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Antiques Roadshow Season 48 Episode 12
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00:00Today we're in the Kingdom of Fife, near the town of Koopa, and our venue is the Hill of Tarvit Mansion and Garden.
00:09This house is a treasure trove of art and antiques, and I've been given a chance to get my hands on some of the mansion's extensive collection.
00:17And I'm not talking about porcelain or some old master, no, I am talking vacuum cleaners.
00:24From the Daisy Sweeper to the Star Bellows, used from the 1900s, to the Hoover Junior from the 1930s.
00:32And these represent just some of the gadgetry loved by the Sharp family who built this house between 1904 and 1908.
00:40And they're a family that worked hard, they played hard, and they loved the latest in mod cons and technology.
00:47And I'll be taking a look at some of those later on.
00:49But in the meantime, who dropped those biscuit crumbs?
00:53And taking a sweep of all the antique items on show is our trusty team of experts.
01:03Just a little bit of what's said at home. And it's largely your fault.
01:08What?
01:10When I saw this box coming down the queue, my knees started to shake.
01:16Well, it might have been a good evening because they left the kilt as well.
01:19Oh!
01:22So don't put it in the garden again.
01:24Oh dear, no, my boy.
01:25Who doesn't dream of running their fingers through chests full of gold coins?
01:29Welcome to the Antics Roadshow.
01:30Welcome to the Antics Roadshow.
01:32Oh dear, no, my boy, too.
01:33MUSIC
01:39I always remember my father saying to me that one is a single, two is a pair, three is a collection.
02:01Look before us. This is collecting, isn't it?
02:05It's part of it, yes.
02:06One of my lifelong obsessions is the work of pool pottery and particularly the interwar years and the designs of Trudor Carter.
02:15Now, this seems to be your absolute divine point as well. So tell me, when did this start?
02:23I only started collecting maybe two and a half years ago and this is just a little bit of what's said at home.
02:32And it's largely your fault.
02:34What? May I ask how? It is my fault.
02:40Because I saw one of the episodes where you were playing one of the games with Fiona and showing your collection.
02:48And I had a couple of bits, some of the Bluebird pieces, but I don't think I really appreciated the scale of what they were doing at pool then.
02:57And so that kind of made me investigate more.
03:01Right. Do you know what? I've never been blamed for a collection habit ever in my life.
03:06And it's interesting because pool as a company, I mean, they are incredible.
03:11They're one of these names that throughout their history, throughout their career, have always kept in track with the trends.
03:20You come forward into the 1920s and 30s and really this pivotal moment where Trudor Carter joins the firm, when the firm becomes Carter, Stabler and Adams and there is this absolute boom in design.
03:36I mean, this, this, I covet this, I mean, this is the most incredible vase and a rare pattern in a design underneath.
03:45And I'm sure you've now learnt the pattern is called Cayenne.
03:49You've got the most brilliant mark there because that's Ruth Paveley.
03:53Yeah.
03:54Who, for me, along with Anne Hatchard, are the two greatest paintresses working in this period.
04:00Look at it. That's a rare beast.
04:03Now, you say you've been buying for sort of two, two and a half years.
04:06Yeah.
04:07So here, what's the most you've spent on any one piece here?
04:12That one.
04:12This one.
04:13Yeah.
04:14And what did it cost you?
04:15About £240.
04:18Tell me, if you added up here, how much have you spent here on the tables?
04:22Don't listen.
04:23How much have you spent here on the table?
04:26Maybe about £1,000.
04:27£1,000.
04:28Just over, maybe.
04:30I love the sideways glance.
04:32OK, look, I'm going to reward your hard work.
04:36Because that vase alone, I would happily pay you £500 to £600 for to walk away with it today.
04:43As a collective group here on the table, your £1,000 invested is closer to £3,000.
04:50Wow.
04:51OK.
04:51Well done.
04:54How much more at home?
04:56About ten times.
04:57About ten times?
04:58LAUGHTER
04:59Do you know what?
05:01No wonder I haven't bought a piece of wool for two and a half years.
05:10I'm sure you know what this is, but what I'm more curious about is where you got it.
05:15I inherited it from my father from Ghana, Gold Coast then, and my father worked there in 1938.
05:22Is that when he acquired this?
05:24Yeah.
05:24He caught malaria, so he had to come home early, or he would still have been there when the war broke out.
05:28So you've known this all your life?
05:30All my life.
05:31It's been in our family all my life, yeah.
05:32Believe it or not, one of these, and it was an elephant, not as handsome as yours, was a stool that I bought many years ago that drew me into the subject of African tribal art.
05:46These Ashanti stools, or thrones as they were known, you know, were the ultimate symbol of power for the Ashanti.
05:55And the Ashanti chief of chiefs would sit on a gold one of these.
06:01And they're a very important part of Ashanti tribal culture.
06:07They've got their own personal stool, and they believe their spirit is absorbed into the timber of the stool.
06:13And when they're not using them, they turn them to the wall so that no one else's spirit can enter their stool.
06:20I mean, the whole culture is fascinating.
06:23You've known it all your life.
06:24And did you sit on it?
06:26Occasionally, but as you can maybe see, it's been used for a plant on, and it's been there all my life in various family homes.
06:34You know, this wouldn't have been a chief's stool, although it's made like that.
06:38They were made as souvenirs by the workshops that made them for the chiefs.
06:44It's a very heavy, hard African hardwood.
06:48I think it's a kind of teak.
06:49I can't be sure.
06:50I'd like to just let me look underneath.
06:52Yeah.
06:52But looking underneath, I think this was made before the First World War.
06:57Goodness.
06:57If I hadn't tipped it up, you see, I'd have thought it was 1930s.
07:01I've tipped it up, and that's older.
07:03And, you know, when I first bought things like this, you know, people like them.
07:07They appreciate it.
07:08And I love the shape they've made this ear.
07:11And the way they've scrolled it around, and the simplicity of the eye.
07:14And the tusk is way too fat here.
07:16But it makes it practical.
07:18You couldn't have the tusks out here.
07:19No, it wouldn't work.
07:20No, no.
07:20You know, these have gone up and up in value since I first bought them.
07:24And they're not a fortune.
07:26No.
07:26But a stool like this would be between £500 and £800 for this.
07:32I had no idea.
07:34I was thinking, you know, £50 or something.
