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Amazing how fresh they are, though. | 0:00:03 | 0:00:04 | |
-I know. -As soon as they come out, they are like coils of energy. | 0:00:04 | 0:00:07 | |
Clare Balding is one of Britain's leading sports presenters | 0:00:09 | 0:00:12 | |
and broadcasters. | 0:00:12 | 0:00:13 | |
They are very excited about the sport, | 0:00:13 | 0:00:15 | |
and so too are my three guests this evening, | 0:00:15 | 0:00:17 | |
who between them have won 12 Olympic gold medals. | 0:00:17 | 0:00:20 | |
It's unusual for me to be looking backwards. | 0:00:20 | 0:00:22 | |
I'm always about the next thing, the next Winter Olympics, | 0:00:22 | 0:00:25 | |
the next Commonwealth Games, the next Olympics. | 0:00:25 | 0:00:27 | |
So, actually, to be reflective about anything is rare for me. | 0:00:27 | 0:00:32 | |
Come on, Archie. | 0:00:32 | 0:00:34 | |
Clare lives in London with her wife, Alice Arnold. | 0:00:34 | 0:00:37 | |
Might get inspiration from one of the runners. | 0:00:37 | 0:00:39 | |
Break into a trot. | 0:00:39 | 0:00:40 | |
My mother's ancestry is very well explored in the history books. | 0:00:41 | 0:00:46 | |
Her mother's mother came from a very famous aristocratic line, | 0:00:46 | 0:00:52 | |
so I'd rather go a route that I don't know anything about. | 0:00:52 | 0:00:56 | |
I mean, I tell you who was never talked about - | 0:00:57 | 0:01:00 | |
my mother's grandfather. | 0:01:00 | 0:01:01 | |
Never talked about. | 0:01:01 | 0:01:03 | |
I just wonder - and this is another thing that has | 0:01:03 | 0:01:05 | |
been sort of whispered in the family - could he have been gay? | 0:01:05 | 0:01:09 | |
I suppose it would mean that I am not the first one | 0:01:10 | 0:01:14 | |
to be in a same-sex relationship | 0:01:14 | 0:01:16 | |
and to be gay, and certainly not the only one. | 0:01:16 | 0:01:19 | |
I come from a big, big family. | 0:01:19 | 0:01:21 | |
There are bound to be others anyway, | 0:01:21 | 0:01:22 | |
but it would be so interesting if it is that direct. | 0:01:22 | 0:01:25 | |
I'm very curious, I'm very inquisitive, | 0:01:27 | 0:01:29 | |
so I'm looking forward to sort of ferreting around in lives that have | 0:01:29 | 0:01:34 | |
seemed closed to me, and maybe finding things | 0:01:34 | 0:01:37 | |
that they didn't ever mean to be public. | 0:01:37 | 0:01:40 | |
Come on, Arch. | 0:01:40 | 0:01:41 | |
That will be really intriguing. | 0:01:41 | 0:01:43 | |
So, this is my starting point. | 0:02:19 | 0:02:22 | |
This is a portrait of my grandmother's mother, | 0:02:22 | 0:02:25 | |
my great-grandmother, so Lady Victoria Stanley, | 0:02:25 | 0:02:28 | |
by an artist called John Lavery, who I think is quite well known. | 0:02:28 | 0:02:32 | |
And it's rather haunting. | 0:02:33 | 0:02:36 | |
You can't really tell anything from it. | 0:02:36 | 0:02:38 | |
It's inscrutable. I know she was a daughter of the Earl of Derby, | 0:02:38 | 0:02:42 | |
I think his only daughter. | 0:02:42 | 0:02:43 | |
She died very young, in her early 30s, and I think, | 0:02:45 | 0:02:49 | |
I'm pretty sure it was a riding accident. | 0:02:49 | 0:02:51 | |
This is a photograph of her daughter, my grandmother, | 0:02:52 | 0:02:56 | |
talking to my brother. I'm about eight here. | 0:02:56 | 0:03:00 | |
But, yeah, I would like to find out more about Lady Victoria, | 0:03:00 | 0:03:03 | |
whose life, obviously, was very short, | 0:03:03 | 0:03:04 | |
but also more about Lady Victoria's husband, | 0:03:04 | 0:03:07 | |
who was a man called Sir Malcolm Bullock, | 0:03:07 | 0:03:08 | |
and he was my grandmother's father. | 0:03:08 | 0:03:11 | |
And he is a mystery. I mean, I don't even know what he looks like. | 0:03:11 | 0:03:14 | |
I think he worked in politics, I'm not quite sure how senior, | 0:03:14 | 0:03:19 | |
and there is something of a whiff of scandal around him. | 0:03:19 | 0:03:23 | |
There was a story that grandma had a load of letters to him, | 0:03:23 | 0:03:27 | |
and there was something in them she didn't like, and so she burned them. | 0:03:27 | 0:03:30 | |
Why would somebody do that? | 0:03:30 | 0:03:31 | |
Why would you burn a load of correspondence | 0:03:31 | 0:03:34 | |
unless there was something to hide? I just wonder - | 0:03:34 | 0:03:38 | |
and this is another thing that I think has never been cleared up, | 0:03:38 | 0:03:40 | |
that has been sort of whispered in the family - | 0:03:40 | 0:03:43 | |
might he have been homosexual, as they said in those days, | 0:03:43 | 0:03:47 | |
which would have been obviously illegal at the time, | 0:03:47 | 0:03:49 | |
and hugely shameful, and I suspect, to my grandmother, quite appalling. | 0:03:49 | 0:03:54 | |
There was mention of an artist, Rex Whistler. | 0:03:54 | 0:03:57 | |
Whether my great-grandfather was involved with him on a business, | 0:03:57 | 0:04:03 | |
you know, arrangement when he was financially supporting him, | 0:04:03 | 0:04:05 | |
or just was a fan and buying his work, | 0:04:05 | 0:04:07 | |
or whether he was emotionally involved with him, I don't know. | 0:04:07 | 0:04:10 | |
And that's something I would love to discover. | 0:04:10 | 0:04:12 | |
Clare wants to start by investigating the mystery | 0:04:16 | 0:04:18 | |
surrounding her maternal great-grandfather, | 0:04:18 | 0:04:21 | |
Sir Malcolm Bullock. | 0:04:21 | 0:04:22 | |
She is heading back to Hampshire, where she grew up, | 0:04:26 | 0:04:28 | |
and where many of her family still live. | 0:04:28 | 0:04:30 | |
I think the best place to start is with my mother's eldest brother, | 0:04:33 | 0:04:36 | |
Uncle Willie. So, he was grandma's eldest son, | 0:04:36 | 0:04:39 | |
and he would be the one who might remember his grandfather, | 0:04:39 | 0:04:43 | |
Sir Malcolm Bullock. | 0:04:43 | 0:04:46 | |
And he may know how well his grandfather knew Rex Whistler, | 0:04:46 | 0:04:49 | |
and he lives in Grandma's old house. | 0:04:49 | 0:04:52 | |
-Hello. -Good day. | 0:04:56 | 0:04:58 | |
-How are things? -Very well, how was your journey? | 0:04:58 | 0:05:00 | |
-Wet. Dark. You know. -Come on in. -Thanks. | 0:05:00 | 0:05:04 | |
So, I know very well what grandma's mother looked like, | 0:05:07 | 0:05:10 | |
because she is staring at me from a portrait in my house, | 0:05:10 | 0:05:12 | |
but I don't know what Sir Malcolm Bullock looked like. | 0:05:12 | 0:05:15 | |
Well, here is a picture, a photograph of him, | 0:05:15 | 0:05:18 | |
that was probably taken between the wars. | 0:05:18 | 0:05:22 | |
Well, he looks a little bit like you. | 0:05:22 | 0:05:25 | |
-I mean... -What, good-looking? -Yes, dashing, handsome! | 0:05:25 | 0:05:29 | |
He's actually got a very kind face. | 0:05:30 | 0:05:32 | |
-I think I would have liked him. -I'm sure you would. | 0:05:32 | 0:05:34 | |
And then this here is a picture of us both together with his terrier. | 0:05:34 | 0:05:38 | |
Look at your flares! | 0:05:38 | 0:05:40 | |
Was he fun? Did you like him? | 0:05:40 | 0:05:42 | |
Yeah, he was great fun, because he was a very witty raconteur. | 0:05:42 | 0:05:47 | |
And am I right in thinking he was in politics? | 0:05:47 | 0:05:49 | |
Yes, he was an MP for, I think, over 30 years. | 0:05:49 | 0:05:54 | |
-Oh, right. -He also had a deep interest and love of France. | 0:05:54 | 0:05:59 | |
He was made a commandant of the Legion of Honour | 0:05:59 | 0:06:02 | |
for Anglo-French relations, which was, you know, | 0:06:02 | 0:06:06 | |
a huge honour for a foreigner. | 0:06:06 | 0:06:08 | |
And he enjoyed the theatre and opera, and, you know, | 0:06:08 | 0:06:11 | |
all the fun things in London. | 0:06:11 | 0:06:14 | |
In those days, they were obviously great letter writers, | 0:06:14 | 0:06:17 | |
and there is a selection of letters there. | 0:06:17 | 0:06:20 | |
So this is from Evelyn. | 0:06:20 | 0:06:21 | |
-Probably Waugh. -Really? -Yes. | 0:06:23 | 0:06:27 | |
This one, from Berkeley Square. | 0:06:27 | 0:06:29 | |
"Dearest Malcolm, shattered at missing you again. | 0:06:29 | 0:06:31 | |
"I'd imagined you would be in Paris for Easter. | 0:06:31 | 0:06:33 | |
"Much love, Nancy." | 0:06:33 | 0:06:35 | |
Nancy Mitford. | 0:06:35 | 0:06:37 | |
God, wow, he really was in the sort of arty, literary set, wasn't he? | 0:06:37 | 0:06:41 | |
-Yes. -And this is from John Gielgud? | 0:06:41 | 0:06:43 | |
Oh, wow! | 0:06:43 | 0:06:45 | |
"Dear Malcolm, I was very touched by your kind letter." | 0:06:45 | 0:06:48 | |
He must have written a supportive letter after a bad review. | 0:06:48 | 0:06:51 | |
So he was very well-connected in the arts and literary circles. | 0:06:51 | 0:06:56 | |
-Yes. -Did you ever hear rumours that he might have been in a relationship | 0:06:56 | 0:07:01 | |
-with a man, with an artist? -No. | 0:07:01 | 0:07:06 | |
But he was, obviously, part of that set, as it were. | 0:07:07 | 0:07:13 | |
So it wouldn't be impossible. | 0:07:13 | 0:07:15 | |
And did you hear the name Rex Whistler at all? | 0:07:15 | 0:07:18 | |
Only from an artistic point of view. | 0:07:18 | 0:07:20 | |
It wasn't something that was a very common topic of discussion | 0:07:20 | 0:07:24 | |
or anything like that. | 0:07:24 | 0:07:25 | |
I felt as if I had suddenly met Malcolm Bullock with Uncle Willie, | 0:07:31 | 0:07:34 | |
