:33Singer opened their new sewing machine plant in Clydebank,
0:21:33 > 0:21:37offering plentiful jobs to women in the late 1800s.
0:21:37 > 0:21:39Workers came by train from Glasgow
0:21:39 > 0:21:43to make industrial and domestic machines for the masses.
0:21:43 > 0:21:44This lot look sharp.
0:21:44 > 0:21:47This is the Needle Department in 1912, ha.
0:21:47 > 0:21:51By the 1960s, 16,000 people were employed.
0:21:53 > 0:21:56The Clydebank Museum has all the models,
0:21:56 > 0:21:58including this rare Singer Number 1,
0:21:58 > 0:22:01complete with its original packing case.
0:22:01 > 0:22:04Then there's the curious looking Number 35,
0:22:04 > 0:22:07which was used to stitch pieces of carpet together.
0:22:08 > 0:22:12'But I'm rather fond of the type John's brought in for valuation.'
0:22:13 > 0:22:20It's all concealed very neatly inside this treadle base.
0:22:20 > 0:22:23It's technically an incredible gadget, isn't it?
0:22:23 > 0:22:25It is indeed, yes.
0:22:25 > 0:22:28I mean, millions of these were made.
0:22:28 > 0:22:32In fact, this model, the 15K,
0:22:32 > 0:22:35was in production for over a hundred years.
0:22:35 > 0:22:38And, apparently, from the serial number,
0:22:38 > 0:22:42you can decode the Scottish ones,
0:22:42 > 0:22:47so that we know that this was made in that Clydebank factory...
0:22:48 > 0:22:50- ..which his amazing, isn't it? - It is indeed.
0:22:50 > 0:22:57And in 1913, they made 1.3 million of these machines in Scotland.
0:22:57 > 0:22:59- Fantastic.- Quite something, isn't it?
0:22:59 > 0:23:01It was a huge factory.
0:23:01 > 0:23:04- I've never been there.- No... - Passed it many times.
0:23:04 > 0:23:07And I guess, if you're a woman
0:23:07 > 0:23:10with very little in the way of economic advantage,
0:23:10 > 0:23:13but you're an average seamstress,
0:23:13 > 0:23:16owning one of these machines, you could earn money.
0:23:16 > 0:23:20So, at the time, this is better than a computer.
0:23:20 > 0:23:23And do you know what this thing is likely to be worth?
0:23:23 > 0:23:25No idea at all.
0:23:25 > 0:23:27It's a very difficult thing to value, John,
0:23:27 > 0:23:29and I would guess, in this kind of condition,
0:23:29 > 0:23:33if you put it in an auction, and you were really, really lucky,
0:23:33 > 0:23:35and the wind was right under your tail
0:23:35 > 0:23:36you might get £50 for it.
0:23:36 > 0:23:39- I was thinking ten.- Ten?
0:23:39 > 0:23:42Ah, well, you're better off than that.
0:23:42 > 0:23:45But what's great about it is, it's an iconic object,
0:23:45 > 0:23:47it's Scottish made,
0:23:47 > 0:23:50it came from the factory just down the road.
0:23:50 > 0:23:53And I think it tells the most amazing story,
0:23:53 > 0:23:55- so thanks for bringing it in. - My pleasure.
0:24:00 > 0:24:02'And now, to this wonderful painting
0:24:02 > 0:24:05'which puts Glasgow firmly on the antiques map.
0:24:05 > 0:24:09'It's owned by Barbara who absolutely loves it...
0:24:09 > 0:24:10'And who wouldn't?'
0:24:10 > 0:24:13My father bought it at least 70 years ago.
0:24:13 > 0:24:18Of all my possessions, that would be the last thing to go.
0:24:18 > 0:24:21What do you love most about it?
0:24:21 > 0:24:25I think it's the exquisite little faces...
0:24:25 > 0:24:26the flowers,
0:24:26 > 0:24:28and I just think they're delightful.
0:24:28 > 0:24:32This painting's by Edward Hornel
0:24:32 > 0:24:36who's one of those famous Glasgow Boys.
0:24:36 > 0:24:40The artists who were in a sort of loose association
0:24:40 > 0:24:44at the end of the 19th, early part of the 20th century
0:24:44 > 0:24:49- who were Scotland's answer to the impressionists really.- They were.
0:24:49 > 0:24:54And that is one of the glorious features of this painting,
0:24:54 > 0:25:00is Hornel's deft use of very thick impasto paint.
0:25:00 > 0:25:03And then getting that delicacy of little faces.
0:25:03 > 0:25:09Exactly. So, we have, effectively and crudely, great gobs of paint
0:25:09 > 0:25:15which are, you feel, quite violently applied to the canvass.
0:25:15 > 0:25:19- But the overall effect is soft and enchanting.- Yes.