07:36Not anymore.
07:37Thank you very much for giving me all the background.
07:39It's a lovely, lovely thing.
07:41Yeah.
07:46Thank you so much for bringing this statue here today.
07:50We have Prince Albert in Highland dress.
07:54I, of course, recognise it as Prince Albert because there is a famous marble statue of him in Balmoral.
08:02And that was by William Thede.
08:04And this is a rather smaller example, but beautifully made.
08:11And I'd love to know how you came about it.
08:14He belonged to my grandparents.
08:16And I first noticed them when I was nine.
08:19He sat at a table in the hall and my grandfather hung his hat on.
08:24Why not?
08:25It's as good a place as any.
08:27Do you have memories of Albert?
08:29Yes.
08:29He's travelled the world a bit.
08:31My first memory is him in Canada.
08:34And then he came back over to Britain and spent some time down in England with my mum's twin sister.
08:41And he's now back up with us in Scotland.
08:44Wow.
08:44Okay.
08:44So, well-travelled Queen Victoria and Prince Albert, who really popularised the idea of travelling to Scotland,
08:51Scotland, especially with their purchase of Balmoral in 1852, Queen Victoria also promoted the idea of wearing what she called Highland things, which was Highland dress, out of doors, when in Scotland.
09:04And you can see here, you have Albert in his Highland dress, with his kilt, his dirk.
09:10And he even has a brooch here fastening his plaid.
09:14It was made in 1863 by Elkington's, a renowned firm of silver manufacturers based in Birmingham.
09:21Now, Elkington and company, they were makers of silver.
09:25And this example here is not solid silver.
09:28This is silver plated.
09:30Elkington's really captured the moment of the unveiling of the statue in Balmoral by creating a model of the famous sculpture by William Fede.
09:45I absolutely love him.
09:47He's a recognisable character.
09:49And I think if this came up at auction, I can see it making between £3,000 and £5,000.
09:57Good.
09:57Good.
09:58Good.
09:59That's lovely.
10:04Now, that is the most fabulous photograph of a little girl holding what looks like a duck.
10:11And if I'm not mistaken, you may be that little girl.
10:15You're quite right.
10:17Now, when was this photograph taken?
10:19I think I was probably about three or four.
10:22Let's talk about this.
10:23Yes.
10:24Because he looks a bit like a duck.
10:27But if you take your hand away, we can see there's something really rather unique about this with his stripy head.
10:35And if you put his head up a little bit higher, he looks like something that isn't a duck.
10:40What does he look like?
10:41I think he looks like a pedestrian crossing sign.
10:44He does.
10:44Belisha Beacon.
10:46Yes, he is the Belisha Duck.
10:49The first Belisha Beacon was put into use in 1934.
10:52That's right, yes.
10:53And this commemorated it.
10:55I've seen a couple of these in the past, and they're usually put down to the maker Farnell, which is a British maker.
11:01They are rare.
11:02And I think that in an auction, he would probably fetch perhaps a couple of hundred pounds.
11:07Really?
11:07Really?
11:08Really?
11:08Well, he's not going to an auction.
11:10Not that I know of.
11:11Thanks very much.
11:12Thanks very much indeed for bringing him in.
11:14So here is an artist who probably needs no introduction to our audience at home.
11:28And his name is, of course, Jack Vetriano, instantly recognisable to many, many people.
11:32Now, I just want to thank you for bringing this in today, because I was hoping we would see a Vetriano today.
11:37That's because we're here in Fife, which is where he is from originally.
11:40And also, earlier this year, he unfortunately passed away.
11:43So perhaps you could tell me a little bit about how you came by the painting.
11:46My parents bought it in the early 90s at the Pittingween Arts Festival.
11:51Just down the road, yes.
11:52Yeah.
11:53They liked it because the close resemblance of my dad and his cousin, my Aunt Molly.
12:00And I think they bought it for the region of about £300.
12:03Yeah.
12:04And this was in the early 90s, so they wouldn't have actually heard of him at this point.
12:07This was quite early on in his career.
12:09Mm-hm.
12:10And before he was taken on by some of the more major galleries in London that made his name.
12:14Interestingly, this work is framed like a watercolour, a work on paper, in that it's glazed and it's got this kind of cardboard mount.
12:21But it is actually an oil.
12:22It's an oil on canvas or perhaps canvas board.
12:25There's this sort of crisp delineation, this sort of sense of draftmanship in the outline.
12:29And it gives it this quite sort of graphic, almost, you know, photographic kind of impact.
12:34You can sort of see it's him transitioning from his early style into his more mature style.
12:38It's exactly the kind of subject matter you'd expect from a Vetriano.
12:41So it's a little bit sort of flat in its handling.
12:44He sort of went on to develop a bit more depth.
12:46But it's a really, really lovely composition, this one.
12:48And in fact, I think you've done a little bit of research yourself, haven't you?
12:51And you think you've identified it as a picture called Deck Chairs, potentially?
12:54Yes.
12:55Yes.
12:55He was always a contentious figure, extremely popular, one of Britain's best-loved artists, I think, by the general population.
13:03Critically less highly regarded.
13:05However, I know that when the Kelvin Grove had an exhibition of his work, a major retrospective, about ten years ago,
13:11I think it was their exhibition with the most footfall they've ever had.
13:14So, you know, he was an extremely popular artist.
13:16But can I ask whether you like it?
13:18We've always liked the picture, but mainly because of the reference to his dad and his aunt.
13:23OK, so in terms of value, obviously, as I mentioned earlier, he passed away earlier this year.
13:28It's a bit early to tell what kind of impact that's going to have on his market.
13:32I think you're probably looking at around the £10,000 mark if this were to appear at auction.
13:37Wow.
13:38Yeah.
13:39What a money.
13:40That's great.
13:45You know, when I saw this box coming down the queue, I mean, I was sitting down,
13:52but my knees started to shake because I know what's in this box and you know what's in this box.
13:58So what have we got inside the box?
14:02OK, here it comes.
14:04And we have a wonderful mid to late 18th century microscope.
14:11What a beauty.
14:15So what on earth are you doing with a late 18th century microscope?
14:19A history of science in the family or something?
14:21Yeah, yeah, that's older than I thought it was.
14:23It was my grandparents and they left it to me.