and now I'm on the trail, trying to find out a bit more. | 0:07:34 | 0:07:38 | |
I'm driving to Salisbury - | 0:07:40 | 0:07:42 | |
they have got, I believe, an archive collection | 0:07:42 | 0:07:45 | |
of Rex Whistler's - to discover if there is anything | 0:07:45 | 0:07:48 | |
from Rex Whistler's side that might tell us | 0:07:48 | 0:07:51 | |
whether he knew Malcolm Bullock, and attack it from that end | 0:07:51 | 0:07:54 | |
of the field of play, if you see what I mean. | 0:07:54 | 0:07:56 | |
Rex Whistler shot to fame in 1927 when, at the age of only 22, | 0:07:59 | 0:08:04 | |
he painted a mural at the Tate Gallery restaurant in London. | 0:08:04 | 0:08:07 | |
During the 1930s, he moved in glamorous social circles | 0:08:08 | 0:08:12 | |
and had many wealthy friends and clients. | 0:08:12 | 0:08:15 | |
Clare's come to Salisbury Museum | 0:08:18 | 0:08:20 | |
to meet an expert on Rex Whistler's life and work, Nicky Fraser. | 0:08:20 | 0:08:24 | |
-Nicky, hi. -Hello, Clare, lovely to meet you. | 0:08:26 | 0:08:30 | |
-Very nice to meet you, too. -Welcome to Salisbury Museum. | 0:08:30 | 0:08:33 | |
Well, I'm sort of on the... I'm on the hunt for clues. | 0:08:33 | 0:08:35 | |
Does the name Malcolm Bullock mean anything to you? | 0:08:35 | 0:08:38 | |
Yes, it does. Yes, it does. | 0:08:38 | 0:08:40 | |
I've got some things to show you - follow me. | 0:08:40 | 0:08:42 | |
The archive, including letters and diaries, | 0:08:44 | 0:08:46 | |
was gathered together by Rex's brother, Laurence Whistler. | 0:08:46 | 0:08:50 | |
Laurence used the material to write a biography of Rex. | 0:08:50 | 0:08:54 | |
So this is my great-grandfather. | 0:08:54 | 0:08:57 | |
-Gosh. -Malcolm Bullock. | 0:08:57 | 0:08:59 | |
So, what do you know? | 0:08:59 | 0:09:00 | |
Because I have sort of heard that he and Rex Whistler | 0:09:00 | 0:09:02 | |
-might have been very close. -They definitely had a close friendship. | 0:09:02 | 0:09:07 | |
Here we have a tatty-looking calendar | 0:09:07 | 0:09:09 | |
that would have been hanging up in Rex's studio. | 0:09:09 | 0:09:12 | |
-This is from 1931. -1931. | 0:09:12 | 0:09:13 | |
So it is four years after Malcolm's wife, Lady Victoria Stanley, | 0:09:14 | 0:09:19 | |
-had died. -And here we have March. | 0:09:19 | 0:09:22 | |
"Dine, 8.30, M Bullock, at Houses of Parliament." | 0:09:22 | 0:09:26 | |
-And... -Oh, there, "Dined Malcolm Bullock on the 24th." | 0:09:27 | 0:09:31 | |
And there is, is that Malcolm B there on the 28th? | 0:09:31 | 0:09:34 | |
And where are they going? | 0:09:34 | 0:09:35 | |
Opera. Malcolm. 130. I mean this, now we are getting every three days. | 0:09:35 | 0:09:40 | |
And just here at the end of May, written in capital letters, Paris. | 0:09:40 | 0:09:45 | |
Yes, they went to Paris together. | 0:09:45 | 0:09:47 | |
How do you know that? | 0:09:47 | 0:09:49 | |
The letter describing their trip together is in this box, | 0:09:49 | 0:09:53 | |
which was Lawrence's filing system. | 0:09:53 | 0:09:56 | |
And we have got various different headings, Rex's letters... | 0:09:56 | 0:09:59 | |
Royal drawing society. | 0:09:59 | 0:10:01 | |
Rex love. | 0:10:01 | 0:10:02 | |
Rex love! | 0:10:02 | 0:10:04 | |
Love. | 0:10:04 | 0:10:05 | |
Right. What have we got? | 0:10:07 | 0:10:09 | |
This is a letter that Malcolm wrote to Lawrence after Rex's death, | 0:10:09 | 0:10:15 | |
when Lawrence was preparing the biography. | 0:10:15 | 0:10:17 | |
Whose writing is this in pencil? | 0:10:17 | 0:10:19 | |
That's Lawrence's writing. | 0:10:19 | 0:10:20 | |
And Malcolm. It says, "Dear Lawrence, | 0:10:20 | 0:10:23 | |
"1931 was the date of the Byzantine exhibition. | 0:10:23 | 0:10:26 | |
-"We stayed at the charming Hotel Fleurie in Paris." -Yes. | 0:10:26 | 0:10:30 | |
Yes. Now, EO is Edith Olivia, who was a great friend of Rex's, | 0:10:30 | 0:10:36 | |
so Lawrence is cross-referencing information from her diaries. | 0:10:36 | 0:10:40 | |
"Ashcombe. I heard Cecil begin to be amusing over Rex and Malcolm | 0:10:40 | 0:10:46 | |
"going to Paris together." | 0:10:46 | 0:10:48 | |
-People were talking. -Yes. | 0:10:49 | 0:10:51 | |
And what do we know about Rex's sexuality? | 0:10:51 | 0:10:55 | |
It's a bit ambivalent. | 0:10:56 | 0:10:59 | |
Within a few years Rex starts to fall in love with women, | 0:10:59 | 0:11:03 | |
but around this time he did have older male friends, such as Malcolm. | 0:11:03 | 0:11:10 | |
What do you think was happening? | 0:11:10 | 0:11:12 | |
After all, these letters are stored in a section that says love. | 0:11:12 | 0:11:16 | |
At the interesting thing is, | 0:11:16 | 0:11:18 | |
this was obviously Laurence Whistler's filing system, | 0:11:18 | 0:11:21 | |
so this is how he perhaps saw the relationship. | 0:11:21 | 0:11:25 | |
If they were in a relationship, | 0:11:25 | 0:11:27 | |
obviously that, in England, would be illegal, | 0:11:27 | 0:11:30 | |
so we are not going to seek a love letter here, are we? | 0:11:30 | 0:11:33 | |
-No, we are not, no. -Because you wouldn't dare do that. | 0:11:33 | 0:11:35 | |
No, and if one did exist, Rex burnt a lot of documents, letters... | 0:11:35 | 0:11:41 | |
And so did my grandmother. | 0:11:41 | 0:11:43 | |
Burnt a lot of things. If there was anything, | 0:11:43 | 0:11:46 | |
-it may well have been destroyed. -Yes, yes. | 0:11:46 | 0:11:49 | |
And do we know how long their friendship/relationship lasted? | 0:11:49 | 0:11:52 | |
It was several months of quite intense friendship. | 0:11:52 | 0:11:57 | |
I think Malcolm may have been keener, | 0:11:57 | 0:12:00 | |
and there was a bit of a cooling off. | 0:12:00 | 0:12:03 | |
-Oh, poor Malcolm! -I know. | 0:12:03 | 0:12:05 | |
We have now got a bit more of Rex's friend Edith's take on things. | 0:12:05 | 0:12:10 | |
"R has told M that he does not want to see him so much and Malcolm would | 0:12:10 | 0:12:14 | |
"accept dismissal. I am all for his breaking of brutally because I hate | 0:12:14 | 0:12:18 | |
"R to be considered the kind of man | 0:12:18 | 0:12:20 | |
"which apparently MB's friends are considered." | 0:12:20 | 0:12:23 | |
Gosh! Yeah, you suddenly see the sort of... | 0:12:23 | 0:12:26 | |
The whiff of homophobia, obviously, in here which... | 0:12:27 | 0:12:30 | |
-Yes. -You know. Is this Rex's writing? | 0:12:30 | 0:12:33 | |
This is Rex's writing. | 0:12:33 | 0:12:34 | |
And he says, "I've been engaged in the most awful correspondence with | 0:12:34 | 0:12:37 | |
"Malcolm B for some time now, | 0:12:37 | 0:12:40 | |
"and the last horror has been that he sent me a very expensive book. | 0:12:40 | 0:12:45 | |
"I returned it to him." | 0:12:45 | 0:12:46 | |
Oh! So, harsh, oh! | 0:12:46 | 0:12:48 | |
Yes, this is rather harsh. | 0:12:49 | 0:12:51 | |
Rejection! | 0:12:51 | 0:12:53 | |
Yes. Things have gone a little bit downhill. | 0:12:53 | 0:12:57 | |
A little bit downhill? | 0:12:57 | 0:12:58 | |
Nikki, that's the biggest understatement ever! | 0:12:58 | 0:13:00 | |
Things have crashed and burned. | 0:13:00 | 0:13:02 | |
-This is awful. -They have. | 0:13:02 | 0:13:04 | |
Malcolm is heartbroken, Rex doesn't care because he has ended it. | 0:13:04 | 0:13:07 | |
-I think... -Heartless, your man, he's heartless. | 0:13:07 | 0:13:09 | |
-I think Rex did care. -Ok. | 0:13:09 | 0:13:11 | |
There's something else I want to show you. | 0:13:12 | 0:13:14 | |
Ulysses's farewell. | 0:13:14 | 0:13:16 | |
"For Sir Malcolm Bullock. Oil on canvas." | 0:13:17 | 0:13:20 | |
Their close relationship was over but he did this huge painting | 0:13:20 | 0:13:25 | |
for him, and it was a gift. | 0:13:25 | 0:13:27 | |
If that is a parting gift, | 0:13:28 | 0:13:30 | |
that is a very sophisticated way in which to say thank you and goodbye. | 0:13:30 | 0:13:35 | |
Well, it's obviously true that my great-grandfather | 0:13:39 | 0:13:43 | |
had a deep relationship of some sort with Rex Whistler - | 0:13:43 | 0:13:47 | |
nobody will ever know whether that was physical or not. | 0:13:47 | 0:13:51 | |
There's a hint of tension in everything | 0:13:52 | 0:13:55 | |
because he's a very public figure, he's an MP, | 0:13:55 | 0:13:59 | |
and he's clearly living a lifestyle that suggests he might be engaged | 0:13:59 | 0:14:03 | |
in illegal acts, and, you know, you can't say this often enough - | 0:14:03 | 0:14:07 | |
it was illegal for a man to be homosexual. | 0:14:07 | 0:14:10 | |
I sort of wonder the kind of life that he was living. | 0:14:15 | 0:14:18 | |
So Nicky says, if I was going to try and find out more about Malcolm's | 0:14:18 | 0:14:22 | |
set, I should go to Kent. | 0:14:22 | 0:14:25 | |
To Kent I shall go - that's the nature of it. | 0:14:25 | 0:14:27 | |
And she says to follow up on a friend that she knows | 0:14:27 | 0:14:30 | |
that Malcolm Bullock saw a lot of - Sir Philip Sassoon. | 0:14:30 | 0:14:33 | |
Sir Philip Sassoon was a British politician | 0:14:38 | 0:14:40 | |
and a member of the fabulously wealthy Sassoon | 0:14:40 | 0:14:42 | |
and Rothschild families. | 0:14:42 | 0:14:44 | |
He was famed as an extravagant host who threw lavish house parties | 0:14:45 | 0:14:49 | |
attended by the glamorous A-listers of the day. | 0:14:49 | 0:14:52 | |