0:25:19 > 0:25:24And his balance of colour, the interplay of light,
0:25:24 > 0:25:26these children messing about
0:25:26 > 0:25:30like children love to mess about, don't they?
0:25:30 > 0:25:33- A little group here, look... - Yes.- ..in a huddle.
0:25:33 > 0:25:35She's telling her a bit of a secret.
0:25:35 > 0:25:37- This one looks a bit wilful.- Yes.
0:25:37 > 0:25:40She's going off on a mission alone.
0:25:40 > 0:25:44- And this girl's playing possum, she's pretending to be dead...- Yes.
0:25:44 > 0:25:47- ..but perhaps her sister is having a laugh about.- She is, she is.
0:25:47 > 0:25:51And the other great thing about it is the scale and shape.
0:25:51 > 0:25:54Because it's a broad landscape like this,
0:25:54 > 0:25:57- it's a lovely furnishing picture.- Yes.
0:25:57 > 0:26:02And, looking at the back, I can see all the original patination,
0:26:02 > 0:26:04- it's a bit dusty.- Yes, very.
0:26:04 > 0:26:07It's in brilliant state and it's a gorgeous subject.
0:26:07 > 0:26:09Have you got any idea what you think it might be worth?
0:26:09 > 0:26:11I'm not going to sell it,
0:26:11 > 0:26:14so I don't know what today's value would be.
0:26:14 > 0:26:17'But if any of our owners did want to sell,
0:26:17 > 0:26:18'what could they hope for?
0:26:18 > 0:26:22'First, David's glorious piece of Clutha glass.'
0:26:22 > 0:26:24You bought it ten years ago.
0:26:24 > 0:26:25Can you remember what you paid?
0:26:25 > 0:26:29It was about £500, which was quite a lot of money at the time.
0:26:29 > 0:26:33Well, I can reassure you, you made a sound investment ten years ago
0:26:33 > 0:26:35in investing your £500,
0:26:35 > 0:26:38because I think today, in the right sale,
0:26:38 > 0:26:41you'd be likely to get between £1,500 and £2,000 for it.
0:26:41 > 0:26:44- Oh, excellent. - So, as they say, bravo.
0:26:44 > 0:26:48- Thank you, that's very nice news. Thank you.- Pleasure.
0:26:48 > 0:26:51'Sandy's Frazer picture has a lot going for it.'
0:26:51 > 0:26:54This would have an auction value
0:26:54 > 0:26:58of between, probably, £1,500-£2,000.
0:26:58 > 0:27:00And I think, if you were insuring it,
0:27:00 > 0:27:03you should insure it for, I don't know, £3,000, something like that.
0:27:03 > 0:27:04That's grand.
0:27:04 > 0:27:06'Actually, I said three grand!
0:27:06 > 0:27:08'Now, Kate's Newhaven fishwife is rare
0:27:08 > 0:27:11'but let down by a tiny bit of damage.'
0:27:11 > 0:27:13If you'd come to me five or eight years ago,
0:27:13 > 0:27:17I would say to you this is worth £1,500 in perfect condition,
0:27:17 > 0:27:20which is a lot of money for a Doulton figure, let me tell you.
0:27:20 > 0:27:24But because of the hairline crack and the decline in value,
0:27:24 > 0:27:28you might only, today, get, perhaps, £500-£800...
0:27:28 > 0:27:31- but it's still a lovely thing to inherit.- Yes.
0:27:31 > 0:27:33- And you're going to cherish it.- I am.
0:27:33 > 0:27:34Who are you going to pass it on to?
0:27:34 > 0:27:37- To my daughter, to my oldest daughter, yes.- Lovely.
0:27:37 > 0:27:38Lucky old daughter.
0:27:38 > 0:27:41- Well, that would buy a lot of fish. - Well, it would, wouldn't it?
0:27:41 > 0:27:43She's not in the fish business herself, is she?
0:27:43 > 0:27:45Not yet. THEY LAUGH
0:27:45 > 0:27:49'And what about Barbara's treat of a Glasgow Boys painting?
0:27:49 > 0:27:51'Where would you put its value?'
0:27:51 > 0:27:53For my eye, because it's fresh to the market,
0:27:53 > 0:27:56and it's a gorgeous shape and a gorgeous colour
0:27:56 > 0:27:57and a gorgeous subject,
0:27:57 > 0:28:01I wouldn't be surprised if you didn't get, maybe £18,000-£22,000,
0:28:01 > 0:28:03would be my estimate.
0:28:03 > 0:28:07And, for us, visiting Glasgow on the Great Antiques Map of Britain,
0:28:07 > 0:28:10it's a great thing to see right here today,
0:28:10 > 0:28:12- and thank you very much. - Oh, you're welcome.
0:28:16 > 0:28:22Well, I have had the most cracking time here in Scotland.
0:28:22 > 0:28:24Ha! Onwards and upwards!