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Antiques Roadshow Season 48 Episode 3
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00:00This week's Roadshow comes from Lister Park in the Yorkshire city of Bradford.
00:08Our visit here today coincides with Bradford being chosen as city of culture.
00:14And across 2025, all sorts of venues are celebrating every kind of art.
00:20It started with a grand opening ceremony.
00:23And events have continued throughout the year, celebrating the best of Bradford.
00:30Many of them are taking place at Cartwright Hall, our venue for today.
00:35It has wonderful exhibitions inside and fascinating pieces outside, like this one.
00:42Normally there's a classical bronze statue here on display.
00:46But artist Osman Yusufzadeh has wrapped it in this blue fibreglass
00:51to symbolise the migrant experience of wrapping up your possessions and life, ready for a new start.
00:57Today, though, it's all about unwrapping.
01:03And our experts are busy unpacking treasures brought to their tables.
01:07Good luck, perseverance and wisdom.
01:10So which relates to you?
01:11Oh, gosh, I'm just the jack of all trades.
01:15Should we ruin the hands?
01:17What will for a wish?
01:18Cutting wedding cakes has ruined more sword blades than warfare.
01:23Champagne tonight.
01:26Welcome to the Antiques Roadshow.
01:28You've brought a bit of a doodle to my table here.
01:54But on closer inspection, it's quite an interesting doodle.
01:59This face looks a bit familiar.
02:02John Lennon.
02:02Yeah, well...
02:03A bit of a hero of mine.
02:04The Beatles are the best group in the world.
02:05They're not doing too bad, have they?
02:06Yeah.
02:07Where's you?
02:07We bought it in holiday about 18 years ago when we were in Las Vegas at the Caesar's Palace.
02:14Original John Lennon drawing in a blue pen, handwritten and signed.
02:17I'd be getting into jazz, man.
02:19I've been trying to avoid it all my life.
02:21With love, John Lennon.
02:22And it's initial JL 79.
02:25Does he do a lot of sketches like that?
02:26Oh, yeah.
02:27He was a serial sketcher.
02:28He was sketching from when he was a little boy.
02:30He was sketching right up until his death.
02:33He just couldn't stop sketching.
02:35So, um, do you pay a lot for it?
02:37Well, I'm a bit reluctant to tell you because then the wife will find out.
02:41Go on, just between me and you?
02:43I have two thousand pounds.
02:45Two grand?
02:45Ah!
02:50You need to get your hearing tested.
02:51I didn't see that.
02:54Well, do you know what?
02:55It might have been a bit of money at the time.
02:57And you probably might have been paying about the odds.
02:59But they're not going down in price.
03:01And I could clearly see this if this was a proper authentication.
03:05Five grand.
03:06Really?
03:07Yes.
03:08I'll tell the wife that one then.
03:09Yeah, yeah.
03:15This is a beautiful vase.
03:18I'm almost lost for words for it because it is just glowing.
03:22Isn't it?
03:23I mean, it just, and especially in today's sunlight.
03:25It is absolutely glorious.
03:28How did it end up here today?
03:30It was a mistake.
03:31I was at an antique fair and I bought it.
03:34I thought it was one thing.
03:36Right.
03:36And it wasn't.
03:37What did you think it was?
03:38I thought it was Royal Lancaster.
03:39I can see why.
03:40So the luster and the sort of stylized design.
03:44I then decided it was fake copy.
03:47And it went under the kitchen sink for two years.
03:50Went under the kitchen sink?
03:51Yes.
03:52Did you have a leak or something?
03:55No, it just happened to be rattling around.
03:57And I happened to be looking on the internet one night.
03:59And out pops that vase.
04:01And it was like, hang on a minute.
04:02That's the vase that's under the sink.
04:04So what did the internet say it was?
04:06The internet said it was Zolnipeg.
04:08Right.
04:08Which I believe is Hungarian.
04:10It is Zolnipeg from Pes in Hungary.
04:14And it is the most brilliant example of their work.
04:18At the turn of the 19th into the 20th century,
04:22they developed what were called iersenglazes.
04:25So this lovely sort of ruby luster, this sort of gold luster.
04:29But these were incredibly difficult to fire in the kiln.
04:32And when you turn it around, here we've got the rising sun.
04:35We have this path with these geese.
04:37It is a work of art.
04:40This is as good as any painting.
04:42In fact, it's harder to paint in ceramics like this.
04:47Anyone can take a bit of oil to canvas and call themselves Leonardo da Vinci.
04:50But to paint on something like this, because you are painting your work of art and it's going into the kiln.
04:57And when you look inside, you can see how these runs.
05:00This is what happens to the kiln.
05:01It almost melts it to the point of destruction.
05:04And then you either get magic or failure.
05:07But you have got magic.
05:08And this is the most useful of ours.
05:11Zolnay is red hot right now.
05:14Hungarian people are buying it back.
05:16Can you remember what you paid for it?
05:18I paid £20.
05:18You can add a few notes to that.
05:22Your £20 mistake vase, if that was going to auction, I would estimate that £5,000 to £8,000.
05:30And I expect it to make towards the upper end, if not a little more.
05:34I don't know what to say.
05:37I am genuinely flabbergasted.
05:40It was a mistake.
05:41That's not a bad return, is it?
05:43Champagne tonight.
05:52I really like this.
05:54And I'm really curious as to know what made you bring that to the roadshow.
05:59Well, I'm fascinated by the Wild West.
06:02So when I see something like this, which I think came from America, I like it.
06:08What makes you think it came from America?
06:10I don't know.
06:11I just do.
06:12Because it does.
06:13Oh, does it?
06:14Okay.
06:15It's a powder horn.
06:16Yes.
06:17You know, for carrying the powder.
06:18Put in the musket.
06:19Exactly.
06:21And it's cow horn.
06:23This is a fabulous thing.
06:24I think it's stunning.
06:25And it's the sense of design and the way it's executed.
06:29I've never seen such high relief on an American powder horn.
06:35Where did you buy it?
06:36Skipped an auction market.
06:38It was just on a stall.
06:40Was it a lot of money?
06:42Well, I paid £90, I think.
06:44It was enough.
06:45It was, yeah.
06:46But it's important to me because I like it.
06:48This is an amazing example.
06:51I've never seen one with relevant points filled in with colour.
06:56I don't know whether it's wax or a kind of lacquer.
06:59And this would have been colourful.
07:00It would have been garish.
07:02Yes.
07:02Originally.
07:03You know, this would have been bright green, like emerald green.
07:06And in the end there, we've got a picture of a woman.
07:13Oh, I didn't know that.
07:14In a big hat.
07:16There's her face.
07:17There's her shoulders.
07:18Yes.
07:19And it's set in under the transparent horn.
07:22Wow.
07:22And you've never seen that before?
07:23No.
07:24No.
07:24And I just wondered if it's a kind of pin-up that the hunter carried this pin-up.
07:31Because it looks like a printed image.
07:33I mean, one can't tell and you'll never take it out.
07:36You can't.
07:36No, no.
07:37This is very curious.
07:39I've never seen that.
07:40Really?
07:41Gosh.
07:42Fabulous thing.
07:43Value.