One of his homes was the country house Port Lympne. | 0:14:56 | 0:14:58 | |
Hi there, Damian. | 0:14:58 | 0:15:00 | |
-Hi there, Clare. -Very nice to meet you. | 0:15:00 | 0:15:02 | |
Very nice to meet you, too. Welcome to Port Lympne. | 0:15:02 | 0:15:04 | |
Before we go inside, I'll take you out to the terrace | 0:15:04 | 0:15:06 | |
and give you a bit of a sense of the location. | 0:15:06 | 0:15:09 | |
Damian Collins MP is an expert on Philip Sassoon and his circle. | 0:15:09 | 0:15:13 | |
The location is really why Philip Sassoon loved this house | 0:15:13 | 0:15:15 | |
and built it here. | 0:15:15 | 0:15:16 | |
That is extraordinary. | 0:15:17 | 0:15:19 | |
You do feel when you are Port Lympne like you are in an enclosed world, | 0:15:19 | 0:15:23 | |
which I think is what Philip Sassoon wanted. | 0:15:23 | 0:15:24 | |
It makes it ideal as a great party house and a place to entertain | 0:15:24 | 0:15:27 | |
his friends, but I thought perhaps we could wander into the house. | 0:15:27 | 0:15:31 | |
And then so my great-grandfather was a guest here. | 0:15:31 | 0:15:33 | |
That's right, he was. | 0:15:33 | 0:15:34 | |
I thought you might be particularly interested to see this room. | 0:15:36 | 0:15:39 | |
It hasn't really changed very much since Malcolm Bullock | 0:15:39 | 0:15:41 | |
-would have been a guest here at Lympne. -Is this a Rex Whistler? | 0:15:41 | 0:15:44 | |
-Yes, that's right. -Oh! | 0:15:44 | 0:15:46 | |
So this was commissioned by Philip Sassoon and Whistler painted this | 0:15:46 | 0:15:51 | |
during the summer when the parties were going on. | 0:15:51 | 0:15:53 | |
And there's a very good description here of one of Phillip's parties. | 0:15:53 | 0:15:56 | |
"He made his weekend parties unparalleled in the world. | 0:15:56 | 0:15:59 | |
"Nothing like them had been seen before, | 0:15:59 | 0:16:01 | |
"and surely nothing remotely like them will ever be seen again. | 0:16:01 | 0:16:05 | |
"No pomp, no ceremony, no formality, no white ties, just dinner jackets." | 0:16:05 | 0:16:09 | |
Still pretty smart! | 0:16:09 | 0:16:11 | |
"But always, when he went to change for dinner, | 0:16:11 | 0:16:13 | |
"a carnation and a cocktail on your dressing table. | 0:16:13 | 0:16:16 | |
"Today it all seems like a dream of another world. | 0:16:16 | 0:16:19 | |
"A white-coated footman, | 0:16:19 | 0:16:20 | |
"Winston Churchill arguing over the teacups with Bernard Shaw, | 0:16:20 | 0:16:24 | |
"Rex Whistler painting alone, | 0:16:24 | 0:16:26 | |
"Osbert Sitwell and Malcolm Bullock laughing in a corner." | 0:16:26 | 0:16:29 | |
They sound quite good house parties, I have to say. | 0:16:29 | 0:16:32 | |
Philip Sassoon was very socially liberal for the time | 0:16:32 | 0:16:35 | |
so if someone had got a girlfriend or boyfriend | 0:16:35 | 0:16:37 | |
that they maybe shouldn't have then they could relax with them here | 0:16:37 | 0:16:40 | |
with other friends, as well. | 0:16:40 | 0:16:41 | |
It is interesting that that element of, you know, | 0:16:41 | 0:16:45 | |
you can be with who you want to be, you won't be judged here, | 0:16:45 | 0:16:47 | |
and it won't be reported outside this circle. | 0:16:47 | 0:16:50 | |
-Yes, yes. -So there is a privacy to it. | 0:16:50 | 0:16:51 | |
One of the things I've been looking at is whether Malcolm Bullock | 0:16:51 | 0:16:56 | |
had a relationship with Rex Whistler and whether actually he may have had | 0:16:56 | 0:17:00 | |
relationships with other men. | 0:17:00 | 0:17:01 | |
Do you know anything about that? | 0:17:01 | 0:17:03 | |
Well, I think Philip Sassoon himself, | 0:17:03 | 0:17:06 | |
it is believed that he was actively homosexual, | 0:17:06 | 0:17:09 | |
but it could never be public. | 0:17:09 | 0:17:10 | |
Now, when you look at Phillip's parties, | 0:17:10 | 0:17:13 | |
I think they divide into two groups. | 0:17:13 | 0:17:14 | |
There are the big sort of social gatherings we have talked about, | 0:17:14 | 0:17:17 | |
with celebrities and famous people and politicians, | 0:17:17 | 0:17:19 | |
but then lots of gatherings as well where you see groups of men | 0:17:19 | 0:17:22 | |
who we now know were either homosexual or certainly bisexual - | 0:17:22 | 0:17:26 | |
so Bob Boothby, Malcolm Bullock and other MPs like Victor Cazalet, | 0:17:26 | 0:17:31 | |
Chips Channon, they are often together at Phillip's parties, | 0:17:31 | 0:17:33 | |
and I think there he provides opportunity for, probably, | 0:17:33 | 0:17:37 | |
a group of gay men to basically socialise with each other. | 0:17:37 | 0:17:41 | |
Gosh, you just say that as if it is accepted fact, group of gay MPs, | 0:17:41 | 0:17:44 | |
Malcolm Bullock was one of them. | 0:17:44 | 0:17:45 | |
Yes. But again I think whether that was publicly known about, | 0:17:45 | 0:17:48 | |
I think they would have been very careful to make sure that it wasn't. | 0:17:48 | 0:17:52 | |
In my mind, there's no doubt that he was gay, | 0:18:00 | 0:18:06 | |
bisexual, but you know, he had to be married | 0:18:06 | 0:18:08 | |
but he certainly would rather have been with men, | 0:18:08 | 0:18:11 | |
so I am very curious about my great-grandparents, | 0:18:11 | 0:18:15 | |
Malcolm Bullock and Lady Victoria Stanley, | 0:18:15 | 0:18:17 | |
who died very young, I think, in a riding accident. | 0:18:17 | 0:18:20 | |
I would love to know how this marriage came about, whether it was, | 0:18:20 | 0:18:25 | |
you know, a marriage of convenience, I've no idea. | 0:18:25 | 0:18:28 | |
So I'm going to Liverpool, which is where Malcolm Bullock was an MP, | 0:18:29 | 0:18:34 | |
but also, crucially, it's where Knowsley is, | 0:18:34 | 0:18:37 | |
which is the family seat of the Earl of Derby, | 0:18:37 | 0:18:39 | |
so that's where Lady Victoria Stanley was born, | 0:18:39 | 0:18:42 | |
where she grew up, and I hope at Knowsley, | 0:18:42 | 0:18:44 | |
I'll be able to find out a bit more about both of them | 0:18:44 | 0:18:46 | |
and particularly Lady Victoria Stanley... | 0:18:46 | 0:18:48 | |
..but I suspect a fair bit about Malcolm as well. | 0:18:50 | 0:18:52 | |
Malcolm Bullock and Lady Victoria Stanley first met in Paris in 1918, | 0:18:53 | 0:18:58 | |
when Lady Victoria was a young widow. | 0:18:58 | 0:19:01 | |
Malcolm had come to work for her father, the 17th Earl of Derby, | 0:19:01 | 0:19:04 | |
who was British ambassador in Paris. | 0:19:04 | 0:19:06 | |
Clare wants to find out more about her great-grandparents' relationship | 0:19:14 | 0:19:18 | |
at that time. | 0:19:18 | 0:19:19 | |
The current Earl of Derby, | 0:19:20 | 0:19:22 | |
who would be a cousin of my mother's, he's away, | 0:19:22 | 0:19:25 | |
so I'm going to meet the archivist. | 0:19:25 | 0:19:27 | |
Only a little pad, eh? | 0:19:36 | 0:19:37 | |
Gosh! | 0:19:38 | 0:19:39 | |
The curator of the Derby collection, who looks after the archives | 0:19:42 | 0:19:46 | |
at Knowsley, is Stephen Lloyd. | 0:19:46 | 0:19:47 | |
These are all your Stanley family ancestors. | 0:19:48 | 0:19:51 | |
-A bit overwhelming. -So, here we are, here's the 17th Earl. | 0:19:51 | 0:19:55 | |
Who is my great-great-grandfather? | 0:19:55 | 0:19:58 | |
-Correct. -So he's the one that is the ambassador in France, he's in Paris, | 0:19:58 | 0:20:02 | |
and after Lady Victoria's first husband died in the First World War | 0:20:02 | 0:20:07 | |
he introduces her to this chap, Captain Malcolm Bullock. | 0:20:07 | 0:20:10 | |
-Who was on his staff, the embassy staff. -He worked for him? | 0:20:10 | 0:20:13 | |
He was the ADC, yes, and this rather grand portrait | 0:20:13 | 0:20:16 | |
is by Sir John Lavery. | 0:20:16 | 0:20:17 | |
Which makes sense that this, which is my great-grandmother... | 0:20:17 | 0:20:20 | |
-That's a beautiful portrait. -..is a Lavery as well? -Yes. | 0:20:20 | 0:20:23 | |
And I'm just really intrigued by her, | 0:20:23 | 0:20:25 | |
and her life, and her marriage to Malcolm Bullock. | 0:20:25 | 0:20:29 | |
Well, we have got some archival material on her which you | 0:20:29 | 0:20:32 | |
would be interested to see. | 0:20:32 | 0:20:35 | |
So the story starts when Lord Derby is made British ambassador in Paris | 0:20:35 | 0:20:40 | |
in November 1918. | 0:20:40 | 0:20:42 | |
-Do have a look through. -Look at these pictures! | 0:20:42 | 0:20:45 | |
The King of the Belgians. | 0:20:45 | 0:20:47 | |
A very fine-looking horse, that, as well. Now this is at Longchamp. | 0:20:47 | 0:20:51 | |
This Lord Derby is very keen on racing. Yes? | 0:20:51 | 0:20:53 | |
I mean, he's one of the key figures in the history of racing in the | 0:20:53 | 0:20:56 | |
-20th century. -Consequently Lady Victoria is interested in horses | 0:20:56 | 0:21:00 | |
-and racing. -Mm-mm, she was certainly going to a lot of social events | 0:21:00 | 0:21:03 | |
-with her father. -And he adored her, didn't he? | 0:21:03 | 0:21:07 | |
Yes. And into this world of the embassy in Paris | 0:21:07 | 0:21:11 | |
comes Malcolm Bullock. | 0:21:11 | 0:21:12 | |
What I can show you is this document. | 0:21:12 | 0:21:15 | |
"A quiet marriage ceremony in Paris" - | 0:21:15 | 0:21:17 | |
so they got married in Paris! | 0:21:17 | 0:21:19 | |
As well as official documents there are also personal letters, | 0:21:19 | 0:21:23 | |