14:26My grandparents had it for longer than my mum was alive,
14:30so I don't really know the story behind it.
14:33I work in science.
14:35Ah.
14:35So I think that's why they left it to me.
14:37So do you like it?
14:39I do like it, yeah.
14:40The shape of a microscope can tell you a lot about its age.
14:43Now, I mentioned it was 18th century, mid to late 18th century,
14:47so we call this, with this sort of vertical column here
14:51and this wonderful little curving bracket, a cuff type.
14:53A cuff type.
14:55And a cuff type was developed by John Cuff,
14:57but it was an association with a natural philosopher called Henry Baker.
15:02Now, Henry Baker was kind of frustrated with the microscopes of the day,
15:07so you either had a little miniature one
15:08or else you had what they called a culpepper type.
15:11So that has the tube with the lenses in
15:13above sort of brackets with three or four legs.
15:18And, of course, if you're trying to move the slides around,
15:20and you'll know about this if you're a scientist,
15:22the legs kept getting in the way, but it was also a friction fit.
15:25What you tended to find was it jerked up and down
15:27and basically wouldn't move very smoothly,
15:30so getting that all-important focus, which you'll know about,
15:33was really difficult.
15:34So Cuff developed this.
15:36It's a wonderful instrument.
15:38I mean, it really makes my heart skip a beat.
15:41Do you say the same?
15:42I do say the same, yeah.
15:45It's got to make his name on it.
15:47So we've got Jay Bennett here of London.
15:49Now, there were two Jay Bennett's, as far as I'm aware,
15:51and we don't know much about either of them,
15:54but they were really good quality makers.
15:56Now, the first thing I need to do when I see one of these as well
15:58is to fiddle around.
16:00Do you know what's inside the drawer?
16:01There's a few, like, accessories.
16:03OK.
16:03You're going to know what these are better than I am,
16:05but you've got some little lenses here
16:08and then some little bits and bobs and some slides as well,
16:11and what I believe to be the original box.
16:13So you work in a laboratory, presumably.
16:15I do, yeah.
16:16Have you ever tried using it?
16:18I have not.
16:19I've been a big chicken, afraid to do any damage to it,
16:23but I do use a microscope at least once a month at work, so...
16:28Oh, come on, you're an old hand.
16:29I mean, you'll know what to do.
16:30You'll be fine.
16:30Maybe I will give it a go.
16:33So this is a bit of living room decoration.
16:36It's a curio in your house,
16:38connected, of course, to your career.
16:40It's also £1,200 to £1,800.
16:43It's more than I expected.
16:44That's it! Wow!
16:53The land on which the mansion and garden stands
16:55has witnessed human settlement for thousands of years,
16:58with evidence of an Iron Age homestead in the surrounding fields.
17:03But as grand homes go, the mansion itself is a bit of a youngster.
17:07This is a 20th-century house built for Frederick Sharp.
17:11He was a businessman from Dundee
17:12and made his fortune from finance and the textile industry
17:15with the family jute mills.
17:16And he employed a talented and ambitious architect, Robert Lorimer,
17:21to create a country pad.
17:23This is the story of a modern house and a modern family.
17:30Frederick Sharp wanted a home that would showcase the latest designs,
17:33and, just as importantly, be a place to entertain his guests.
17:38The house was perfect for parties.
17:41And Frederick Sharp and his wife, Beatrice,
17:43whose sister married Sharp's brother,
17:45loved the estate with its leisure and sporting facilities,
17:48and they embraced the dinner party.
17:50And here in the dining room is a perfect example
17:52of Frederick Sharp's eye for the unusual.
17:55This silver galleon, or neff, could be wheeled along the table like so.
18:04Providing a very lavish method of passing condiments to the assembled guests.
18:09It was both a conversation piece
18:11and a very effective way of showing just how wealthy Sharp was.
18:15To help with its running, the house was designed
18:21so that the front was for family entertaining,
18:24while the back was for the staff.
18:26This was an improvement from the upstairs-downstairs approach
18:29of previous centuries, and came equipped with modern technology.
18:33It made sense that the kitchen was near the dining room,
18:35and the modern phone system meant you didn't have to wait for your meal.
18:39In fact, this was one of the first properties in the area to have a phone,
18:42and more than a century later, the number is still the same.
18:47Hello, Hill of Tarvit.
18:50As the lady of the house, Beatrice Sharp insisted on many additions,
18:55such as three taps on the kitchen sink for hot, cold and rainwater,
19:00an early nod to sustainability,
19:02as the rainwater could be used for cleaning jobs.
19:05She also invested in a large laundry room,
19:08so that all washing could be done on site.
19:10There were modern, labour-saving devices like this mangle and this press,
19:15even rudimentary washing machines,
19:17but at the end of the day, it was hard, physical work for the laundry maze.
19:27Sadly, this grand and modern house
19:29was not to remain with the Sharps for long.
19:31By the late 1940s, all the family had passed away,
19:35and the house and its precious contents
19:37were bequeathed to the National Trust for Scotland.
19:39It remains a very special house,
19:42and one of the most modern managed within the Trust,
19:44a snapshot of cutting-edge Edwardian design
19:47and early 20th-century Scottish family life.
19:50My first impression is, it's an amazing thing,
20:03and I'm going to tell you everything I know about it in a minute.
20:06I want to know everything you know about it.
20:08Well, it came into my family via my husband's grandparents,
20:13and we've had it in the family for many years,
20:16and it's just been around the house,
20:18and it's a very tactile piece,
20:21and kids all rubbed its head, you know, when they were young.
20:24Do you know where it's from?
20:26I suspect it's maybe Indian, but I have no proof of that.
20:30OK. Well, we can debunk that one straight away.
20:33It's Chinese.
20:34He's an arhat, and they were, you know, protectors of the Buddhist faith,
20:38and this is a particular arhat because he went out into the forest
20:42because there was a ferocious tiger loose in the forest in China a long time ago,
20:47and he was sent out, and unlike a warrior, he had no weapons at all,
20:50only compassion and his spiritual wisdom,
20:52and he met this ferocious tiger in a clearing,
20:57and the tiger approached him, and he tamed the tiger,
21:00took him back to the temple,
21:01and became known as the Tiger Taming Arhat.
21:04Oh.
21:05I mean, if I had to put a date on him,
21:07probably somewhere around sort of 1850, something like that.