07:44I think it would be estimated at $1,500 to $2,000.
07:48Good heavens.
07:55It's one of the best I've ever seen.
07:56Really?
07:57Yeah.
07:58I'm absolutely thrilled.
08:10Well, I'm looking at two beautifully painted playing cards from Iran.
08:16How come you own these quite rare little playing cards?
08:20Yeah, I'm from Iran and these are like a collection of my family.
08:24It's from Qajar dynasty.
08:26So that would pitch these over 150 years old.
08:30The game of Ghanifa did die out in Iran really at the end of the 19th century.
08:37So they're actually lacquered card.
08:40These were all hand done and each suit had a particular color.
08:44And this is actually a seated bowman.
08:49But on this side, this beautiful young woman, she's got a wine glass in her right hand and a bottle in the other.
08:57She's having a good time.
08:58Yes.
09:00Now on the value front, 40, 50 pounds each.
09:04Okay.
09:04I'm just going to keep them to have peace of my country with me all the time.
09:09Fantastic.
09:09Do you know, I don't know whether I was more enamored of Milo the Jack Russell or your chair when you first arrived.
09:30I think it was probably, I'm a Jack Russell man, I've always had Jack Russells.
09:34But obviously your chair is centre stage as well as Milo.
09:38And I have to say, as soon as I saw it, I was kind of, whoa, that looks very interesting.
09:43And what did I do?
09:45I asked you if we could turn it upside down and have a look at it.
09:47Because often they have a stamp on the bottom of them.
09:50It had a stamp, Morant.
09:53So that to me means an awful lot.
09:55But means an awful lot to you too, doesn't it?
09:57Because your name is Morant.
10:00Yes.
10:00Tell me all about it.
10:02I was tracing my family ancestry.
10:04And I found that George Morant started a furniture business back in the late 1700s.
10:12Yep.
10:13And this is one of his chairs.
10:16You have a credible family history right back to George.
10:19My great, great, great, great grandfather.
10:22That's pretty amazing.
10:24Yeah.
10:24So, how did you find it?
10:27Back in 2020, I put Morant furniture into an online auction site and this came up.
10:36Right.
10:36Along with quite a few other items.
10:38The other items were like in the thousands of pounds.
10:41Yeah.
10:42And this was there for £36.
10:45You bought this for £36?
10:47Plus £50 delivery.
10:49It cost more to deliver it than you actually paid for the chair.
10:52Right, OK.
10:53The name Morant in the history of furniture is very, very important.
10:58We're talking about someone, in effect, who was almost kind of like a latter-day Chippendale in a way.
11:04These were not just people who made furniture.
11:07They were interior designers.
11:09And interior designers and suppliers of furniture to royalty and the aristocracy.
11:14So, quite an incredible pedigree and history.
11:17Now, looking at this chair, it's not in A1 condition.
11:20I mean, that kind of doesn't matter.
11:23It's mahogany.
11:24It looks to me to be sort of William IV in style.
11:28It also has a design registration kite mark on the side there, which I haven't deciphered as yet.
11:34But I think you had a go at it, didn't you?
11:35I believe it's 1843.
11:38OK, so that makes it Victorian, not William IV.
11:40So, we've got that kind of crossover, kind of slightly gothic-y, Macanthus-y look, that crossover period.
11:46I'll be honest with you.
11:48In 36 years of being in this business, it's the first Morant chair I've ever touched.
11:53Wow.
11:54So, to me, it's quite exciting in a way.
11:58I'm going to talk about value.
12:00I can't believe you paid £36 for it.
12:05I think it's worth £3,000 to £5,000.
12:07Really?
12:10Really.
12:13I'm amazed.
12:15Is that in the condition it's in?
12:16Yeah, that's in the condition that it's in.
12:18It's getting repaired.
12:19In the meantime, wherever you've got it parked in the house, I'm sure Milo will enjoy sitting on it in the meantime.
12:27I don't know if you'll be sitting on it any more, Milo.
12:36I mean, I thought it might have been £100 if that, but £3,000 to £5,000?
12:43Stunning.
12:49Well, we've got two rather lovely, delicate rings here.
13:00How did you come across them?
13:02That one was left to us by her great, great auntie.
13:06OK.
13:06She used to collect antiques and jewellery.
13:08Yeah.
13:08And this one we found in, like, a Brickaback junk shop.
13:12Really?
13:13Gosh.
13:13Yeah, we spent, what was it, £20?
13:15Yeah.
13:16Don't tell your dad.
13:18Brilliant.
13:19Really, really pretty.
13:20Have you got a favourite?
13:21That one.
13:22Mine too.
13:24Yeah, it's gorgeous, isn't it?
13:26Well, they're both actually what we call mourning rings, and one of them is slightly older than the other.
13:32This one is what we call a Stuart crystal mourning ring, and it dates from the mid to latter part of the 17th century.
13:39And then this one is a crystal mourning ring, and on the band on the inside, there's a date of 1781.
13:48Now, mourning rings during this period were seen as really important remembrance for loved ones, and embracing that rather than necessarily being completely sad about the person that's died.
14:02It was very much about remembering them as a person, which is good, isn't it?
14:05But this one here, which is the older ring, also has some gold inside the Stuart crystal, which has dislodged, unfortunately, and it would have actually had initials spelled out, which is a real shame.
14:18And this one here, with all of the stones, actually has quite a lot of wear on the surface, but even so, it's a lovely old ring.
14:27Now, mourning jewellery is highly collectible now.
14:30People absolutely love it, particularly when it's a lot older.
14:34Are you a fan of jewellery as a whole?
14:37Um, yeah.
14:37Yes, yeah, and how about you?
14:39Uh, not so much as this one.
14:41Well, she's lovely.
14:43And obviously a bit of a sleuth, you know, going out and finding all these beautiful pieces in bric-a-brac shops.
14:49It's fantastic.
14:50So, as far as value's concerned, the one that we have here, which you found in the bric-a-brac store, paid £20.
15:00How does £400 to £600 at auction sound?
15:07You're not selling it, though, are you?
15:09No.
15:09I think if it hadn't been as worn on the top, we would have been looking at nearer £600 to £800 as an auction estimate,
15:19with the potential to get a little bit higher if you'd have got the bidding frenzy going.
15:24The one that belonged to your great-great-
15:26Ante.
15:27Ante, that one's lovely, and these are highly collectible.
15:31A shame we've got that little bit of damage in there, but nevertheless, auction estimates we'd be looking at
15:37between £800 and £1,200.
15:40Wow.
15:41Wow.
15:43Fabulous.
15:43In 2025, the nation's spotlight has been turned on Bradford as City of Culture.
15:55It's a prestigious prize awarded every four years to a city to celebrate its arts, culture and heritage.
16:03And there are events all across Bradford, attracting people from the city and beyond.
16:11It's inspired a rich diversity of artistic expression.
16:15From performance, sculpture, such as Saad Qureshi's Tower of Now, a tribute to the rich variety of life in Bradford.
16:25Another project for 2025 is a collaboration between local artist Raswan al-Hak and our venue, Cartwright Hall,
16:36exploring the ancient tradition of Islamic calligraphy.