including one Lady Victoria wrote to Malcolm while he was away | 0:21:23 | 0:21:26 | |
from the embassy. | 0:21:26 | 0:21:27 | |
"My own darling, I was racing today at Saint-Luc and, for a wonder, | 0:21:28 | 0:21:31 | |
"made a little money." | 0:21:31 | 0:21:32 | |
Oh, she's having a bet. Good on her. | 0:21:32 | 0:21:34 | |
"I then went to tea with Nina, where we were interrupted | 0:21:34 | 0:21:37 | |
"in the most interesting discussion on sex by Dada. | 0:21:37 | 0:21:40 | |
"Du Boss told me, with great delight, | 0:21:40 | 0:21:42 | |
"that he had just been seeing the King of Spain off at the station. | 0:21:42 | 0:21:44 | |
"What a bore he must have been!" | 0:21:44 | 0:21:47 | |
She's got a good sense of humour, hasn't she? | 0:21:47 | 0:21:49 | |
They've been talking about sex! | 0:21:49 | 0:21:51 | |
You know, there's a portrait of her in my house. | 0:21:52 | 0:21:55 | |
-Mm. -And I thought that expression was just neutral. | 0:21:55 | 0:21:58 | |
Gave away... I couldn't read anything into it, | 0:21:58 | 0:22:00 | |
and now I can hear her voice and imagine her being | 0:22:00 | 0:22:04 | |
this sort of slightly cheeky, funny... | 0:22:04 | 0:22:06 | |
-A little bit irreverent. -A little bit irreverent, yes. | 0:22:06 | 0:22:09 | |
So how long did they stay in Paris? | 0:22:09 | 0:22:11 | |
The 17th Earl's embassy in Paris ends in November 1920 | 0:22:11 | 0:22:14 | |
after two years, and the whole family comes back, | 0:22:14 | 0:22:18 | |
but in 1927 everything changes. Right, which is the... | 0:22:18 | 0:22:22 | |
year of her accident. | 0:22:22 | 0:22:23 | |
Gosh. Did they document that? | 0:22:25 | 0:22:27 | |
Yes, it's a scrapbook about what happened. | 0:22:27 | 0:22:29 | |
Oh, God. 26th of the 11th, 26th of November, 1927, | 0:22:29 | 0:22:33 | |
"Earl of Derby's daughter gravely injured. | 0:22:33 | 0:22:36 | |
"Lady V Bullock falls while hunting. | 0:22:36 | 0:22:39 | |
"Lord Derby is abroad and attempts were made this evening | 0:22:39 | 0:22:42 | |
"to communicate with him." | 0:22:42 | 0:22:44 | |
This is in every single newspaper. | 0:22:44 | 0:22:46 | |
Hang on a sec! I mean, that is every paper of the day. | 0:22:46 | 0:22:50 | |
And there's a picture of her on her horse, riding side-saddle. | 0:22:50 | 0:22:53 | |
"Lady Victoria Bullock, Lord Derby's only daughter | 0:22:53 | 0:22:55 | |
"and personal friend of Princess Mary died yesterday | 0:22:55 | 0:22:59 | |
"from injuries received in a hunting accident." | 0:22:59 | 0:23:02 | |
So it says, "The only person who witnessed the accident | 0:23:02 | 0:23:05 | |
"was Mr C Richardson, who was a groom. | 0:23:05 | 0:23:06 | |
"He was riding near Lady Victoria when she remarked, | 0:23:06 | 0:23:09 | |
"I'm going this way, it's a short cut, | 0:23:09 | 0:23:11 | |
"and indicated a low bridge under the railway line. | 0:23:11 | 0:23:14 | |
"Mr Richardson, he lowered his head and passed through the tunnel | 0:23:14 | 0:23:17 | |
"safely, went through he happened to glance back | 0:23:17 | 0:23:20 | |
"just in time to see Lady Victoria strike her head on the brickwork | 0:23:20 | 0:23:23 | |
"and fall from the horse." | 0:23:23 | 0:23:25 | |
So her horse must have just been... | 0:23:26 | 0:23:28 | |
She's on a big horse in that picture, | 0:23:28 | 0:23:30 | |
but it just must've been a bit bigger than his and also, | 0:23:30 | 0:23:32 | |
when you're riding side-saddle you are just a bit higher. | 0:23:32 | 0:23:35 | |
You sit very upright, whereas... | 0:23:35 | 0:23:37 | |
If you are riding astride, | 0:23:37 | 0:23:39 | |
you can lean right down and bend your body into. | 0:23:39 | 0:23:41 | |
If you are riding side-saddle, if you think about it, | 0:23:41 | 0:23:43 | |
it's much harder to get your head down low. | 0:23:43 | 0:23:46 | |
I've never seen any of this. | 0:23:49 | 0:23:51 | |
You see, I knew that she had died in a riding accident - | 0:23:51 | 0:23:54 | |
I thought it was out hunting. | 0:23:54 | 0:23:56 | |
There again, it says a bit more about her character. | 0:23:58 | 0:24:00 | |
"Lady Victoria Bullock was distinguished by a natural grace | 0:24:00 | 0:24:03 | |
"of manner which charmed all who met her." | 0:24:03 | 0:24:05 | |
"His friends are much concerned for Captain Malcolm Bullock MP | 0:24:08 | 0:24:11 | |
"in his overwhelming grief. | 0:24:11 | 0:24:13 | |
"He was devoted to his wife and his home, | 0:24:13 | 0:24:15 | |
"and in a moment his happiness has been shattered." | 0:24:15 | 0:24:18 | |
And I just wanted to show you this letter to Malcolm | 0:24:18 | 0:24:22 | |
from Winston Churchill. | 0:24:22 | 0:24:23 | |
"My dear Malcolm, you and Victoria were so suited to one another, | 0:24:23 | 0:24:27 | |
"so devoted to each other, that this separation and destruction | 0:24:27 | 0:24:30 | |
"of your happiness seems doubly cruel." | 0:24:30 | 0:24:32 | |
And there's the reply. | 0:24:33 | 0:24:35 | |
Yes. "Victoria and I had eight years of perfect happiness together, | 0:24:35 | 0:24:39 | |
"without a cloud or anything to regret. | 0:24:39 | 0:24:42 | |
"I cannot yet believe that it is all over." | 0:24:42 | 0:24:45 | |
You see, I can absolutely... | 0:24:47 | 0:24:49 | |
Where I had wondered whether her marriage to Malcolm was one of | 0:24:49 | 0:24:53 | |
convenience, I actually think now they were really happy. | 0:24:53 | 0:24:56 | |
Mm-mm. | 0:24:56 | 0:24:59 | |
And then we have... We have a letter of sympathy | 0:24:59 | 0:25:03 | |
from Lord Derby himself to Malcolm. | 0:25:03 | 0:25:06 | |
"My dear Malcolm, I send you a photograph of our darling. | 0:25:07 | 0:25:12 | |
"It's not really good but she liked it. | 0:25:12 | 0:25:14 | |
"I can't talk or write to you about her, I'm too great a coward..." | 0:25:14 | 0:25:17 | |
There's me saying I wouldn't cry on this. | 0:25:28 | 0:25:30 | |
It's that line, "I can't talk or write to you about her, | 0:25:33 | 0:25:36 | |
"I'm too great a coward, but I loved her as no man has ever loved | 0:25:36 | 0:25:40 | |
"his daughter, and with her has gone all joy from my life." | 0:25:40 | 0:25:43 | |
Desperate. | 0:25:46 | 0:25:47 | |
Oh, pull yourself together, come on! | 0:25:51 | 0:25:52 | |
-It's just very touching, isn't it? -Yes. | 0:25:56 | 0:25:58 | |
That's very sweet, that he sort of immediately offers his support | 0:26:04 | 0:26:07 | |
to Malcolm. | 0:26:07 | 0:26:08 | |
"I want you to think that I am to you all that I had tried to be | 0:26:08 | 0:26:10 | |
"to her, that you have in me a friend to whom you can always turn." | 0:26:10 | 0:26:14 | |
That's just raw grief, isn't it? | 0:26:20 | 0:26:22 | |
It is amazing how quickly you can feel attached to somebody | 0:26:35 | 0:26:39 | |
by hearing their voice, and it was those early letters | 0:26:39 | 0:26:42 | |
from Lady Victoria to Malcolm Bullock, where she seemed so cheeky, | 0:26:42 | 0:26:46 | |
so irreverent, so, you know, funny, and I just really started to | 0:26:46 | 0:26:50 | |
like her, and I knew she died in a hunting accident | 0:26:50 | 0:26:54 | |
but I didn't realise the depth of mourning. | 0:26:54 | 0:26:57 | |
I think Malcolm and Lady Victoria had a very happy marriage, | 0:26:59 | 0:27:03 | |
albeit short, that it may have been a convenient meeting, | 0:27:03 | 0:27:07 | |
but it wasn't a marriage of convenience, | 0:27:07 | 0:27:09 | |
and whatever Malcolm did in the '30s, he wasn't disloyal, | 0:27:09 | 0:27:13 | |
he didn't neglect her at all in the years that they were married. | 0:27:13 | 0:27:17 | |
You know, that description he writes to Churchill about the eight years | 0:27:17 | 0:27:21 | |
that they had without a cloud, and without any regrets. | 0:27:21 | 0:27:25 | |
How many people can say that about any relationship? | 0:27:25 | 0:27:28 | |
And three or four years later he is living in a very different circle, | 0:27:28 | 0:27:33 | |
he's... You know, he's swept up into a different world. | 0:27:33 | 0:27:38 | |
He almost certainly was gay | 0:27:38 | 0:27:39 | |
and he certainly was hanging around with a lot of gay men, | 0:27:39 | 0:27:42 | |
therefore has very different relationships. | 0:27:42 | 0:27:44 | |
You know, it happens. | 0:27:44 | 0:27:45 | |
Just in the space of a few days I've gone from knowing nothing | 0:27:46 | 0:27:51 | |
about Malcolm Bullock - not even knowing what he looked like - | 0:27:51 | 0:27:54 | |
from being able to read very little into the vision | 0:27:54 | 0:27:56 | |
I had of Lady Victoria from that portrait, | 0:27:56 | 0:27:59 | |
to suddenly feeling that I do know them. | 0:27:59 | 0:28:01 | |
I'm really relieved they were happy. | 0:28:03 | 0:28:06 | |
Well, that's far more about my mother's side of the family | 0:28:18 | 0:28:21 | |
than I expected to discover. | 0:28:21 | 0:28:23 | |
Now I'm heading home again to find out from my father about his family. | 0:28:23 | 0:28:27 | |
Now, I know that his father was a polo player | 0:28:27 | 0:28:29 | |
and he went to America to play polo, | 0:28:29 | 0:28:32 | |
and I imagine that it was because of that that he met my grandmother, | 0:28:32 | 0:28:36 | |
because she was American, her name was Hoagland. | 0:28:36 | 0:28:40 | |