21:09I see a lot of this type of kind of wood carving
21:12and on this lovely kind of naturalistic fitted stand.
21:15The thing that strikes me about this one
21:17is the attention to detail and the quality,
21:20and I was taught something actually quite recently
21:22by a scholar, and that is, there are things that, you know,
21:25his words, which is, why would you bother,
21:27and it's a mark of quality, and what I mean by that is,
21:30if you turn this over and you just look at the attention to detail,
21:33the pores underneath, they've spent as much time
21:36making that look as good as that,
21:39and it's a sign of good quality, it's a sign of, you know,
21:41one of the best carvers.
21:43You know, the way that fits onto that stand,
21:45it's as good as the day it was made.
21:47I love the fact the kids rubbed the head
21:48because it's actually put, to me,
21:51quite a nice bit of sort of patner into it.
21:54I can see that at auction making between £3,000 to £5,000.
21:58Wow.
21:58That is absolutely one of the nicest,
22:08best of its type I've ever seen.
22:11I mean, to use a modern phrase,
22:12when the carver finished that,
22:13he knocked it out of the park.
22:15It's something I would love to own myself,
22:18and I think if, once people have seen the quality
22:20that I've seen in that,
22:21you could end up with a bidding war,
22:22and that could end up going anywhere at auction.
22:24Well, you have brought me a collection
22:34of Ian Fleming's James Bond books.
22:37I've just emptied a box,
22:38and this is a small proportion of what I've found in the box.
22:42I think we can call this a library.
22:44This is a small Ian Fleming, James Bond library.
22:47Firstly, can you tell me why they were all in the box
22:50you brought to me?
22:51Yes, so the library was considerable,
22:54and it was my mum's personal book collection,
22:56and far more than these in the overall collection.
22:59But these were particularly important to her
23:01because she developed really an adult lifelong interest
23:06in Ian Fleming.
23:08She was interested in him from when she first read Books Byron,
23:11and she continued to follow, even after his death,
23:13she continued to follow everything that was written about him.
23:17So that's why these are of particular interest to her,
23:19and she left them effectively together
23:21with a few notes for us about why they mattered to her.
23:24I've picked out the only three which I think are first editions.
23:27These are late James Bonds from the mid-1960s
23:30towards the end of Fleming's life.
23:31We've got On Her Majesty's Secret Service,
23:34first edition of 1963.
23:36You Only Live Twice, 1964.
23:38And The Man with the Golden Gun,
23:41which came out in 1965,
23:43by which time Fleming had died.
23:45They're in their original dust jackets,
23:47which is great,
23:48because that's part of the appeal of Bond, isn't it?
23:50Is these really...
23:51I mean, I find these really unsettling,
23:53these dust covers.
23:54They are by Richard Chopping,
23:55contemporary artist of the period,
23:57a book illustrator,
23:57I think strongly influenced by the surrealists.
24:00You know, this toad under the chrysanthemum,
24:03it's very, very strange indeed.
24:05They set the mood for James Bond, don't they?
24:08Absolutely.
24:09So, do you think your mother bought these three
24:11when they first came out?
24:12Yes, I think she did,
24:14because she saw fit to comment
24:16on some of the things that were written in them,
24:18and those letters date from being very close
24:20to when she had been able to buy them
24:22when they were first published.
24:23How did she comment on them?
24:24She commented on them by writing to Ian,
24:28at his public care of his publisher,
24:30to correct him on some of his medical facts.
24:33OK.
24:33So, your mother,
24:35she was a medic, a doctor?
24:37Yes, at that time,
24:38she was a kind of jobbing,
24:40recently qualified doctor.
24:41Yeah.
24:41She subsequently went on to become a psychiatrist.
24:44But, of course, what we all want to know is
24:45what she wrote to Ian Fleming
24:47and did Ian Fleming write back?
24:49And we're looking here on the table
24:51at two letters,
24:52which Fleming clearly did write back to your mother,
24:55which is brilliant.
24:56This letter's from London,
24:57the 23rd of April, 1963,
24:59signed by Ian Fleming.
25:00Thanks, your mother, very much,
25:03for the most interesting and informative letter.
25:05Goes into some detail and then says,
25:07but of course you realise
25:08that I have to be careful
25:09not to stuff too much expertise
25:10down my readers' throats,
25:11or they'll think that I'm trying to educate them!
25:13Exclamation mark.
25:15So clearly there is some value here.
25:17It's a large library.
25:18The value is in these three first editions,
25:21but unfortunately condition isn't great.
25:23So I'm going to be cautious and say,
25:24really on the table of these books,
25:26£750 to £1,000,
25:28something like that for the three.
25:29The letters are a different matter,
25:31and I think there are bond collectors
25:32who have everything,
25:33who've bought all the books
25:34and are looking for the next great Fleming item
25:36to add to their collection.
25:37They'd be really enthusiastic about these.
25:39So certainly I'd be looking at
25:41between £2,000 and £3,000 for the letters.
25:44That's lovely to know.
25:45She'll be delighted that the books are still being read
25:48and people are still enjoying them,
25:49and we're delighted to have some family artefacts
25:51that we'll keep.
25:52Brilliant. Thank you so much.
25:59As our venue today boasts
26:01its very own historic golf course,
26:03we were hoping some golfing antiques would pitch up,
26:06and Gordon Foster is thrilled to land a rare item
26:08from the very early days of the Ryder Cup,
26:11the competition that pits the best of European golfers
26:14against the USA's finest.
26:17Well, here we are in Fife,
26:19not far from St Andrews,
26:21the home of golf, arguably,
26:23and you've brought along
26:24a really unusual piece of golfing memorabilia.
26:27When we talk about golfing tournaments,
26:31you know, the greatest ones,
26:32the Open, the US Masters,
26:34all the rest of them,
26:36but arguably, the Ryder Cup,
26:38which this piece refers to,
26:40has now become one of the greatest
26:41viewed tournaments in the world.
26:44Tell us a little bit about it.
26:46When my father died,
26:48I was clearing out the house,
26:49and in the bottom of a chest of drawers,
26:52I came upon this.
26:54It's a menu
26:55from the very first Ryder Cup
26:58played in the United Kingdom.
27:00My grandfather was present,
27:03quite how he was present,
27:05I'm not entirely sure.