16:41Raswan, you're an artist who specialises in Islamic calligraphy as an art form,
16:47and it has a long and honourable tradition, doesn't it?
16:49It certainly does.
16:50If we look at this one, which is the 18th century, you can see that it's a horse, but it's also Arabic calligraphy.
16:57Arabic has this wonderful plastic quality, so it's writing, but it's also art, you know, and it's flowing.
17:05You can use letters in a variety of different ways.
17:09And these are your tools, the tools of your trade.
17:12So tell me about your two inks.
17:14So this ink over here, it's been made from the ground from Bradford City Football Club,
17:21and there's a special mushroom here.
17:22It's a shaggy ink cap mushroom, and it gives you a dye.
17:26So I added that, and it's made of beautiful ink.
17:29And the red one?
17:30Bradford is known for its curry houses.
17:32So here we took some turmeric and also some chilli powder,
17:37and I mixed them together, but they will fade.
17:40So I added some red oxides from the river here, the River Beck.
17:45Now this is fascinating, because this is a piece you did in conjunction with a boxing gym.
17:50I wanted to do something different.
17:52So what we did was we took a group of boxers down to the British Library,
17:57and then they looked at some really old texts.
18:00So they chose some texts, and we brought all the texts here.
18:03And now you've created this fantastic dynamic figure with this punch and then this swoosh of red here.
18:08Yeah, so with this figure you see some Arabic writing, but you also see letters that spring out.
18:15So this dot represents over a thousand years ago.
18:18And this nukta is from a script that was developed in Persia about 400 years ago.
18:25Representation in Islamic art is not the same as in the Western tradition.
18:30It's not, it's not. So whenever I'm doing a calligraphy for a mosque or a holy place,
18:35then I won't have a drawing of a figure. We will just have calligraphy.
18:40Boxing and calligraphy don't, on the face of it, sound like two things that go together.
18:45What made you put those together?
18:46In calligraphy, there's an enormous amount of discipline that you have to do.
18:50So you have to practice daily. Same with boxing.
18:53And also you have times where you go into the zone.
18:58And in the moment, you forget everything.
19:01And the same happens in boxing as well.
19:04Very interesting to hear about this. A venerable tradition.
19:07Thank you so much for explaining it to me.
19:10I think it's fairly well known that I'm very fond of swords.
19:29This is the 1821 45 pattern.
19:33But it seems to be put through a boil wash.
19:36It's a lot smaller than it should be.
19:38Why have you got a miniature sword?
19:40This was presented to my great-great-grandfather in 1856.
19:46Right.
19:46At that time, he was six years old.
19:48And he was the mascot of the North Gloucestershire Militia,
19:53which I believe is a voluntary regiment.
19:56And at that time, in April 1856,
19:59the regiment was in Aldershot being presented to Queen Victoria.
20:03And Queen Victoria took special notice of him
20:05and asked him what he would like as a gift
20:07because she took a liking to him.
20:10And he suggested he'd like a horse.
20:13So that's a fairly punchy call, isn't it?
20:16I don't think she thought that was a very good idea.
20:18So she suggested making him a sword, a special sword, just for him.
20:21And she presented some money and commissioned this sword.
20:24So it's much smaller so that it would fit.
20:26And yes, there's his sword belt, which is absolutely teeny-weeny.
20:31Yes.
20:32I wore it myself once or twice when I was six or seven years old
20:35and it was tight on me even then.
20:36Fabulous.
20:38It's the 1821-45 pattern with the little folding guard on it.
20:44Mm.
20:44The folding guard was to ensure when you wore it, it sat flat.
20:50Yeah.
20:50And didn't wear a hell in your uniform.
20:53You ever wondered about that?
20:54I have often wondered about that.
20:56I wonder what it is and why it's there.
20:57It says proved.
20:59Ah, I've never noticed that before.
21:01Ah, right.
21:02When a sword's made, it's put in a striking block
21:06and it has to flex.
21:08Oh, wow.
21:09I've never tried that.
21:11Well, once you've done both that,
21:13you then check the blade for straightness.
21:16And in this case, it is dead straight.
21:20It then becomes a proved blade.
21:23Shows the quality of the sword.
21:24Is it steel?
21:25It's steel.
21:25Oh, yeah.
21:26Very good steel.
21:27These are known as the gothic-hilted swords.
21:29Right.
21:30They are probably one of the most elegant of the swords.
21:33As a fighting weapon, it's about as much good as a short stick.
21:38Because the guard is weak.
21:41But as I said, elegant, elegant weapons.
21:43Just what every six-year-old needs.
21:45Indeed.
21:46The perfect birthday present.
21:47And it's still very sharp, I notice.
21:49Oh, it would have been.
21:50Has it ever been used for cutting wedding cakes?
21:52Yes, at all-family weddings.
21:54Stop it.
21:55Oh, no.
21:56Cutting wedding cakes has ruined more sword blades than warfare.
22:00Oh.
22:01You are putting...
22:02They're mostly made out of fruits, okay.
22:04So you've got acids in them.
22:06If you really feel that you must, and I really advise against it,
22:09they must be cleaned assiduously afterwards.
22:13So, have you considered what it's worth?
22:15A few years ago, I remember popping to an antiques fair in Sheffield, where I'm based,
22:20and a local expert there on my description suggested that if I took it round to his shop the next week,
22:26he'd give me £200 or £300 for it.
22:27So I was quite pleased at that.
22:28Very generous.
22:30Not.
22:30Oh.
22:31Full-size sword of that pattern is £4,600.
22:37As they get smaller, they get more valuable.
22:41Oh.
22:41And also, you've got the little story, which is etched here on the chape.
22:46I would put that at a conservative £800 to £1,000.
22:52That's very nice.
22:52Those are terribly elegant swords, a miniature one, and with the Victoria Connect, it's fabulous.
22:58I'm very glad to know some more about it, personally.
23:03I think because it's such an important family heirloom, it makes you feel more connected to the item,
23:07knowing where it came from and its importance.
23:10Yeah.
23:10It makes me like it even more, actually.
23:12Yeah.
23:12Yeah.
23:12Yeah.
23:13So this is an Aussie Clark dress who was probably the preeminent designer of the 1970s.
23:36Were you a great follower of fashion?
23:38Not especially.
23:39I did have a Saturday job in a boutique in Bradford.
23:43Bought this one from a different boutique, I have to say.
23:46But it was just, it was such a bargain.
23:48It was in the sale.
23:49I was still at school.
23:51I didn't have much money, just my Saturday job money.
23:53And I thought, I have to have that dress.
23:55And because it's the only special dress I've ever had, that's why I've still got it now.
24:01Well, it's absolutely fabulous to see it.
24:04Wotty Clark, he was from Lancashire, went to Manchester School of Art.
24:08And when he left Manchester School of Art, he went on to the Royal College, where he was quickly spotted.
24:12And he was introduced to a woman called Alice Pollock, who had a boutique called Quorum.
24:18And she brought him in to do lots of designs for her.
24:22And quickly became incredibly successful, but not monetarily.
24:26Because even though he was a brilliant pattern cutter, he gave away so many clothes to pop stars of the day.