I don't know anything about her family. | 0:28:40 | 0:28:42 | |
I think my father knows plenty about the Baldings, | 0:28:42 | 0:28:44 | |
but I don't know if he knows anything really about the Hoaglands. | 0:28:44 | 0:28:47 | |
We'll see. | 0:28:47 | 0:28:48 | |
Clare's father is racehorse trainer Ian Balding. | 0:28:52 | 0:28:55 | |
-Hey, Dad! -Hello, girl. | 0:28:58 | 0:28:59 | |
-You all right? -Yes. | 0:28:59 | 0:29:01 | |
-Hey, Mack-mack. -Nice to see you. | 0:29:01 | 0:29:03 | |
Hi, Mack-mack. Who's the boy? | 0:29:03 | 0:29:05 | |
-How are you? -All right. -Good. | 0:29:05 | 0:29:07 | |
I had great fun with Mum's family. | 0:29:07 | 0:29:08 | |
-Did you? -Full of scandal. Exactly. | 0:29:08 | 0:29:12 | |
-I know. -Oh, good. -So, Dad, I've got lots of questions for you. | 0:29:12 | 0:29:15 | |
-Oh! -About your family. -About my family? -Yeah, come on. | 0:29:15 | 0:29:19 | |
Ian's cousin, Judith Balding, has also come to talk to Clare. | 0:29:19 | 0:29:23 | |
So, the Baldings were all horsey people, were they, Dad? | 0:29:23 | 0:29:26 | |
As far as I know, always. | 0:29:26 | 0:29:28 | |
And Judith's got a family tree which we'll show you. | 0:29:28 | 0:29:31 | |
All right. Here you go, if you have a look at that. | 0:29:31 | 0:29:34 | |
You can see that your grandfather, Gerald, was a horse dealer, | 0:29:34 | 0:29:40 | |
a polo player and a racehorse trainer. | 0:29:40 | 0:29:43 | |
And then if you go back up to Bert... | 0:29:43 | 0:29:46 | |
He was a horse dealer. William Balding's a horse dealer, | 0:29:46 | 0:29:49 | |
another William Balding's a horse dealer and all the way back | 0:29:49 | 0:29:51 | |
to Thomas Balding, early 19th-century, | 0:29:51 | 0:29:54 | |
saddler and dog trainer. | 0:29:54 | 0:29:55 | |
-Yes. -Dog trainer. | 0:29:55 | 0:29:56 | |
-Dog trainer. -There you are. | 0:29:56 | 0:29:58 | |
And that's Dad, Barney and Ivor. | 0:29:58 | 0:30:01 | |
The Balding boys. | 0:30:01 | 0:30:03 | |
So all in their polo kit. | 0:30:03 | 0:30:05 | |
Dad, of course, became a ten-goal player | 0:30:05 | 0:30:07 | |
but those two were both seven. | 0:30:07 | 0:30:08 | |
And ten is the best you can be so you're sort of handicapped | 0:30:08 | 0:30:11 | |
according to your ability. | 0:30:11 | 0:30:13 | |
Ten goals means you've got to give ten goals away to the other team. | 0:30:13 | 0:30:16 | |
And am I right in thinking there hasn't been a ten-goal player | 0:30:16 | 0:30:19 | |
-since him in England? -No, there hasn't. -You're right. | 0:30:19 | 0:30:22 | |
He's the last ten-goal player. 1939. | 0:30:22 | 0:30:25 | |
-That's amazing. -It is amazing. -Yes. -Some photos of your dad. | 0:30:25 | 0:30:29 | |
-Oh, look. -And your grandfather. | 0:30:29 | 0:30:31 | |
Oh, Dad, you look so serious. | 0:30:31 | 0:30:33 | |
He was telling me to sit up. | 0:30:33 | 0:30:35 | |
-Was he? -Sit up straight, boy. | 0:30:35 | 0:30:37 | |
Oh, that looks so funny. | 0:30:38 | 0:30:40 | |
He went to America because of polo, did he? | 0:30:40 | 0:30:43 | |
Gerald went when he was 22 years old. | 0:30:43 | 0:30:45 | |
He met your mother. | 0:30:45 | 0:30:47 | |
Do you know how and when? | 0:30:48 | 0:30:50 | |
-Not really. -She was a Hoagland. What about them? | 0:30:50 | 0:30:53 | |
She was a Hoagland and the Hoaglands were pretty wealthy. | 0:30:53 | 0:30:56 | |
Do you know how they made their money? | 0:30:56 | 0:30:58 | |
I have no idea. | 0:30:58 | 0:31:00 | |
No, I don't know. | 0:31:00 | 0:31:02 | |
-Anything about them. -No. | 0:31:02 | 0:31:04 | |
-OK. Well, that's my job, then. -Yeah. You can find out. | 0:31:04 | 0:31:06 | |
To try and find out a bit more because we know all | 0:31:06 | 0:31:08 | |
about the Baldings and basically they are horse dealers. | 0:31:08 | 0:31:11 | |
-That is clear. -And no money. | 0:31:11 | 0:31:13 | |
And no money, OK. | 0:31:13 | 0:31:15 | |
Where should I start? | 0:31:15 | 0:31:16 | |
I think you should go to Rumson, probably. | 0:31:16 | 0:31:19 | |
To the Rumson polo club in New Jersey. | 0:31:19 | 0:31:21 | |
-New Jersey? -Which is Rumson, New Jersey. | 0:31:21 | 0:31:23 | |
Because that's where they mostly are, or were. | 0:31:24 | 0:31:26 | |
Oh, great. | 0:31:26 | 0:31:28 | |
Clare's paternal grandfather, Gerald Balding, | 0:31:30 | 0:31:32 | |
met her wealthy American grandmother, Eleanor Hoagland, | 0:31:32 | 0:31:36 | |
in Rumson, New Jersey. | 0:31:36 | 0:31:38 | |
Clare's travelled to America to see what she can find out | 0:31:43 | 0:31:45 | |
about Eleanor's family. | 0:31:45 | 0:31:47 | |
It's a very odd thing knowing that you are... | 0:31:49 | 0:31:53 | |
A lot of me is American. | 0:31:53 | 0:31:55 | |
But I've never really felt American | 0:31:55 | 0:31:57 | |
and maybe that's to do with not really knowing much about that side | 0:31:57 | 0:32:01 | |
of my family so that's maybe something that changes | 0:32:01 | 0:32:05 | |
in the course of this investigation. | 0:32:05 | 0:32:08 | |
I might go back with an American accent, actually. | 0:32:08 | 0:32:13 | |
-IN A BAD ACCENT: -Speaking all New York. | 0:32:13 | 0:32:16 | |
Coffee. | 0:32:16 | 0:32:17 | |
Are those...? Are those houses...? Are those Rumson houses over there? | 0:32:22 | 0:32:25 | |
Oh, it's nice. | 0:32:31 | 0:32:32 | |
Clare has come to the country club where her grandfather played polo. | 0:32:35 | 0:32:38 | |
She's arranged to meet up with her Aunt Gail, | 0:32:39 | 0:32:41 | |
her father's younger sister, who lives in America. | 0:32:41 | 0:32:44 | |
Aunt Gail, hello. | 0:32:46 | 0:32:48 | |
Hello, Clare. | 0:32:48 | 0:32:49 | |
-This is very smart. -Yes, it's lovely. | 0:32:49 | 0:32:51 | |
And I've been having a bit of a look around because I haven't been here | 0:32:51 | 0:32:54 | |
-for years. -Yeah. -And I found some things that you might find very | 0:32:54 | 0:32:57 | |
interesting. Things that relate to my father, and this polo trophy | 0:32:57 | 0:33:03 | |
-is one of them. -Oh, my word, it's heavy. | 0:33:03 | 0:33:05 | |
Ivor Balding and Gerald Balding, | 0:33:05 | 0:33:07 | |
so Uncle Ivor and my grandfather were in that team. | 0:33:07 | 0:33:10 | |
He was hired by the Rumson club to come and teach polo | 0:33:10 | 0:33:12 | |
and meantime he was also playing in tournaments in Long Island | 0:33:12 | 0:33:16 | |
and other places. | 0:33:16 | 0:33:17 | |
-NEWSREEL: -Polo, society's number one sport, | 0:33:19 | 0:33:21 | |
draws fashionable crowds to the international field | 0:33:21 | 0:33:25 | |
which boasts such stars as Hedgecock, Balding and Pete Foster. | 0:33:25 | 0:33:28 | |
Polo drew huge crowds on the east coast of America | 0:33:28 | 0:33:31 | |
in the 1930s and Gerald Balding was one of its international stars. | 0:33:31 | 0:33:36 | |
Between the chukkas, Balding nurses an injured wrist. | 0:33:36 | 0:33:38 | |
He is America's second-ranking player. | 0:33:38 | 0:33:41 | |
An amateur sport, polo was mainly played by wealthy men | 0:33:41 | 0:33:44 | |
but many top teams hired players like Gerald Balding | 0:33:44 | 0:33:47 | |
to boost their chances in prestigious tournaments. | 0:33:47 | 0:33:51 | |
Champagne, gentlemen. | 0:33:53 | 0:33:54 | |
Have a look at these pictures. | 0:33:55 | 0:33:57 | |
So he was strong. I mean, look at his upper body. | 0:33:57 | 0:33:59 | |
He was a big fella. But everybody said that he was the most superb | 0:33:59 | 0:34:03 | |
horseman and he met my mum because her family lived hereabouts | 0:34:03 | 0:34:07 | |
and she found this greyhound dog that was running loose in Rumson, | 0:34:07 | 0:34:12 | |
so she picked it up and asked lots of people, | 0:34:12 | 0:34:14 | |
to whom does this dog belong? | 0:34:14 | 0:34:16 | |
And they said, well, it must be that English chap out there. | 0:34:16 | 0:34:18 | |
So she drove out with the dog and knocked on the door | 0:34:18 | 0:34:21 | |
and the door opens and out comes my father | 0:34:21 | 0:34:23 | |
and there's a lady in her negligee coming down the stairs behind him. | 0:34:23 | 0:34:27 | |
SHE LAUGHS | 0:34:27 | 0:34:29 | |
Of course there was. And she falls in love with him... | 0:34:29 | 0:34:32 | |
So my mother was standing there with this dog saying, "Is this dog yours?" | 0:34:32 | 0:34:35 | |
"Oh, yes, it is indeed my dog." | 0:34:35 | 0:34:37 | |
And that's how they met. | 0:34:37 | 0:34:39 | |
She was 18 and he was 32. | 0:34:39 | 0:34:42 | |
So what kind of family were the Hoaglands? | 0:34:42 | 0:34:45 | |
Her father, Joseph Hoagland, was, I would say, quite well-to-do. | 0:34:45 | 0:34:49 | |
They owned a big estate here in Rumson. | 0:34:49 | 0:34:52 | |
He was not pleased when she turned up and said, I want to marry this | 0:34:52 | 0:34:57 | |
much older, penniless, English polo player. | 0:34:57 | 0:35:00 | |
-This is the wedding, is it? -This is the wedding, yeah. | 0:35:00 | 0:35:04 | |
Look at your mother. | 0:35:04 | 0:35:05 | |
And it was a very glamorous society wedding. | 0:35:05 | 0:35:09 | |
So this is Joseph Hoagland. | 0:35:09 | 0:35:11 | |
Joseph C Hoagland. | 0:35:11 | 0:35:12 | |
And he is my great-great-grandfather. | 0:35:12 | 0:35:15 | |
-He did have piercing blue eyes. -Do you know how he made his money? | 0:35:15 | 0:35:19 | |