27:06And obviously, he went round
27:09and he got the signatures
27:10of both teams on the menu,
27:14and it passed from him to my father,
27:16and then, obviously, to me.
27:18Let's have a closer look at it.
27:19So it's, as you've said,
27:21it's the first British version
27:22of the Ryder Cup, 1929.
27:25This is the dinner the evening before.
27:27I see it's in the Queen's Hotel Leeds,
27:29and of course, the Ryder Cup
27:30was played at Moortown Golf Club
27:32near Leeds, 1929.
27:34Let's have a look at some of the names,
27:36because there's some great names on here.
27:38There are.
27:38Gene Saracen, you know,
27:41multi-major winner, won the Open.
27:43Yeah.
27:44We've got the two captains,
27:45Walter Hagen and George Duncan.
27:47So Walter Hagen for the Americans,
27:49George Duncan for Great Britain and Ireland.
27:52Walter Hagen, of course,
27:53a great figure in golf.
27:54I think he captained the Ryder Cup team
27:56on several occasions thereafter.
27:59And, of course, Henry Cotton,
28:00another huge name in the game of golf.
28:03Yes.
28:03Have you ever been to a Ryder Cup?
28:05Yes, I went to the Ryder Cup at Glen Eagles
28:08when it was held a few years ago.
28:10I was also interested to see
28:11the layout of the golf course.
28:13Some quite long holes was pointed out,
28:16you know, 586 yards, the long...
28:19Considering the sort of clubs they were using.
28:21Well, exactly.
28:23If this ever turned up in the market,
28:25you would have interest from all sorts of people.
28:27You would have collectors,
28:29American and worldwide,
28:31because of the Ryder Cup.
28:32You know, people want a piece of Ryder Cup history.
28:35I think we'd be looking at
28:37easily £5,000
28:39up to £10,000.
28:42Wow.
28:43Good.
28:44That's very good.
28:46In this lovely light,
28:55this beautiful costume
28:57is sort of glinting
28:59in a royal way.
29:01It's a fabulous piece of embroidery
29:03that you've brought in
29:04from the Weems School of Needlework.
29:05and I want to know
29:07where it's come from.
29:08It comes from Weems Castle
29:09in Fife
29:10and this particular jacket
29:12was found in the castle wardrobe.
29:15Looking at the style
29:16and the silhouette,
29:18which is quite slim,
29:20and these curved panels here
29:23at the front,
29:24my feeling is that it's
29:26perhaps 1760, 1770.
29:29Mm-hmm.
29:30The design of the embroidery
29:33is absolutely spectacular.
29:35Now, what do you make
29:36of that embroidery?
29:38I think it's beautiful.
29:40Yes.
29:40And it's quite heavy as well.
29:42It gives it a three-dimensional look,
29:44but it's a lot of metallic threads,
29:46which you don't often think about
29:48being used in a way back then.
29:50And that's what makes it
29:51so interesting as well.
29:53Where did they come from?
29:55Where were the threads made and used?
29:58If we get right into it
29:59and look at these,
30:01these are the sort of golden threads
30:04and the silver threads further down
30:07and the whole kind of glinting feel to it,
30:12there's lots of metallic work
30:14going on in there.
30:16So you can imagine
30:16in an evening situation
30:18in the candlelight,
30:20you know, this would have glinted
30:22and shimmered
30:23and it would have been fabulous
30:25by candlelight.
30:26You can't imagine
30:27how enticing that would have been.
30:30I don't feel it's English work.
30:31I think it's continental.
30:33And to me,
30:34the extraordinary thing is
30:35that the colours haven't faded.
30:37Now, in this period,
30:39we're talking about natural dyes.
30:41There weren't chemical dyes
30:43which came in in the 19th century.
30:45And natural dyes fade.
30:49And this hasn't.
30:51And why?
30:51One side is slightly more faded
30:53than the other
30:54because of the way it's hanging
30:56in the wardrobe.
30:56You're absolutely right.
30:58Hanging in the wardrobe
30:59for...
31:00All that time.
31:01...hundreds of years.
31:02Yeah.
31:03You see them coming up for sale
31:05every so often.
31:06You know,
31:06they're not in every costume auction,
31:08but they do come up regularly.
31:10And they usually fetch around
31:13£2,000, £2,500.
31:15So, I would put it into that category.
31:18It's worth a lot to the museum at Weems.
31:20Fantastic.
31:21Thank you so much for bringing it in.
31:23What a lovely piece of Copeland Pottery.
31:32How did it get to be here today?
31:34It came through my husband's family.
31:37I think from the Isle of Wight.
31:39OK.
31:40And I think it used to live in the garden.
31:41So, you rescued it from the garden?
31:43When she came up here to live later on,
31:45it came up with her.
31:47And then when she passed it on,
31:48it came to us.
31:49And you've no idea what it's for?
31:51No.
31:51I just keep corks and bits and pieces in it.
31:55Well, why not?
31:56Well, I know what it's for.
31:57Oh, good.
31:58And there's probably the best way
32:00would be to demonstrate it.
32:03Mm-hmm.
32:04Has anybody got a jug of water?
32:06Oh.
32:07Oh, it just appeared.
32:10So, you say it lived in the garden.
32:12Well, is it a water feature, do you think?
32:14Well, there's a second part of this.
32:17Right.
32:17Has anybody got a dog handy?
32:19Ah.
32:19Are you a thirsty dog?
32:23Ah.
32:25Oh, very good.
32:28So, mystery solved.
32:30It's a Copeland dog dish from about 1830, you see.
32:33Goodness me.
32:35Considering it's been in the garden,
32:37considering it's a dog bowl,
32:38it's in amazing condition.
32:40And collectors love these,
32:42which is why it's worth three to four hundred pounds.
32:45Oh!
32:47So, don't put it in the garden again.
32:49Oh, dear.
32:49No, we won't.
32:51It's a pleasure.
32:51Thank you very much.
32:55Antiques in action, ladies and gentlemen.
32:57Yes!
32:58This is a lovely combination of yellow Cairngorm citrines
33:13with the beautiful warm gold
33:16where we've got stylised thistles and oak leaves.
33:20And it's so intricately done.
33:22It's absolutely beautiful.
33:24How did you get this piece of jewellery?
33:26Well, I inherited this from my granny,
33:30my highland granny from Aberdeenshire.