24:32People like Mick Jagger and his girlfriends and lots of film stars.
24:36So everybody wanted a Aussie Clark dress.
24:38Basically, they weren't terribly good at business.
24:40So after a few years, they parted ways.
24:44And their dress were bought up by a company called Radley.
24:47And this dress is actually Aussie Clark for Radley dress.
24:50So it's slightly later in date.
24:51It would be the very early 1970s?
24:54Yes.
24:54Would that be the sort of date that you purchased it?
24:56Yes.
24:57So how did this make you feel wearing this in the 1970s, as a very young girl, obviously?
25:01Really special.
25:02Well, you can see how beautifully it hangs.
25:05It felt.
25:07I felt a million dollars wearing it.
25:09Yeah.
25:09Yeah.
25:09No, it's lovely.
25:10And it's very typical, his style.
25:12Little sort of puff sleeves, very tight bodice, low cut, you know, long flowing dress with the frill on the hem.
25:19And he was very influenced by dance and people like the dancer Nijinsky, sort of very free flowing dresses.
25:27Almost 1940s in his inspiration, but very much in a 1970s style.
25:32And a lot of these designs were, the patterns were by his then wife, Celia Birtwell.
25:37Yes.
25:38And it's the pieces with the Celia Birtwell prints that are particularly desirable.
25:43If you were to sell it at auction, you're probably looking at around £400 to £600, possibly upwards of that.
25:49And retail, I regularly see them in excess of £1,000.
25:53Goodness.
25:54Because they are, they are really desirable pieces.
25:57That's amazing.
26:06We think we know what they are.
26:07We think they're some sort of sari plinching block, but they were abandoned in my mum and dad's garden.
26:13So they woke up in the morning and there were suddenly two beautiful wooden boxes with 20 of these inside.
26:18Really?
26:19How long ago was this?
26:2030 years.
26:21OK.
26:21But it's a shame, you know.
26:22You're absolutely right in your assumption of what they are.
26:25Yeah.
26:25There were lots of these.
26:26I mean, literally millions.
26:28I mean, this is a pattern that would have been put, not necessarily always on a sari.
26:32It could have been on other things as well.
26:34It could have been used curtains, you know, shawls.
26:36Yeah, I mean, are they hand-carved?
26:38Yeah, all hand-done.
26:39It's a lot of work, isn't it?
26:40There's a lot of work gone into this.
26:42This looks like a 19th century one, right?
26:44OK.
26:44Yeah, this does look like a late 19th century one.
26:47But one of these would be between 30 and 50 pounds each one.
26:51Wow.
26:51Right, you know.
26:52Well, I really like these.
26:53I love seeing things that come from India.
26:55So, thank you for bringing it in.
26:56Thank you very much.
27:02Is this yours?
27:03It's my mother's.
27:05My grandmother gave it as a gift to my mother.
27:07My mother used it for when me and my sister were kids and played games.
27:12To play, pretend we went to the shop or a cafe.
27:14And we did the same thing.
27:15We drank orange squash from it.
27:17There you go.
27:17And children do.
27:18But, I mean, yours is a bit more fancy than mine.
27:21So, let's look at it.
27:22I mean, this has got, what's it say?
27:25A bond where fine China, foreign.
27:28Now, this will either be Japanese or German.
27:34And just after the war, when people wouldn't want to buy Japanese or German goods,
27:39they put foreign on it.
27:41Right.
27:41So, it's not saying it's German or it's Japanese.
27:44Right.
27:44This is probably German China made in the French style.
27:47And this is gold luster.
27:49It's gold gold.
27:50Should we root my hands?
27:51Well, for a wish.
27:55This might buy you chips up in Bradford.
27:57It's tens of pounds, I'm afraid.
27:58Okay, okay.
27:59But price is memories.
28:01Memories.
28:01Yeah, exactly.
28:02That's great.
28:03Let's drink the granny.
28:04Cheers.
28:05Cheers.
28:14Well, I've seen you winding towards me with this gigantic sculpture.
28:19And I nearly fell off my chair.
28:20There's only one person that this could be.
28:22And that is a person who I once met, Arthur Dooley, from my hometown of Liverpool.
28:28A welder in the shipyards.
28:30He was a real firebrand character.
28:32A Catholic, communist sculptor.
28:35How do you know this piece?
28:37I've had it all my life.
28:39My mum used to sit me on the radiator and make me polish it from about the age of three.
28:46Pretty emotional about this piece.
28:48Yes.
28:48My dad collected art and sculpture and we've been left with some very nice things.
28:54This one, of course, has the memories from polishing.
28:57But unfortunately, my dad died when I was only five years old.
29:00So it really is a heart piece.
29:05So this is a memory of your father.
29:06Absolutely.
29:07As well as being a beautiful sculpture.
29:09What do you like about it?
29:10I love the feel of it, actually.
29:12I get cross with people that put sculpture behind things and you can't feel them.
29:18It would be great in front of a mirror, wouldn't it?
29:20Because they can see the back of it as well.
29:21It used to be.
29:22It isn't now, but it used to be.
29:24Here it's signed Gladiator by Arthur Dooley.
29:27It's dated AD 71.
29:30So the year for that is 1971.
29:32Quite an early work for him.
29:34He was a boxer.
29:35And he's been known to get up and have a fight with people in pubs over art.
29:41His foundry was in Kirby, just outside Liverpool.
29:45He would have made a plaster maquette out of this.
29:47And then he would have sent it to that foundry in Kirby.
29:50Where they would have made a mould of it.
29:52And then he would have polished it.
29:54He's left this edge here purposely unpolished and a bit rough.
29:59To complement against the polished bronze.
30:03See how much it's worth.
30:07I would say that if this went into auction,
30:09it's going to have a pre-sale estimate of £5,000 to £6,000.
30:13OK.
30:14But do you know what?
30:15I think it could go for a little bit more as well.
30:18It's that good.
30:19I love it.
30:21I really do.
30:22Let's say.
30:23I'd fire in the house.
30:25It would be the first thing that I dragged out.
30:27Other than the dog and my other half.
30:29Yeah.
30:33I was born in 71.
30:39My dad bought it.
30:41And it all feels like a bit of a connection, shall we say.
30:44This is a really awesome landscape.
31:00It's unmistakably the hand of Trevor Grimshaw,
31:03who became very well known for these very timeless, smoky industrial landscapes.
31:08But what's so incredible about it is that he usually draws on a tiny scale,
31:14whereas this is absolutely monumental.
31:18Where did you find it?
31:20I managed to buy it from a friend of Trevor called Jimmy.
31:25And he was a carpenter.
31:28He did odd jobs for Trevor.
31:29And rather than be paid for these jobs, he took pictures in lieu of payment.
31:35And you managed to buy this from Jimmy?
31:37Yes.
31:37I just happened to be at the right place at the right time.
31:41Simple as that, really.
31:42Well, lucky you, because this is quite an extraordinary feat of drawing.
31:48It's not painted.
31:49It's all in pencil.
31:50He's managed to achieve this really incredibly atmospheric, sort of smoky effect,
31:56sort of mystical, sort of mysterious quality.
32:00You can feel the smog.