Well, I don't, really - I should, but I don't. | 0:35:19 | 0:35:22 | |
-He looks a bit dour, doesn't he? -He looks very stern. -Yeah. | 0:35:22 | 0:35:25 | |
To see if she can find out more about her great-grandfather, | 0:35:33 | 0:35:35 | |
Joseph Hoagland, Clare is going to do some digging of her own. | 0:35:35 | 0:35:39 | |
So, Joseph Hoagland, with your piercing blue eyes, | 0:35:44 | 0:35:48 | |
you terrifying man, who are you and what did you do? | 0:35:48 | 0:35:52 | |
So here we go, Joseph Hoagland, 1920 United States federal census. | 0:35:58 | 0:36:02 | |
So he was 30 then. | 0:36:03 | 0:36:05 | |
Birthplace, New York. | 0:36:05 | 0:36:07 | |
Homeland... | 0:36:07 | 0:36:09 | |
Street, Madison Avenue? | 0:36:09 | 0:36:10 | |
He lived on Madison Avenue. | 0:36:11 | 0:36:12 | |
Household members. There is Eleanor Hoagland, who was only four. | 0:36:14 | 0:36:18 | |
My grandmother. Let's see if we can find a bit more detail. | 0:36:18 | 0:36:22 | |
So this must be his passport application. | 0:36:26 | 0:36:30 | |
It's amazing, this, isn't it? | 0:36:30 | 0:36:32 | |
I can actually see the document. | 0:36:33 | 0:36:35 | |
Incredible. | 0:36:37 | 0:36:38 | |
Follow the occupation of real estate. | 0:36:40 | 0:36:43 | |
So he's a property magnate of some sort. | 0:36:43 | 0:36:47 | |
Madison Avenue. | 0:36:49 | 0:36:50 | |
Great. I'm going to Manhattan. | 0:36:51 | 0:36:53 | |
Come on! | 0:36:53 | 0:36:54 | |
Hi, there. Thank you very much. | 0:36:59 | 0:37:01 | |
Today, as in Joseph Hoagland's day, | 0:37:09 | 0:37:11 | |
people travel between New Jersey and the island of Manhattan by boat. | 0:37:11 | 0:37:15 | |
It's so impressive. I mean, just the way, as you come in across the sea, | 0:37:16 | 0:37:20 | |
those buildings are there like big beasts. | 0:37:20 | 0:37:24 | |
I so didn't think we were going to Manhattan. | 0:37:25 | 0:37:27 | |
I'm really thrilled. | 0:37:27 | 0:37:28 | |
Look at all that as real estate, as well. | 0:37:30 | 0:37:32 | |
As property. | 0:37:32 | 0:37:34 | |
When did that spring up? | 0:37:34 | 0:37:35 | |
When did Manhattan become what it is now? | 0:37:35 | 0:37:37 | |
And was Joseph Hoagland anything to do with it? | 0:37:38 | 0:37:41 | |
That's my question. | 0:37:41 | 0:37:42 | |
How does he fit in? | 0:37:42 | 0:37:43 | |
It's exciting, it is. | 0:37:43 | 0:37:45 | |
To try to answer her question, | 0:37:52 | 0:37:54 | |
Clare is meeting an expert on the building of Manhattan, Jason Barr. | 0:37:54 | 0:37:58 | |
Jason, hi. Thanks so much for coming out in the rain. | 0:37:58 | 0:38:02 | |
-It's great to meet you. -Lovely to meet you, too. | 0:38:02 | 0:38:04 | |
Now, your mission, should you choose to accept it, | 0:38:04 | 0:38:06 | |
is to tell me more about my great-grandfather, Joseph Hoagland. | 0:38:06 | 0:38:09 | |
Because I know he had an address on Madison Avenue. | 0:38:09 | 0:38:12 | |
-That's right. -But... | 0:38:12 | 0:38:13 | |
Well, if you look around and across the street, | 0:38:13 | 0:38:16 | |
you will see that is the building... | 0:38:16 | 0:38:18 | |
-The red-brick one? -..that Joseph Hoagland constructed. | 0:38:18 | 0:38:20 | |
-Oh, nice. -He financed and developed that project in 1920-21. | 0:38:20 | 0:38:25 | |
He was involved in many projects throughout Manhattan | 0:38:25 | 0:38:28 | |
and this was just one and he lived just to the left | 0:38:28 | 0:38:31 | |
of this apartment building. | 0:38:31 | 0:38:33 | |
This was constructed for very wealthy clientele | 0:38:33 | 0:38:36 | |
and I have an article here that will give you more information about it. | 0:38:36 | 0:38:40 | |
It starts with a 1 million apartment building. | 0:38:40 | 0:38:42 | |
-What year is this? -This is from... | 0:38:42 | 0:38:45 | |
1920?! 1 million in 1920? | 0:38:45 | 0:38:47 | |
-That's correct. -The Pentalpha Realty Corporation. | 0:38:47 | 0:38:50 | |
Joseph C Hoagland president, owners. | 0:38:50 | 0:38:54 | |
"The operation represents a total investment of 1 million." | 0:38:54 | 0:38:57 | |
-Wow. -But let me say that 1 million in 1920 was a lot of money. | 0:38:57 | 0:39:02 | |
Your great-grandfather was very much on the vanguard, if you will, | 0:39:02 | 0:39:05 | |
of developers who were building sort of modern apartment buildings | 0:39:05 | 0:39:09 | |
to suit the new developing taste of the upper classes. | 0:39:09 | 0:39:12 | |
At the turn of the 20th century, | 0:39:14 | 0:39:16 | |
wealthy New Yorkers lived in town houses or mansions. | 0:39:16 | 0:39:18 | |
But after World War I, | 0:39:20 | 0:39:21 | |
many chose to capitalise on the rising value of land in Manhattan | 0:39:21 | 0:39:25 | |
by selling their homes for redevelopment | 0:39:25 | 0:39:27 | |
and moving to new luxury apartment buildings. | 0:39:27 | 0:39:30 | |
So, Aunt Gail, my Aunt Gail, | 0:39:33 | 0:39:34 | |
told me that they were a very wealthy family | 0:39:34 | 0:39:36 | |
but what I'm not clear on is, did Joseph Hoagland make the money | 0:39:36 | 0:39:40 | |
or did he inherit? Were they already rich? | 0:39:40 | 0:39:43 | |
Well, he certainly would have made money in real estate but I found a | 0:39:43 | 0:39:46 | |
census from 1920 that gives information about Joseph's father. | 0:39:46 | 0:39:53 | |
Right at the top, you can see... | 0:39:53 | 0:39:55 | |
Raymond Hoagland. | 0:39:55 | 0:39:56 | |
And the address is Fifth Avenue. | 0:39:56 | 0:39:58 | |
-Fifth Avenue. -And it actually gives the number, 817. | 0:39:58 | 0:40:02 | |
And what is 817 Fifth Avenue now? | 0:40:02 | 0:40:05 | |
Well, perhaps we should walk over there and take a look. | 0:40:05 | 0:40:08 | |
Come on. | 0:40:08 | 0:40:10 | |
I want it to be really glamorous, really. | 0:40:10 | 0:40:12 | |
I hope all of your dreams come true on Fifth Avenue. | 0:40:12 | 0:40:15 | |
Fifth Avenue, where Clare's great-great-grandfather | 0:40:22 | 0:40:25 | |
Raymond Hoagland lived, has long been one of New York's | 0:40:25 | 0:40:28 | |
most exclusive addresses, where it runs along the length | 0:40:28 | 0:40:31 | |
of Central Park. | 0:40:31 | 0:40:32 | |
Here we can see 817 Fifth Avenue. | 0:40:34 | 0:40:37 | |
That looks more modern to me. | 0:40:37 | 0:40:39 | |
This building was completed in 1924, after Raymond Hoagland was here. | 0:40:39 | 0:40:45 | |
I happen to have a picture of what was here at the time | 0:40:45 | 0:40:48 | |
the Hoaglands were here. You can see we're standing at the same spot. | 0:40:48 | 0:40:53 | |
-They lived in that whole house? -Yes, absolutely. | 0:40:53 | 0:40:56 | |
That is a very grand house. | 0:40:56 | 0:40:58 | |
And they are right opposite the park. | 0:40:58 | 0:41:00 | |
-I mean, that is a beautiful setting, isn't it? -Absolutely. | 0:41:00 | 0:41:04 | |
Let's not beat around the bush - they're loaded. | 0:41:04 | 0:41:07 | |
-Yes, absolutely. -They are loaded. | 0:41:07 | 0:41:10 | |
Fifth Avenue, 63rd Street is the centre of New York society | 0:41:10 | 0:41:14 | |
in the early 1900s. | 0:41:14 | 0:41:16 | |
So, Joseph's father, Raymond, is living here. | 0:41:16 | 0:41:18 | |
-Yes. -Is he the one that made the Hoagland family fortune? | 0:41:18 | 0:41:22 | |
I don't think so. If you turn over this plastic sleeve, | 0:41:22 | 0:41:25 | |
you'll see an article here that I'd like to show you. | 0:41:25 | 0:41:27 | |
So this is from 1913 and it's about Joseph Hoagland. | 0:41:27 | 0:41:31 | |
The one who was involved in New York City real estate. | 0:41:31 | 0:41:34 | |
OK. "Among the most interesting and important of this spring's weddings | 0:41:34 | 0:41:38 | |
"is that of Ms Eleanor Sheldon Prentis and Joseph C Hoagland, | 0:41:38 | 0:41:43 | |
"who is named after his distinguished grandfather..." | 0:41:43 | 0:41:46 | |
Oh, right. Joseph Hoagland is named after his grandfather and he is | 0:41:46 | 0:41:50 | |
-described as distinguished. -Yes. -So who's he? | 0:41:50 | 0:41:52 | |
Like, the original Joseph Hoagland? | 0:41:52 | 0:41:55 | |
Perhaps if you went over to the New York Historical Society, | 0:41:55 | 0:41:58 | |
you could look at the directories which give information | 0:41:58 | 0:42:01 | |
about prominent families. | 0:42:01 | 0:42:03 | |
Clare has discovered that her great-grandfather Joseph Hoagland | 0:42:03 | 0:42:07 | |
was the grandson of another Joseph Hoagland. | 0:42:07 | 0:42:09 | |
It seems Joseph senior may be the source of the family fortune. | 0:42:12 | 0:42:15 | |
To find out if that's the case, | 0:42:17 | 0:42:18 | |
Clare is visiting the New York Historical Society. | 0:42:18 | 0:42:21 | |
She is hoping the answer might lie in city directories | 0:42:22 | 0:42:25 | |
for the late 19th century. | 0:42:25 | 0:42:28 | |
This is the Brooklyn city directory from 1878, 1879. | 0:42:28 | 0:42:32 | |
Thank you very much. | 0:42:33 | 0:42:35 | |
Let's find Hoagland. | 0:42:39 | 0:42:41 | |
Hoagland. So, Joseph. | 0:42:45 | 0:42:49 | |
Joseph Hoagland, baking powder. | 0:42:49 | 0:42:51 | |
Baking powder? | 0:42:55 | 0:42:56 | |
How would you make a fortune out of baking powder? | 0:42:57 | 0:43:00 | |
It's got an address here for him, 171 Dwayne. | 0:43:00 | 0:43:03 | |
Baking powder? I'm just really... | 0:43:03 | 0:43:07 | |
..really surprised. | 0:43:09 | 0:43:10 | |