33:33She left it to me.
33:35And when she left it to me,
33:37she told me it was Scottish.
33:39And she told me that the gold
33:42was actually mined in Scotland.
33:44I'm just interested to know
33:46about the provenance of the piece itself.
33:49Well, yes, the citrines are
33:51what we call Cairngorm citrines.
33:53So, of course, from Scotland.
33:55And any Scottish jewellery,
33:57which is either set with Cairngorms
33:59or with hardstones as well,
34:01has become extremely popular over the years.
34:04So it's just beautiful to see this piece.
34:06With regard to the gold being Scottish,
34:09yes, they were mining gold in Scotland.
34:11It's always a little bit tricky to say
34:13that the gold definitely came from Scotland.
34:15But fingers crossed, let's hope it did.
34:17We like to think it is.
34:18We do.
34:18We like the romance of the story, don't we?
34:20And, of course, the Victorian period
34:22was all about romance, which is superb.
34:25There are no marks on it to say
34:27that it was definitely made in Scotland.
34:29They didn't have to hallmark during that period.
34:32It's interesting to see such bright stones,
34:34actually, like this, and the yellow.
34:37In today's world, yellow is the hardest colour to sell
34:40as far as gems are concerned.
34:42But you obviously love it.
34:43I do love it.
34:45I love yellow gemstones.
34:47I have yellow in different forms in jewellery.
34:51Oh, wonderful.
34:51So I do like it, yes.
34:52Oh, that's fantastic.
34:54Obviously, we're here.
34:55We want to put a value on it.
34:56To a collector of Scottish Highland jewellery,
34:59I think at auction we would be looking
35:01at an estimate of between £800 and £1,200.
35:04Oh, my word.
35:05OK.
35:06Well, that's much more than I expected.
35:08It's not going anywhere past to my daughter,
35:11but that's lovely to hear.
35:13That's good.
35:13Well, I hope she gets as much enjoyment out of it
35:15as you have, and thank you for bringing it along.
35:18Thank you very much.
35:22It's great to hear that it's a really nice piece
35:27of Scottish jewellery,
35:28because she was a very fine Scottish lady.
35:31And so when I see the brooch, I think of that,
35:33and I think of her.
35:43Will, you brought along three pieces of Art Deco,
35:45which is you all over, because you love your Art Deco.
35:49What is the game with these three things?
35:51So I wanted to pose a new idea for you today,
35:54and my game is Where in the World?
35:56We are in the 100th anniversary,
35:59the centenary of the Art Deco exhibition,
36:02the hugely groundbreaking exhibition
36:04that was held in the City of Light in Paris in 1925.
36:08It was born out of an idea by the French
36:11that in 1925 they would invite the world
36:15to exhibit the very best that they could produce
36:18and show what they could create.
36:21Secretly amongst it all, the French idea
36:23was that they were going to show the rest of the world
36:26that they were the arbiters of good taste.
36:29But actually what came out of it
36:30was something where the French weren't the leaders,
36:34they were merely participants,
36:35because this became a global style.
36:38So we have three items here.
36:40One of them is from Italy,
36:42one of them is from France,
36:44and one of them is from Austria.
36:46And your task and your challenge
36:48is to tell me where in the world.
36:51Oh!
36:52Nearest you, you have this incredibly fashionable ice skater
36:56with her beret,
36:57and she's fallen over on the ice
36:59and she's called the SOS girl.
37:01In the middle we have this,
37:03which for me is just so dynamic.
37:05You've got to think about deco.
37:07It was the age of travel.
37:08This is about speed and about power.
37:11And I mean, so beautifully executed here.
37:14It's just shooting like an arrow, isn't it?
37:16It is.
37:16It's actually called the comet.
37:18And you can see it going through the night sky.
37:22Nearest me,
37:22we have the most glorious depiction
37:24of Josephine Baker.
37:27Now, Josephine Baker was this wonderful actress
37:30who took Paris by storm.
37:33She was the review that you had to go and see.
37:36So she was the toast of Paris.
37:39But your task is,
37:40which one was made in Italy,
37:43which one was made in France,
37:45and which one was made in Austria?
37:47Over to you, kid.
37:48Right.
37:49OK, now,
37:50I should have listened to you more over the years
37:52because this has the look of lynchie,
37:54but I can't remember where that came from.
37:58Any ideas?
38:00OK, I think the middle one,
38:02possibly Austria.
38:04I do love that.
38:05So do I.
38:05It's beautiful.
38:06I do think it's obvious
38:09that one's France
38:10and Italy for the porcelain one.
38:13OK, because that's kind of where I'm heading.
38:15Yes.
38:15Oh, that's good.
38:16You are as well.
38:17You're all nodding.
38:18Do you feel any differently?
38:20I think the middle one
38:22could be the French.
38:24Oh.
38:25I think Italy.
38:27Italy, the Josephine Baker is Italian.
38:30France in the middle.
38:32Austria.
38:33What's that?
38:34I think that's Italy,
38:35France and Austria.
38:36So you think...
38:37Hang on, which one do you think is Italian?
38:39The one in the middle.
38:39Oh, the one in the middle is Italian.
38:40Wow.
38:41OK, this is no help at all.
38:42No help.
38:43No help.
38:45They've left you high and dry.
38:46You've got one of each there.
38:48So I'm going to call out the country
38:50and you're going to point
38:53to which one it is.
38:55OK, go on.
38:56Go on.
38:56Right.
38:56OK, then.
38:57Let's make you choose
39:00Italian.
39:02Yes.
39:04OK, Italian.
39:05Italian.
39:06French.
39:08Josephine Baker.
39:09Austrian.
39:10The Comet.
39:11You got one right.
39:13Oh.
39:14And it wasn't this one, was it?
39:15It was that one.
39:15Oh, it was!
39:17Oh, and is it Lenci?
39:18So you were really close.
39:20You mentioned Lenci.
39:21This is actually by the firm of Ecevi,
39:23which was run by the gentleman called Sandro Vecchetti.
39:25Now, Vecchetti was actually the artistic director at Lenci,
39:29but ended up setting up in direct competition.
39:32This dates from around 1934, 1935,
39:35a beautiful ceramic figure with that classic comedic element,
39:40but also that great element of Italian fashion and style.