32:02And then to contrast that with this bold industrial framework
32:08that stretches across the foreground,
32:11he's been a real master at getting every possible tonal difference.
32:15You know, he did go to art school.
32:17He was at Stockport College of Art in the 60s.
32:19And then he went on to develop this incredible style that is absolutely his own.
32:25He's always put in the same category as Lowry, for obvious reasons.
32:30It's an industrial landscape.
32:32And I always think that's a bit unfair,
32:34because Grimshaw developed a very different style.
32:38It's actually really hard to value.
32:41I'm not surprised, to be honest.
32:42You don't really see Grimshaw's on this scale.
32:46His little ones come up all the time, they make a few thousand pounds.
32:48Yeah.
32:48An auction estimate, you'd already put much more than that on this.
32:52Let's say, you know, four to six thousand.
32:54But with an estimate of four to six thousand,
32:56I think you would get some crazy competition for this.
33:00And it would make much, much more than that,
33:02because this is a really special thing.
33:05I mean, you could just, I could look at it all day.
33:08Thank you very much.
33:09We like a challenge on the roadshow,
33:14and we're drawing inspiration from Bradford's Asian community,
33:18with a selection of mystery items,
33:20courtesy of our specialist in Asian arms and works of art,
33:24Ranjit Singh.
33:26Ranjit?
33:26We're calling them mystery items.
33:28They're frankly terrifying.
33:29I mean, look at them.
33:30They are.
33:31But what I want you to do, Fiona, is think outside the box.
33:35OK.
33:36All right.
33:37I'm going to give you two options for each object.
33:40All right.
33:41And make sure you're all listening,
33:42because you're going to be helping me.
33:43So, the one closest to you,
33:46is it a device to stop intruders into an Indian fort in the 18th century?
33:54Or is it an expanding cannonball shot from the 18th century?
34:01If it was a device to repel intruders, how would it work?
34:06One of the balls would be inserted into a little bracket
34:10on top of the entry to the fort,
34:13and when the door would be opened and then intruders.
34:17Exactly.
34:18Yeah.
34:19Drop down.
34:20Or a cannonball that would kind of shoot out of a cannon
34:23and then expand.
34:24Exactly.
34:25As it went.
34:29Right.
34:30OK.
34:31Now, do not tell me this is a fancy rolling pin.
34:34I'm not buying it.
34:36No.
34:36Not a rolling pin.
34:37But is it an object for an Indian wrestler,
34:43Berlwan or a strongman, to strengthen his muscles?
34:47Or is it used by Indian washerwomen
34:50when they're washing their clothes on the riverside?
34:53What, so, to beat the clothes?
34:57And if you're using this to strengthen your muscles,
35:00it's not very heavy,
35:03so how would you use it to strengthen your muscles?
35:06Nowadays, modern weights, you do get different weights.
35:10So, perhaps this is for a beginner,
35:13or maybe it's more for endurance than strength.
35:16OK.
35:18But there is some damage to this part.
35:24So, is it used for beating clothes in a barrel, maybe?
35:28Oh, I see.
35:30What about that scary-looking thing down there?
35:33I mean, it's not that sharp, actually, if at all.
35:35OK, is it a South Indian hunting boomerang,
35:41or is it...
35:42..a South Indian ceremonial ricicle
35:48for the Maharaja to have the first harvest?
35:54Young lady, what do you think?
35:56Can you remember?
35:58Is that to shoot out of a cannon
36:00or to drop to hurt an intruder?
36:04I would probably go to drop from the ceiling.
36:07Drop from the ceiling, and at the end?
36:10Boomerang.
36:10A boomerang.
36:11Ooh!
36:12Right.
36:14That one's to do with rice, the first crop.
36:17You sound very sure about that.
36:18Sure, yeah.
36:20I think that's for testing your strength.
36:25Is that how you do your weights, not that?
36:27No.
36:28A peg washing!
36:29A peg washing, yeah.
36:34So, we've got all options now.
36:35So, I'm going to go for the cannon.
36:37I'm going for the cannon.
36:39I'm going for a washing implement,
36:41sort of pound the washing and wring it out.
36:43And that, if it's not very sharp,
36:45it's either because it's old and it's got blunt,
36:47or it's because it's ceremonial.
36:49So, let's go for ceremonial.
36:51OK, this is, in fact,
36:54an 18th century tribal hunting boomerang.
37:01It's quite similar to an Australian boomerang,
37:04except it doesn't come back.
37:06All right.
37:08I knew I'd get you with this one,
37:10because I believe there is a European tradition
37:14of beating clothes.
37:15Yeah.
37:15But it is an 18th or 19th century exercise club.
37:22So, how would you use it?
37:24There are techniques to use it.
37:26Let's see them.
37:29Are you going to make me do this on TV?
37:33Do we want him to do this?
37:35Yeah, all right, come on.
37:36OK, I'm no expert.
37:38People train with these all their lives.
37:41I'll give it a go.
37:42I'm going to take my...
37:42Let's all stand back.
37:44The trick is to get it upright
37:46and to balance the weight there.
37:50And so, you start there
37:51and you swing it like that.
37:56And the light weight is because
37:58you are working the ligaments,
38:01working the joints,
38:03working the endurance,
38:05getting yourself fit and strong
38:07and maybe warmed up
38:07for something a little bit heavier.
38:09Very impressive, Ranjit.
38:12Very...
38:13So, you've got two wrong so far.
38:20Yes, I know.
38:21You don't need to remind me.
38:24That is an 18th century
38:26expanding cannonball shot
38:28from India.
38:31So, if you notice,
38:32one ball is slightly bigger than the other.
38:34So, that means when it's folded up
38:37and put in the cannon and shot,
38:39the different weights
38:40make the concertina expand
38:43and then you get the circular motion.
38:47Say no more.
38:48You know, it's going to do some damage.
38:50Yes, it is.
38:50And they are quite sharp.
38:52Yeah.
38:53Wow.
38:54God, how fascinating was that?
38:56Oh, my goodness.
38:57Really interesting.
38:58Thank you so much.
38:59God, can I give it a go?
39:00Okay, watch out, everybody.
39:07Yeah, well done.
39:08I see what you mean.
39:21Every once in a while,
39:23I see something
39:23that I absolutely want to own
39:25and this is one of those things.
39:27I love these guys.
39:29I love the object.
39:30Tell me what you know about it.
39:31Well, I really,
39:32I know nothing
39:33except I bought it
39:34on online auction
39:36with my daughter in mind.
39:38She's studying marine biology
39:39and she loves the octopuses.
39:41So, octopuses in Japan
39:43mean good luck,
39:45they mean perseverance
39:46and they mean wisdom.
39:48So, which one of those three
39:49relates to you?
39:51Oh, gosh,
39:52I'm just the jack of all trades.
39:53You don't know.
39:54I'd say perseverance.
39:55Perseverance.
39:56It's a difficult field
39:57to get into
39:57and I'm really excited
39:58that I'm doing it.
39:59So, you know.
40:01It must be,
40:01this guy must be perseverance.
40:03Yeah, yeah,
40:03he's getting in there.
40:04He's getting in there.
40:05But wisdom as well.
40:07Why, yes, very wise.