If he made a fortune, and it's clearly a significant fortune | 0:43:18 | 0:43:21 | |
if his son and his grandson are living where they are living, | 0:43:21 | 0:43:25 | |
you kind of think someone might have mentioned that. | 0:43:25 | 0:43:27 | |
Oh, yes, the Hoagland family fortune, | 0:43:28 | 0:43:30 | |
it was built on baking powder. | 0:43:30 | 0:43:32 | |
An unlikely foundation, given, but clearly quite a successful one. | 0:43:32 | 0:43:36 | |
Clare is meeting culinary historian Linda Civitello. | 0:43:38 | 0:43:42 | |
-Linda, hi. -Good morning, Clare. | 0:43:42 | 0:43:44 | |
I thought I'd better go full New York and have a cup of coffee. | 0:43:44 | 0:43:46 | |
-IMITATING NEW YORK ACCENT: -Coffee. It's cold. -Coffee, yeah. | 0:43:46 | 0:43:49 | |
It's cold, it's cold. | 0:43:49 | 0:43:51 | |
I was looking at my records of my great-great-great-grandfather, | 0:43:51 | 0:43:55 | |
Joseph Hoagland, and it said 171 Dwayne Street. | 0:43:55 | 0:43:59 | |
Yes, there it is. | 0:43:59 | 0:44:01 | |
-That's very cool. -This building is this building. | 0:44:02 | 0:44:08 | |
This is where Joseph Hoagland started a culinary revolution | 0:44:08 | 0:44:13 | |
by manufacturing Royal Baking Powder. | 0:44:13 | 0:44:15 | |
Did he invent it? | 0:44:15 | 0:44:17 | |
Tell me, Linda. | 0:44:18 | 0:44:19 | |
He invented new ways to market it and to advertise it | 0:44:19 | 0:44:24 | |
and he made millions, tens of millions of dollars | 0:44:24 | 0:44:28 | |
on Royal Baking Powder. | 0:44:28 | 0:44:30 | |
Let's go inside, now that you've achieved your lifelong goal | 0:44:30 | 0:44:33 | |
-of standing in New York in winter... -With a coffee! | 0:44:33 | 0:44:36 | |
..talking about baking powder. | 0:44:36 | 0:44:37 | |
Let's go inside and get some dynamite documents to show you. | 0:44:37 | 0:44:40 | |
Oh, brilliant. | 0:44:40 | 0:44:41 | |
So, what is baking powder, why is it so important? | 0:44:44 | 0:44:47 | |
I mean - I genuinely mean it - I know you're laughing at me. | 0:44:47 | 0:44:49 | |
Well, the very first patent for baking powder is in 1856. | 0:44:49 | 0:44:55 | |
It's a powder, it's a mineral that is almost tasteless, | 0:44:55 | 0:44:59 | |
colourless and what it does is it makes things rise | 0:44:59 | 0:45:03 | |
and it's an absolute culinary revolution in the 19th century | 0:45:03 | 0:45:07 | |
when baking powder began to replace yeast in baked goods | 0:45:07 | 0:45:12 | |
because before that something like this cake would be yeast-risen. | 0:45:12 | 0:45:16 | |
Yeast is a problem. | 0:45:16 | 0:45:18 | |
Yeast is a primadonna. | 0:45:18 | 0:45:20 | |
It's very temperamental. | 0:45:20 | 0:45:22 | |
Yeast will go, "Oh, no, it's too hot, I can't make that rise," | 0:45:22 | 0:45:26 | |
or, "You didn't give me enough water," or, | 0:45:26 | 0:45:29 | |
"Go away for a couple of hours, I need to rest." | 0:45:29 | 0:45:32 | |
It takes hours and hours to make something with yeast | 0:45:32 | 0:45:35 | |
and it takes skill. | 0:45:35 | 0:45:36 | |
Baking powder doesn't care - hot, cold, wet, dry, you did it before, | 0:45:36 | 0:45:40 | |
you never did it. | 0:45:40 | 0:45:42 | |
Baking powder just rolls up its sleeves and comes in and | 0:45:42 | 0:45:44 | |
goes, "I live to leaven" | 0:45:44 | 0:45:46 | |
and that's what it does and it is 100% reliable. | 0:45:46 | 0:45:50 | |
So, how does Joseph Hoagland fit into all of this? | 0:45:50 | 0:45:53 | |
What does he do to take most advantage? | 0:45:53 | 0:45:57 | |
Well, let's put these aside and I'll... | 0:45:57 | 0:45:59 | |
-They can come my way! -Oh, OK! | 0:45:59 | 0:46:01 | |
While I show you some documents. | 0:46:01 | 0:46:03 | |
This is the census from 1860 in Ohio. | 0:46:04 | 0:46:08 | |
Ohio? Joseph, 19. | 0:46:08 | 0:46:10 | |
It says he's a student. | 0:46:10 | 0:46:12 | |
Just a few years later he's in Fort Wayne, Indiana | 0:46:13 | 0:46:19 | |
and he's running a pharmacy with Mr Thomas Biddle | 0:46:19 | 0:46:23 | |
and his brother, Cornelius Hoagland. | 0:46:23 | 0:46:26 | |
Wholesale and retail druggists and dealers in paints, oils, | 0:46:26 | 0:46:30 | |
dyestuffs and proprietors of Royal Baking Powder. | 0:46:30 | 0:46:33 | |
They had come up with the name Royal. | 0:46:33 | 0:46:36 | |
-OK. -And they were being successful with it and I believe Joseph was the | 0:46:36 | 0:46:41 | |
motive force because his brother's 12 years older than Joseph but his | 0:46:41 | 0:46:46 | |
-name... -Comes before his brother, even though his brother's older. | 0:46:46 | 0:46:49 | |
-Gosh. -What's going to happen here is Joseph Hoagland | 0:46:49 | 0:46:53 | |
and Cornelius Hoagland are going to buy out Mr Biddle, Thomas Biddle. | 0:46:53 | 0:46:59 | |
-Get rid of Biddle. -That's right, bye-bye Biddle. | 0:46:59 | 0:47:02 | |
Biddle is going to stay in Fort Wayne with the pharmacy. | 0:47:03 | 0:47:07 | |
He keeps everything except... | 0:47:07 | 0:47:10 | |
Royal Baking Powder. | 0:47:10 | 0:47:11 | |
The brothers are going to take Royal and they're going to run and they're | 0:47:11 | 0:47:15 | |
moving back east to New York. | 0:47:15 | 0:47:17 | |
But Biddle therefore gets something that's already up and running | 0:47:17 | 0:47:20 | |
and they get the thing that they're not sure, | 0:47:20 | 0:47:22 | |
-I guess, whether it's going to work or not. -They get the risk. | 0:47:22 | 0:47:24 | |
They're the entrepreneurs here because even at this | 0:47:24 | 0:47:28 | |
point they knew they wanted to be national and global | 0:47:28 | 0:47:31 | |
and they knew they couldn't do it from Fort Wayne, Indiana. | 0:47:31 | 0:47:35 | |
Joseph Hoagland and his brother moved Royal Baking Powder | 0:47:37 | 0:47:40 | |
to New York at a time when business was undergoing a transformation | 0:47:40 | 0:47:44 | |
in America. | 0:47:44 | 0:47:45 | |
New corporations, often headed up by powerful individuals, | 0:47:46 | 0:47:50 | |
were forging vast national companies for the first time. | 0:47:50 | 0:47:53 | |
Andrew Carnegie dominated the market in steel, | 0:47:53 | 0:47:56 | |
JP Morgan in finance and the Rockefellers in oil. | 0:47:56 | 0:48:00 | |
Joseph Hoagland used similar business methods to grow Royal | 0:48:01 | 0:48:04 | |
and fought off competition | 0:48:04 | 0:48:06 | |
from hundreds of other baking powder companies by his pioneering use | 0:48:06 | 0:48:10 | |
of new marketing techniques. | 0:48:10 | 0:48:12 | |
Advertising and marketing is where your great-great-great-grandfather | 0:48:13 | 0:48:19 | |
really excelled. | 0:48:19 | 0:48:21 | |
That's... That is an actual tin? | 0:48:21 | 0:48:22 | |
-Yes, it is. -Oh, my God. | 0:48:22 | 0:48:26 | |
They are branding themselves. | 0:48:26 | 0:48:27 | |
They were one of the first people to engage in branding and also | 0:48:27 | 0:48:32 | |
advertising. I mean, these are things that are extremely modern - | 0:48:32 | 0:48:37 | |
I mean, these are taught in business school now, | 0:48:37 | 0:48:40 | |
to, you know, have a brand name that's recognisable and memorable, | 0:48:40 | 0:48:45 | |
have a slogan - all of this they did. | 0:48:45 | 0:48:49 | |
They just knew this, again, way ahead of their time. | 0:48:49 | 0:48:51 | |
What was their slogan? | 0:48:51 | 0:48:52 | |
Well, let's see what repeats here. | 0:48:52 | 0:48:54 | |
Absolutely pure. Absolutely pure. | 0:48:54 | 0:48:57 | |
-Yeah. -Essentially they're holding their place in the market not | 0:48:57 | 0:49:00 | |
necessarily because they've got superior product | 0:49:00 | 0:49:02 | |
but they're better at the advertising and the packaging. | 0:49:02 | 0:49:05 | |
They've got superior advertising. | 0:49:05 | 0:49:06 | |
-Right. -Yes. And we see this also in this advertising journal, | 0:49:06 | 0:49:12 | |
which uses Royal as an example to other businesses | 0:49:12 | 0:49:17 | |
of how to market your product. | 0:49:17 | 0:49:18 | |
So Royal Baking Powder is advertising every principle paper in | 0:49:18 | 0:49:22 | |
every county seat in America. | 0:49:22 | 0:49:24 | |
Result - concern worth 25 million. | 0:49:24 | 0:49:28 | |
The equivalent today would be over 3 billion. | 0:49:29 | 0:49:33 | |
Royal was national and global and by the end of the 19th century | 0:49:34 | 0:49:40 | |
Royal was on every continent except Antarctica. | 0:49:40 | 0:49:45 | |
And you think, at the heart of all this is a guy | 0:49:45 | 0:49:48 | |
-called Joseph Hoagland. -Genius. -Yeah. | 0:49:48 | 0:49:51 | |
That conversation makes me think, | 0:49:57 | 0:49:58 | |
what sort qualities does a man like Joseph Hoagland have | 0:49:58 | 0:50:02 | |
to be able to take a risk the way he did and throw it all in | 0:50:02 | 0:50:06 | |
to the ingredient bowl, if you will, | 0:50:06 | 0:50:09 | |
that has baking powder at its centre? | 0:50:09 | 0:50:12 | |
I'm going to meet Professor Clifton Hood. | 0:50:13 | 0:50:15 | |
He's an expert on the history of wealthy New Yorkers | 0:50:15 | 0:50:17 | |
and I'm hoping he can tell me more about Joseph Hoagland. | 0:50:17 | 0:50:21 | |
Cliff, I've become a bit obsessed with Joseph C Hoagland | 0:50:24 | 0:50:27 | |
and what sort of a man he might have been. | 0:50:27 | 0:50:30 | |