39:43And today is worth in the region of £10,000.
39:47Wow.
39:48That was a very satisfying garden.
39:52So nearest me, this is Karl Hagenhauer,
39:55made in Vienna, in Austria,
39:57and a depiction of the great Josephine Baker
39:59in a chrome-plated finish with lacquer.
40:02And date-wise, early 30s, this one was made.
40:05And the value of this,
40:06you're looking around sort of £2,000 to £2,500.
40:08But it's the one in the middle.
40:11This is the spectacular piece.
40:13This is by Maurice Giraud Rivière.
40:17And this was made at Etling in Paris,
40:19and it actually dates from 1925,
40:22from the year of the exhibition.
40:24So it is Art Deco in its purest, purest form,
40:27and one of the pieces that you will see
40:29in virtually every documented book on the period.
40:32And it is a silvered bronze.
40:35And if you would like to own this,
40:36you're going to have to park
40:38with somewhere between £20,000 and £30,000.
40:41Oh, God.
40:44Wow.
40:45So then to recap, closest to me is Austria.
40:48In the centre, our spectacular piece from France.
40:52And nearest you, the one you did get, Italy.
40:55But collectively, what we've got here
40:57is just a wonderful representation of,
41:00for me, the most incredible design movement
41:03that gave us so much that is even still relevant today.
41:06So beautiful, so modern.
41:08And look at these three,
41:09but all with their individual interpretations.
41:11So, well done.
41:12Oh, no.
41:13You were nearly there.
41:13Oh.
41:14Nice to meet you.
41:15I think we're so used to seeing Victorian black-and-white photographs
41:36that we forget that London's cities,
41:40towns were a riot of colour
41:42because of these incredible Edwardian and Victorian signs.
41:46So, you must be a fan of Victorian signs?
41:49Or how did you come to own this chap?
41:5140 years ago, my husband and I bought a house out in Perthshire,
41:55which had been the village shop for over 100 years.
41:58And we renovated it and converted it into a home.
42:04And this we found in the garden.
42:07It had obviously been used as an advert in the village shop
42:10and it had been stored behind an old wooden shed.
42:14But he also has a connection, in my mind, with my mother's family.
42:19My grandmother was widowed in 1910,
42:24left with three small children to raise,
42:28and she had to go out to work.
42:30And she went to work in the sunlight soap factory in Port Sunlight.
42:36We really like him, anyway.
42:38So, when I first saw this, I had to keep looking at it
42:41and I had to look at it all over and I had to look at the back
42:44because you see so many fake examples today.
42:48They're primarily the rectangular or the square ones,
42:50but even to the extent that they actually sort of put in the wear
42:54and the rust and the damage as part of the design itself.
42:57But he is bang on.
42:59He's a great sign, a really great sign.
43:02So, he's known as the baker boy for obvious reasons.
43:05And he's advertising sunlight soap, which was introduced in 1884
43:08and was one of the first packaged, branded soaps.
43:12And this £1,000 guarantee of purity here, I mean, £1,000!
43:16Around 1900, 1905, when this was made, is a vast sum of money.
43:21Yeah.
43:22But they were so confident that there were no harmful impurities,
43:25that they were prepared to bet £1,000 against that being proven.
43:29Yeah.
43:29How do you hang him?
43:30We normally hang him with a hook there and a hook there,
43:36and he's slightly at an angle, which he obviously shouldn't be
43:39because there is a straight line there.
43:42He was obviously on a corner or something, something like that.
43:45The reason I ask was because this wasn't actually hung outside the grocer's shop.
43:50It may have been hung outside the grocer's shop,
43:52but they were produced around 1905,
43:54and they were produced to be hung on the side of trolley buses or carts.
43:59Yeah.
43:59So, that explains why there are no holes,
44:01because there would have been fixings for him to be hung on the side of that.
44:05They're really quite scarce signs.
44:09Yeah, yeah.
44:10What's he worth?
44:10Well, I think if you put him into auction,
44:13he's worth what he says.
44:15I think he's worth about £1,000.
44:17That's really interesting.
44:19Yeah.
44:20But he's going back home with me today.
44:23Bravo.
44:24Thank you very much.
44:25Thanks.
44:25Thanks very much.
44:34Where did you find them?
44:35They belonged to my dad,
44:36and when he died, I took the stuff from the house,
44:39and that's what was there.
44:41So, do you know who they belonged to?
44:42Yes.
44:43My great-uncle Frank, Frank Gibbons.
44:46OK.
44:47So, what we know about Frank from his medals
44:49is that he's in the Royal Air Force.
44:51Yes.
44:52So, the medals that he has are the British War Medal
44:54and the Victory Medal, so this is First World War.
44:56Yes.
44:57He's also in the Royal Flying Corps.
44:59Yes.
44:59So, the very start of flying as a fighting arm.
45:03Right.
45:03Now, he is flying a two-seat aircraft on observation missions.
45:10Right.
45:10In 22 Squadron.
45:12OK.
45:13He's flying still just at the beginning of 1918.
45:18So, the Royal Air Force was formed on the 1st of April 1918.
45:20So, he starts flying in action in February.
45:24OK.
45:25So, he's flying with the Royal Flying Corps.
45:27OK.
45:27He finishes the war, and at the end of the war,
45:31he has shot down 14 German aircraft.
45:34Oh, right.
45:34It's OK.
45:35So, you need five to be an ace.
45:37Oh, right.
45:38So, he's definitely a fighter ace.
45:40OK.
45:42And in 1919, he's awarded this thing here,
45:45which is the Distinguished Flying Cross.
45:47OK.
45:47So, this is a brand-new medal that was invented
45:50just for the Royal Air Force
45:51when it was formed on the 1st of April 1918.
45:54OK.
45:56They are in appalling condition.
45:58I know.
45:59What have you done to them?
46:00Nothing.
46:02I don't usually say that,
46:03but these are such a nice group of medals.
46:05It would be worth getting them re-ribboned,
46:07but don't get rid of the old ribbons.
46:09So, did you know anything about him?
46:11Not an awful lot.
46:14Just what I've read about him,
46:16I know he died in 1932 in a flying competition.
46:22Oh, really?
46:22And he hit a tree.
46:23No.
46:24Yes.
46:24That's really all I knew about him.
46:26He was only, I think, 33 when he died.