40:08Absolutely.
40:09And that sort of aquatic theme
40:11continues throughout.
40:12I mean,
40:13we've got this amazing decoration
40:14on the front.
40:15We've got these lovely,
40:16look at these kind of
40:17crashing waves
40:18which goes all the way
40:20around the outside
40:21of this,
40:21what is called
40:22a moon flask.
40:23And then on the back
40:25we've got these lovely
40:25kind of aquatic plants
40:27as well.
40:27So, it is
40:28an aquatic feast.
40:31There we are.
40:31So, Japanese.
40:33This may well have been
40:34one of a pair.
40:36So,
40:36if I'm lucky enough,
40:38I could find the other one.
40:39If I get there before you do,
40:40I can get it.
40:41And I come round to
40:43the sort of shape of it.
40:44So, this was made,
40:45I think,
40:45in about sort of 1870.
40:47Really?
40:47I do, yeah.
40:49Sort of 1870, 1880.
40:51Right in the middle
40:51of what they would call
40:52that sort of aesthetic
40:53Japanism movement here
40:55and elsewhere in Europe.
40:57I mean,
40:57the quality of it.
40:59The one thing I will say
41:00is I'm amazed
41:01it's not signed.
41:03If I'd done this,
41:04I'd want to sign it
41:04because I'd want everybody
41:05to know I made it.
41:07Having said all of that,
41:08I will say that actually
41:10Japanese porcelain
41:11is a little out of fashion
41:12and I think that's
41:14sad, really.
41:15I think if that came up
41:16for auction,
41:17it would make between
41:18£8 to £1,200.
41:21Whoa.
41:22No, only.
41:24Well, that's wonderful.
41:25Hopefully, it's more
41:25than you paid for it.
41:26It is.
41:27Great.
41:27Well, there you go.
41:28There's a profit in it as well.
41:30That's good.
41:38I brought a playbill
41:41from the Alhambra Theatre.
41:42It's about 100 years old
41:44and they just basically
41:45advertised what would be
41:46going on in the theatre
41:47that week.
41:47But they're super rare.
41:49I mean, in 35 years,
41:50I've found three of them.
41:52The Alhambra Theatre
41:53has dazzled audiences
41:55in Bradford
41:55for over a century,
41:58welcoming legends
41:58from Laurel and Hardy
41:59to Morecambe and Wise.
42:02With its iconic
42:03domed façade,
42:04it remains a key landmark,
42:06taking centre stage
42:07in the City of Culture celebrations.
42:13And Lisa Lloyd
42:14is waiting in the wings.
42:16So you've brought in
42:17three playbills.
42:19Why specifically
42:19the Alhambra?
42:21I came to university
42:2235 years ago
42:23and within two days
42:24I'd got a job
42:24working at the Alhambra,
42:26showing people deceits,
42:27selling ice creams
42:28and it was just
42:29a joyous place to be
42:30and I became enchanted
42:31with the place.
42:32And on the walls
42:33of the corridors,
42:34they've got some
42:34of these posters up
42:35and I thought,
42:36one day I'll own one
42:37and 35 years later
42:39I own three.
42:40Three shows the rarity
42:41of them really.
42:42But you know,
42:42they are rare items
42:43because they're just
42:44throwaway items.
42:45You know,
42:45they're printed
42:46on the thinnest paper.
42:48So I guess perhaps
42:49these were saved
42:51maybe by somebody
42:52who was one of the acts
42:53and thought that they
42:54would just keep it
42:54as a memento.
42:56But the Alhambra
42:57really is a local
42:58landmark,
42:59isn't it?
42:59one that was built
43:01in 1914.
43:02It must have been
43:02a magnificent site.
43:04Yes.
43:04And it's really prominent
43:05in the city centre.
43:06There's a lot of development
43:07gone around there
43:08but the Alhambra's still there.
43:09Yeah, the rooms are still
43:10really visible, aren't they?
43:11It's such an iconic theatre.
43:13I just love the social history
43:15that's in the stories
43:16that must be
43:17in these playbills.
43:18Well, I think, you know,
43:19we think some of these names,
43:20there's one or two
43:21that I recognise here.
43:22For the later one,
43:23that's 1958.
43:24So Jimmy James
43:25and this one,
43:26Jimmy Jewel,
43:27they were huge stars
43:28at the time
43:29because this really was
43:30the heyday
43:30of variety performances.
43:33So which is the earliest
43:34one you've got?
43:34Presumably this is the earliest.
43:36Yeah, this is the earliest.
43:37So this is 1926.
43:39I actually got this
43:39from a bookshop
43:40in Melbourne, in Australia.
43:42In Australia?
43:43Albert Whelan was
43:44a big Australian star
43:45so I imagine it found
43:46its way back with him
43:48or somebody that he knew.
43:49Perhaps, yes,
43:49as you can see
43:50it's Albert Whelan
43:51the Australian.
43:52Roy Rivers,
43:52musical unicyclist,
43:54he was still performing
43:54into his 80s.
43:55A musical unicyclist?
43:56Yeah, yeah.
43:57I mean, he was huge
43:58in the States.
43:59He went on to have
43:59a big career in the States.
44:00So you find out
44:02some things
44:03and then other names
44:04are just lost to time.
44:05Yes.
44:06By the 1960s
44:07with television
44:08really it was
44:09kind of very much
44:10in decline.
44:11Yeah, it was.
44:11A lot of the acts
44:12had dropped away.
44:13Variety was dead, really.
44:16They're really interesting
44:17social documents,
44:19aren't they?
44:19And, you know,
44:20I'm really delighted
44:21that you've brought
44:21them along today.
44:23You do see playbills
44:24come up for sale
44:25and I would guess
44:26you're probably looking
44:27at maybe £100 to £200
44:28each for them,
44:29that sort of price.
44:31And, you know,
44:32in the Bradford
44:33Year of Culture
44:33it's really nice
44:34to have a little piece
44:35of Bradford history.
44:36So thank you very much.
44:37No, you're very welcome.
44:45Well, this is something
44:46I didn't think
44:47I'd be valuing today.
44:48A lovely little
44:491970s Lego set.
44:51Whose is it?
44:52It's our mum's.
44:53It's your mum's?
44:54Yeah.
44:55And where did
44:55your mum find it?
44:56At a car boot.
44:57At a car boot.
44:57At a car boot.
44:58And how much
44:59did your mum pay for it?
45:00£3.
45:01Three quid.
45:02Brilliant.
45:02So who's the big
45:03Lego collector?
45:04Me.
45:04Yeah.
45:05You?
45:05For me,
45:06it's pure nostalgia.
45:07And that's with
45:08everything with collecting.
45:09You have your
45:09tin plate trains
45:10and people grew up
45:11around them
45:12and Lego was something
45:13that I absolutely
45:14loved as a kid.
45:15This particular set
45:16is around 1970s,
45:171974,
45:18I think this one
45:19was produced.
45:20And some of the
45:20earlier Lego,
45:21like the Lego systems,
45:22is really, really
45:23finding its feet
45:24in the market now
45:25and there's huge
45:25collectors for it
45:26worldwide as well.
45:27So the fact that
45:28you're finding this
45:28at a car boot
45:29is brilliant.