-Would you like to see what he looked like? -Yes. -Here we go. | 0:50:30 | 0:50:33 | |
-Oh. -This is him. This is from a book called King's Notable New Yorkers. | 0:50:34 | 0:50:39 | |
He kind of looks a sort of man you wouldn't mess with. | 0:50:39 | 0:50:41 | |
I think that's really true. | 0:50:41 | 0:50:43 | |
He is managing a massive corporation and you have to be smart and shrewd | 0:50:43 | 0:50:49 | |
and, in a way, ruthless to survive to get to the top as he did | 0:50:49 | 0:50:52 | |
and that photograph really shows that he made it to the top. | 0:50:52 | 0:50:54 | |
It's really pretty amazing. | 0:50:54 | 0:50:56 | |
Do we have any sense of whether he was a nice man or not? | 0:50:56 | 0:50:59 | |
Why don't we take a look at a Brooklyn Eagle article | 0:50:59 | 0:51:01 | |
which goes into some family disputes? | 0:51:01 | 0:51:03 | |
I'm now very worried, Cliff. | 0:51:03 | 0:51:05 | |
And if you scroll down here this is Cornelius Hoagland speaking | 0:51:05 | 0:51:11 | |
-about his brother, Joseph. -"Suffice to say in a general way | 0:51:11 | 0:51:15 | |
"that his faculty for making uncomfortable | 0:51:15 | 0:51:18 | |
"everybody he comes in contact with is unsurpassed. | 0:51:18 | 0:51:21 | |
"There is much in his belief that he is the mainspring of all success. | 0:51:21 | 0:51:25 | |
"Much in a thousand other eccentricities." | 0:51:25 | 0:51:28 | |
So actually what he's saying is he's egotistical, he's difficult, | 0:51:28 | 0:51:33 | |
he's arrogant, and he's selfish. | 0:51:33 | 0:51:37 | |
And he's ruthless and yet when you think of what Cornelius is saying | 0:51:37 | 0:51:41 | |
about his brother views himself as the spring of all success, | 0:51:41 | 0:51:43 | |
there's a certain amount of truth to that because he was the spring | 0:51:43 | 0:51:46 | |
of the success of the Royal Baking Powder Company | 0:51:46 | 0:51:48 | |
but I think it answers your question, is he a nice person? | 0:51:48 | 0:51:51 | |
-He couldn't afford to be. -Right. | 0:51:51 | 0:51:53 | |
You might also want to know that he dies at a very early age in 1899 and | 0:51:53 | 0:51:58 | |
this is actually his death notice from the Brooklyn Eagle. | 0:51:58 | 0:52:01 | |
Oh, so that says he leaves two sons, John A and Raymond, | 0:52:01 | 0:52:04 | |
and Raymond's the one I'm related to. | 0:52:04 | 0:52:07 | |
"Joseph Christoffel Hoagland was of Dutch extraction and a descendant of | 0:52:08 | 0:52:12 | |
"the early settlers in New Amsterdam." | 0:52:12 | 0:52:14 | |
Right and new Amsterdam is the name for early New York City. | 0:52:14 | 0:52:17 | |
New York City was founded in the 1620s by the Dutch | 0:52:17 | 0:52:21 | |
and it remains Dutch until the 1660s and by the time you get | 0:52:21 | 0:52:25 | |
to the 19th century, people who would claim they're descended | 0:52:25 | 0:52:30 | |
from the Dutch could point to that as being a point of distinction. | 0:52:30 | 0:52:34 | |
You're viewing yourself as descended by some of | 0:52:34 | 0:52:37 | |
the people who founded the country. | 0:52:37 | 0:52:39 | |
And would you trust that? I mean, is that definitely accurate? | 0:52:39 | 0:52:42 | |
Not from this document itself. | 0:52:42 | 0:52:44 | |
I would want to go back and have some other primary proof. | 0:52:44 | 0:52:48 | |
There are genealogies that I've looked at | 0:52:48 | 0:52:50 | |
in the New York Public Library that are best described as fiction. | 0:52:50 | 0:52:53 | |
So I think we have the take this with... | 0:52:53 | 0:52:56 | |
-A pinch of baking powder. -A pinch of baking powder! | 0:52:56 | 0:53:00 | |
I've got a real picture now of Joseph Hoagland Sr. | 0:53:05 | 0:53:08 | |
He's a risk taker, he's a visionary, | 0:53:08 | 0:53:11 | |
he's a ruthless businessman, but I'm really keen to know | 0:53:11 | 0:53:15 | |
whether he was pretending to be Dutch | 0:53:15 | 0:53:17 | |
to give himself a slightly more distinguished air | 0:53:17 | 0:53:20 | |
or whether he really was of Dutch ancestry, | 0:53:20 | 0:53:23 | |
because if he was of Dutch ancestry then he made New York. | 0:53:23 | 0:53:27 | |
And it's all mine! | 0:53:28 | 0:53:29 | |
Clare's come to the Brooklyn Historical Society | 0:53:36 | 0:53:38 | |
to meet genealogist Roger Josslyn. | 0:53:38 | 0:53:42 | |
Roger, hi. I understand you're my man. | 0:53:42 | 0:53:44 | |
-Oh, I hope so, Clare. Nice to meet you. -And you. | 0:53:44 | 0:53:47 | |
Please, let's have a seat. | 0:53:47 | 0:53:49 | |
So, Roger, what I've learnt so far about Joseph Hoagland - | 0:53:51 | 0:53:53 | |
he was fabulously wealthy, he set up the Royal Baking Powder Company. | 0:53:53 | 0:53:58 | |
When I looked at his death notice it said that he was of Dutch ancestry, | 0:53:58 | 0:54:03 | |
like, right from the early settlers of New Amsterdam. | 0:54:03 | 0:54:06 | |
I've no idea whether that's true or not. | 0:54:06 | 0:54:08 | |
Well, I'd like to show you something I think you'll really enjoy. | 0:54:08 | 0:54:12 | |
It's this book here. | 0:54:12 | 0:54:13 | |
-OK. -Please have a look. | 0:54:13 | 0:54:15 | |
The History And Genealogy of the Hoagland Family in America. | 0:54:15 | 0:54:19 | |
-There's a whole book about them? -There's a whole book. | 0:54:19 | 0:54:22 | |
-Beautiful. Oh, Hooghlande. -Hooghlande. | 0:54:23 | 0:54:28 | |
So, it says, "History and genealogy of the Hoagland family in America | 0:54:29 | 0:54:32 | |
"from their first settlement at New Amsterdam." | 0:54:32 | 0:54:36 | |
He's not making it up. | 0:54:36 | 0:54:37 | |
Ah, published by Doctor Cornelius N Hoagland - that's his older brother. | 0:54:37 | 0:54:41 | |
And I think further in the book it says he actually financed | 0:54:41 | 0:54:44 | |
getting this done. | 0:54:44 | 0:54:45 | |
Now, Roger, call me cynical, but is this a source we can trust? | 0:54:45 | 0:54:49 | |
If he financed it and he published it, can we trust him? | 0:54:49 | 0:54:53 | |
Well, it turns out we can. | 0:54:53 | 0:54:54 | |
I have verified it through independent research, | 0:54:54 | 0:54:58 | |
-through many sources. -You believe it, do you? | 0:54:58 | 0:55:00 | |
-Through my research. -Really? | 0:55:00 | 0:55:01 | |
-Yes. -You've double-checked this and it's true. | 0:55:01 | 0:55:03 | |
Triple-checked. They come from the earliest Dutch settlers to New York, | 0:55:03 | 0:55:09 | |
which is a big deal in America. | 0:55:09 | 0:55:11 | |
And not just early settlers but... | 0:55:11 | 0:55:16 | |
..as we can look at here, there's your Joseph. | 0:55:17 | 0:55:20 | |
So, he's the one we've been doing. | 0:55:20 | 0:55:21 | |
There was an Andrew back then, my brother's called Andrew. | 0:55:21 | 0:55:23 | |
Henry Hoogland and that's where the spelling changes. | 0:55:23 | 0:55:27 | |
-Yes. -And then who's this? -Sarah Rapelje. | 0:55:27 | 0:55:30 | |
She is your ten-times-great-grandmother | 0:55:30 | 0:55:33 | |
and she is the purported first European woman born | 0:55:33 | 0:55:38 | |
in what is now New York from the first comers. | 0:55:38 | 0:55:42 | |
-The very first one born here? -Very first, she has that distinction. | 0:55:42 | 0:55:45 | |
And we know from good sources that this is indeed correct. | 0:55:47 | 0:55:52 | |
-Seriously? -Seriously. | 0:55:52 | 0:55:54 | |
So the mother of New York. | 0:55:54 | 0:55:56 | |
-Indeed. -Yes! -Indeed. -What's the Dutch for bingo? | 0:55:57 | 0:56:01 | |
She was first. | 0:56:01 | 0:56:02 | |
-She drew the straw. -But that is, I mean, as a piece of history, | 0:56:02 | 0:56:06 | |
-that's amazing. -It is amazing. | 0:56:06 | 0:56:09 | |
Gosh. | 0:56:12 | 0:56:13 | |
Well! | 0:56:14 | 0:56:16 | |
Now I feel Dutch! | 0:56:16 | 0:56:18 | |
-I wasn't expecting that. -Yes! | 0:56:20 | 0:56:21 | |
I've just been e-mailing my dad and my aunt Gail to say, | 0:56:25 | 0:56:29 | |
"Did you know this?!" | 0:56:29 | 0:56:30 | |
The Hoaglands are descended from the very first European woman | 0:56:30 | 0:56:34 | |
to be born in New York. | 0:56:34 | 0:56:35 | |
It's all a lot to take in. | 0:56:37 | 0:56:38 | |
When we started out on this I never thought we'd end up in New York | 0:56:44 | 0:56:49 | |
and I certainly didn't think that anybody that I was related to | 0:56:49 | 0:56:53 | |
would have been so instrumental in the building of New York | 0:56:53 | 0:56:56 | |
and I don't just mean going right back to the first settlers - | 0:56:56 | 0:56:59 | |
I mean for the Royal Baking Powder Company, as well. | 0:56:59 | 0:57:02 | |
I'm really glad that we discovered this, | 0:57:04 | 0:57:06 | |
that we went on that line because it... I think, in our family, | 0:57:06 | 0:57:11 | |
it's been neglected, it's never really been talked about. | 0:57:11 | 0:57:14 | |
I'd never even heard Royal Baking Powder mentioned | 0:57:14 | 0:57:16 | |
and you'd think that's a pretty significant thing, isn't it? | 0:57:16 | 0:57:20 | |
I feel now less like a tourist. | 0:57:25 | 0:57:28 | |
In a way I guess I feel more connected to America | 0:57:28 | 0:57:31 | |
and to New York. | 0:57:31 | 0:57:33 | |
And maybe there's a hustle and bustle and something to it, | 0:57:34 | 0:57:37 | |
that deep within is significant to me. | 0:57:37 | 0:57:40 | |
It's a pretty cool place, isn't it? | 0:57:42 | 0:57:44 |