45:31Do you actually
45:31follow the instructions?
45:32Because when I was a kid,
45:33I got the instructions
45:34and then just
45:35threw them away.
45:35If it's a set,
45:36yes.
45:37But my patience
45:38so much dwindles
45:39so I usually just
45:40make my,
45:40we have like a lot
45:41of spares
45:41and I just make
45:41my own things
45:42out of that.
45:43I can relate to that.
45:44That's exactly
45:44what I did.
45:44So all my sets
45:45were incomplete,
45:46a bit like this one.
45:48So this one
45:48is actually missing.
45:49Probably missing the bench.
45:50Just need two,
45:52two by four
45:53of the same age.
45:54You're also missing
45:55the instructions as well.
45:56So the instructions
45:57with Lego sets
45:57adds quite a lot
45:58of value to them.
45:59Probably 20% of the value.
46:00You do have the whole box though.
46:01You do have the box
46:02and to be fair,
46:03considering this is
46:0350 years old or so,
46:04it's in pretty good condition
46:05as well.
46:06But yes,
46:07you are missing the bench
46:08but you have got
46:08the most important
46:09biggars.
46:09The money maker.
46:10The money maker.
46:11Exactly.
46:12Exactly.
46:14Brilliant.
46:15Ten times what you're paid
46:16you'll probably get.
46:1730 to 50 pounds.
46:17Oh, that's lovely.
46:18And I think
46:19if you could find
46:20these blocks
46:21and you can find
46:22the instructions,
46:2350 to 80.
46:23Is it actually
46:24the aged pieces
46:25or can I just
46:26literally get smart
46:26where I can't draw
46:27when I get home?
46:28No, it's got to be
46:29the aged pieces.
46:30I think you two
46:31are fantastic
46:32and well done
46:32on your three pound
46:33investment as well.
46:34Wonderful.
46:34I saw this glittering
46:46in the sunshine
46:47and it's a wonderful
46:48little thing.
46:49Obviously,
46:49it's Mark Dunhill
46:50so it looks like
46:51a cigarette lighter,
46:51doesn't it?
46:52Yeah.
46:52Where did you get it from?
46:54I don't know.
46:55My husband died recently
46:56and I was clearing his desk
46:58and this just popped up.
47:00Oh, I'm really sorry
47:00to hear that
47:01but did you think
47:02he was maybe
47:03a secret smoker?
47:04No, it was
47:05a secret hoarder.
47:07A secret hoarder.
47:09Well, one thing
47:09I can say is
47:10he hoarded something
47:11really, really good here
47:12because this isn't
47:13a cigarette lighter
47:14at all, is it?
47:15No.
47:16It's a ladies compact
47:17so the obvious one
47:19is if we open
47:20the front hatch here
47:21we have powder
47:22inside with a little mirror.
47:25There we go.
47:26Pull this section
47:27out here
47:28we have a lipstick.
47:31If we pull
47:32this out here
47:33a mascara
47:35and if we flip open
47:37what would have been
47:38the wick cover
47:38we have
47:39a perfume holder
47:41or bottle
47:41which is made of aluminium
47:43to stop the perfume
47:44degrading the metal.
47:45On the bottom
47:47is a little number
47:48design registration
47:49number
47:49for 1928.
47:51Is it gold plated
47:52or is it just
47:53It's actually
47:54gilded brass.
47:56Do you know
47:57it's quite a valuable
47:57little item?
47:58I've no idea
47:59what it's worth.
47:59£700 to £1,000.
48:01£1,000.
48:06Thank you Phil.
48:07This is by
48:19Archie Rhys Griffiths.
48:21That's right.
48:22He's a pit painter
48:23so he started
48:24as a coal miner
48:26and became an artist
48:27in the 1920s.
48:29Yes.
48:29You've never been
48:30down a pit?
48:31I have.
48:31I've been to
48:31Capstone Coloury
48:32going towards Wakefield.
48:34When you get down there
48:35they turn out the lights
48:36so all you've got
48:37is a man's helmet
48:38and it's dark.
48:40That dark
48:40is like the dark
48:41you've never seen
48:43above ground
48:43isn't it?
48:44It's astonishingly
48:45velvety dark.
48:47That's correct.
48:48Somehow this painting
48:49captures the mood
48:50and these lanterns
48:51here you've got
48:52five lanterns
48:53and they reveal
48:54what the title
48:55of the picture is
48:56Hawleyers in difficulty.
48:59Yes.
48:59This cart
49:00which is probably
49:00carrying coal
49:01is on four
49:02steel wheels
49:03that have fallen
49:04off the rails
49:05I think
49:05and you see
49:06this horse here
49:06pulling incredibly hard
49:08you see the energy there
49:09and there's another man there
49:10and he's pushing
49:11with his legs
49:12from the back
49:13and these two men
49:14trying to get the thing
49:16back on the rails
49:17very very effective.
49:19It's oil on a piece
49:20of old plywood
49:21isn't it?
49:21Yes.
49:22A lot of times
49:24artists
49:25especially poor artists
49:26would have found
49:26anything to paint on
49:28possibly backs
49:29of wardrobes
49:30and things like that
49:31perhaps.
49:32Well as a result
49:32you know it's suffered a bit
49:33because he hasn't
49:34prepared it properly
49:35and so you see
49:35the grain of the wood
49:36through it
49:37but even so
49:38it's very dirty
49:39it's probably got
49:40sort of coal dust
49:41on it or something
49:42I don't know
49:42but can I show you
49:44what it would look like
49:45if you cleaned it?
49:46Yes.
49:49And you can see
49:51really that
49:51the light
49:52begins to work
49:53now if this picture
49:54was cleaned
49:55and varnished
49:55you'd be able
49:56to look into it
49:57like a wet stone
49:58and see these colours
49:59and subtleties
50:00Yes
50:00I was thinking
50:01about value
50:02and it's so moody
50:04and dramatic
50:05£2,000 to £3,000
50:06Oh
50:07Oh
50:08Oh
50:09Very good
50:11Fantastic end
50:18to a fantastic day
50:19and I'm sure
50:20when it's cleaned up
50:21it's going to be
50:22a really great piece
50:23and the valuation
50:24was well
50:25quite frankly stunning
50:27You came to my table
50:39with a very ordinary
50:41black box
50:42Yes
50:42Well
50:42when I opened
50:43the box
50:44there was no
50:46ordinary jewel inside
50:48so please tell me
50:49how did you acquire this?
50:51Well
50:51this was my mother's
50:52I think she bought it
50:53in the early 70s
50:55she wore it
50:56out
50:56an awful lot
50:58to dinner dances
50:59round table
51:01this kind of thing
51:01with my father
51:02you know
51:03and Jane
51:03saw it
51:04a long time ago
51:06and always admired it
51:07didn't you?
51:08Yeah
51:08definitely
51:08it's so beautiful
51:10it's so fine
51:10You're absolutely right
51:12I mean we have the name
51:13Grima
51:13Yes
51:14It filled my heart
51:15with joy
51:16when I saw it
51:17because I absolutely
51:18love
51:19Andrew Grima's work
51:21Yes so do I
51:21I mean he's sort of
51:22the godfather
51:23of the modernist jewelers
51:24He transformed jewelry
51:26in this country
51:27from the 60s
51:29right up until
51:30the early 2000s
51:32Yes
51:32Do you think your mother
51:33went to German Street
51:34to buy from his shop there?
51:37It wouldn't surprise me
51:38Yes
51:38It certainly wouldn't surprise me
51:39she has that kind of style
51:40It was just big slate
51:42slabs
51:44in front of the shop
51:45and tiny windows
51:46where you had to sort of
51:47peer through
51:48like you were looking through
51:49Aladdin's cave
51:50Oh right
51:51Yeah
51:51And his workshop
51:52at the time
51:53they were doing things
51:54that no one else
51:55was doing
51:56He would have this
51:57wonderful symbiotic
51:58relationship
51:59with his craftspeople
52:00and he would give them
52:01sort of like
52:03make me a leaf brooch
52:04and they're going
52:05well how am I going to do that
52:06and he said
52:06well you're the maker
52:07I'm the designer
52:08you know
52:09so that's your problem
52:10you've got to solve that
52:11and this is a beautiful leaf
52:15and it has the one diamond
52:17and that is to represent
52:19a dew drop
52:20Yes
52:20Yeah
52:20The casting process
52:22to make something like this
52:24is incredibly skillful
52:26and I mean
52:28to show all the veins
52:30like this
52:30it's so thin and delicate
52:32and the way that he's managed
52:34to get
52:34but the leaf
52:35as if it has fallen
52:37on the ground
52:37Yeah
52:37Every single jewel
52:40he made
52:41was different
52:42Oh wow
52:43Yeah
52:43So when you wear this brooch
52:45you know
52:45no one else
52:47is going to be wearing it
52:48but they will all be admiring it
52:50Yes
52:50That's for sure
52:51Yeah
52:52And that's why
52:53his jewellery
52:54is so collected
52:56So
52:57gosh
52:58I would say
52:59that's going to be
52:59at least
53:00£6,000 to £8,000
53:02Wow
53:02Wow
53:03I won the sweet
53:05I wasn't expecting that
53:07That's amazing
53:08I didn't expect
53:09didn't expect that
53:10but she had a good eye
53:10I have to say
53:11bless her
53:11Oh my gosh
53:12But she bought it herself
53:14or did your father buy it?
53:15No she bought it herself
53:16Oh she bought it herself
53:17That's even better
53:18Highly approved of women
53:20buying jewellery
53:21for themselves
53:22No
53:22On the roadshow
53:31we've been fortunate
53:32to see many fine works
53:33by the renowned
53:34furniture maker
53:35Robert Thompson
53:36crafted in his workshop
53:38here in Yorkshire
53:38and all featuring
53:40his trademark signature
53:41of a carved mouse
53:43and there's no shortage
53:45of them
53:45on Ronnie Archer Morgan's
53:46table today
53:47The pieces you've bought
53:50are remarkable
53:51Thank you
53:52You've really got an eye
53:53for quality
53:54but every piece you've chosen
53:56is precision
53:58like this wonderful money box
54:01the big slice of cheese
54:03with a mouse going through
54:05and poking its head out
54:06the other side
54:07Yes
54:07Look at that
54:09Yeah
54:09I mean look at that
54:10isn't that clever
54:11Yes
54:12I just love it
54:13So witty
54:14Robert Thompson
54:17carried on the tradition
54:18that William Morris
54:20started
54:20in the 19th century
54:22of bringing craft
54:24back to production
54:26These owls
54:28they're extraordinary
54:29late 50s
54:31into the 60s
54:32and they've got their
54:33breakfast in their mouths
54:34They have
54:35And they're a pair
54:37but they're a flanking pair
54:38So they face
54:40in opposite directions
54:42I mean
54:43they're just stunning
54:45So what did you buy first?
54:48I think it was probably
54:49the ashtrays
54:49And then what made you
54:51want to go on?
54:53Because we just love wood
54:54we love anything nice
54:55we like things that are tactile
54:56I mean you've got
54:57this wonderful stool here
54:59and look how that's made
55:00It's gorgeous
55:01I mean that's just
55:02a stunning bit of
55:03Yorkshire oak
55:05which is what everything
55:06is made from
55:07and the tapering leg there
55:09I mean that's not easy to do
55:10No
55:10Lovely craftsmanship
55:13and you've got
55:14the little mouse again there
55:15Yes
55:16The signature
55:17I mean
55:19it's not rare this stuff
55:20There are a couple of things
55:22on this table
55:22that are rare
55:23and it's these
55:24What did you pay for those?
55:25About £600 each
55:27About £600
55:28You were brave
55:29Well
55:30yes brave
55:31but we love them
55:32But I like that
55:34because that's a commitment
55:35to what you love
55:36isn't it
55:37I mean do you like these?
55:38I mean they're amazing
55:39Who doesn't?
55:40Yeah
55:40I mean
55:41it's not that you don't see
55:43at Mouseman stuff
55:44it's that you don't see
55:45a group of things
55:47by Mouseman
55:48like these
55:49Yes
55:49Yeah
55:50They're extraordinary
55:51and I suppose
55:53you want me to value them
55:54Mm
55:55A stool like that
55:56could easily make
55:57£800
55:58Wow
55:59Yeah
56:00Good
56:00Pair of those
56:02bookends
56:03£500 to £600
56:04£400 to £500
56:05These owls are something else
56:08You paid £600 each?
56:10Yeah
56:10Yeah
56:11They'd now
56:12make comfortably
56:13£6,000 each
56:16No way
56:17Wow
56:18Wow
56:18So the whole lot here
56:21is between
56:22£14,000 and £15,000
56:25Wow
56:26Wow
56:26You are so clever
56:28Wow
56:28Thank you
56:29You've got such
56:30a great eye
56:31Not going anywhere
56:35we're keeping them
56:36Whenever the cameras
56:43are about to stop rolling
56:44at the end of a day
56:45at the roadshow
56:46I always think
56:46that is the moment
56:47to have a cup of tea
56:48Even better
56:49with a biscuit
56:50And look
56:51This is a special tin
56:53to commemorate
56:54Bradford City of Culture
56:55Edible Archives
56:57And inside
56:58are the most
57:00beautiful biscuits
57:02All telling a different story
57:04about the history
57:05and the culture
57:06of Bradford
57:07over the centuries
57:08And I'm going to pick one
57:09I think this one
57:10It says
57:12Welcome
57:12in English
57:14and in Arabic
57:15and in Burmese
57:16A meld of languages
57:17to reflect
57:18Bradford itself
57:19Mmm
57:22Delicious
57:23From the Anti-Stradio
57:26and everybody here
57:27Bye-bye
57:28William Trax's royal foe
57:34and battle shall commence
57:36Epic historical drama
57:37King and Conqueror
57:38continues here
57:39in an hour
57:39Coming up
57:40he's taking the
57:41grassroots revolution
57:42across the North West
57:43New
57:44Freddy Flintoff's
57:44Field of Dreams
57:45starts next
57:46I'll see you next time
57:48I'll see you next time
57:49Bye-bye
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