46:28It's a really dangerous job these people did.
46:30The aircraft were so flimsy, so, you know, difficult to control.
46:34Now, you found them in a tin?
46:36Yes.
46:36Yeah, my dad, he had kept them.
46:38He did talk about them.
46:40In the hierarchy of medals,
46:42this is only two away from a Victoria Cross.
46:45Oh, right, gosh.
46:46So, he's genuinely a brave man,
46:48and he must have been an exceptional pilot.
46:50Right, yes.
46:51They are worth £4,000.
46:54No, really?
46:57Oh, my goodness, such a lot.
47:07Well, hello, what have you brought with you today?
47:09Hi, I've brought you a Sporn.
47:11Oh, excellent.
47:13Well, that's a very good-looking one.
47:14It's in nice condition, isn't it?
47:16Do you know the regiment?
47:17Highland Light Infantry.
47:19Yes.
47:20And the initials are just in there, aren't they?
47:24Now, do you know what this is made of?
47:26Have a feel.
47:28I think it might be a horse here.
47:30It is.
47:30It's really tough, isn't it?
47:32It's in great condition.
47:33It was my dad's.
47:35It passed down to me.
47:37He had a pub in Maryhill Road in Glasgow.
47:40Ah, yes.
47:41And that came from the barracks.
47:43There used to be an army barracks there as well.
47:45Sure.
47:46So, somebody had a bit of a nice evening at your father's pub and left this behind.
47:51Yeah, well, it might have been a good evening because they left the kilt as well.
47:56Do you know what it's worth?
47:57No, I haven't.
47:58About £150.
48:00Really?
48:01Wow.
48:02Thanks so much.
48:03Okay, thank you.
48:07This is a very interesting object.
48:10Yes.
48:10What made you bring it here today?
48:11It's probably the most interesting thing I have.
48:14You know it's a club, don't you?
48:15Yes.
48:16It's called a liangle and it's from Australia.
48:19Mm-hmm.
48:20And it's used in single combat.
48:23And they use it in conjunction with a small flat-faced shield with a sort of angular back to it.
48:30Ah, okay.
48:31You know, you get a lot of the clubs from Australia have this, it's like this spiral cone-like ends to them.
48:39And I actually think they use those for digging.
48:41It looks to me as though it's been polished or varnished, which is a bit of a shame.
48:46I think it could be removed so you get it down to the natural patina.
48:50But it's still the type of club that collectors are looking for.
48:54I think the auction estimate would be £1,500 to £2,000 for this.
49:03Okay.
49:03Maybe hang it on the wall.
49:05There's nothing more beautiful than the Scottish landscape.
49:20And of course this Oil Uncanvass by David Young Cameron, he has really created the mood and drama brilliantly.
49:26I was imagining, you know, this picture, if it was multiplied by 10, it would work as a brilliant backdrop to anything.
49:33It's got mood, it's got a really sort of dark, gorgeous palette.
49:36What's your connection to Stirling Castle?
49:39Well, I was brought up near Stirling in a place called Dunblane.
49:43And my aunt, when she died, she left me this picture.
49:47And she died about 30 years ago, so I've just had it ever since.
49:52And what do you know about David Young Cameron?
49:54Not a lot, actually, other than he's obviously a Scottish artist.
49:58Well, I have to say, I think he's very underrated.
50:01He was a Royal Academician.
50:02He was a member of the Royal Scottish Academy also.
50:04I mean, he was a very major name at the time.
50:06But at the moment, I still think he's significantly underrated.
50:10He's more well-known, I suppose, as an etcher, as a printer.
50:13And so he's born in 1865, dies in 1945.
50:17But as an etcher, he was perhaps the best-known name in the British Isles for that sort of printing.
50:23You know, if you went to local auctioneers, you'd probably find in some of their sales etchings by D.Y. Cameron of similar subjects like this, black and white.
50:31His paintings are rarer.
50:33And some of his paintings are really large.
50:36And hugely dramatic, with a really, really dark palette.
50:39I think those are the earlier pictures.
50:41This is probably a little bit later.
50:42It's probably 1920s.
50:44It's got a much more vivid, lovely sort of open light palette to it.
50:48I was even noticing there's lovely sort of snow on the capped mountains as well, beyond.
50:53And we're going to come to value.
50:55OK.
50:56So it's certainly worth £3,000 to £5,000.
50:59It's a very sought-after picture.
51:01And actually, if anything, you know, these are the sort of pictures that should go up in value by him.
51:05It's a really good, dramatic picture by David Young Cameron.
51:09And I'm so pleased you brought it in today.
51:10Good.
51:11Well, I'm pleased I brought it in too.
51:12Well, you've brought along this wonderful piece of glassware today.
51:21And we're seeing it in all its glory, glistening here in the sunshine.
51:25Did you give it a clean before you came?
51:27I did give it a little clean, yes.
51:28Well, you've done a lovely job.
51:30So what you've brought along today is a rum dispenser, a very splendid piece of glass.
51:36And we can see here that it's engraved along the front, rum, and also with the manufacturer or retailer's mark, J.W. & Co.
51:45So this dispenser is probably late 19th, early 20th century in date.
51:50It was certainly made here in the British Isles and very possibly made here in Scotland.
51:55Mm-hm, yeah.
51:56A fabulous piece of glass like this must have some stories to tell.
51:59What story can you tell me about it?
52:02Oh, the last year of my apprenticeship with a local joinery firm.
52:08And myself and another lad were given the task of cleaning it.
52:12It was described as an old shed in the workshop up in the corner.
52:16We got all the stuff out.
52:17We got to the back corner and I saw actually two of these.
52:22One, the rum one and a brandy one.
52:24So I took a hold of them and I walked through the workshop.
52:26And I said to the foreman, what I'll do with these job, skip, throw them in the skip.
52:35Oh, right.
52:36I says, OK.
52:38So I went out the back, I got to the skip.
52:41No, so I walked past the skip and stuck them in my minivan.
52:44A wise decision.
52:45The brandy one got broken through the years.
52:49Still got the tap out the brandy one, but that's about it, you know.
52:52Well, it's wonderful that this one has the original brass tap as well.
52:55So dispensers such as this would have been really commonly found,
53:00most likely in a sort of pub environment.
53:02Yeah, yeah.
53:03And they really added a bit of theatre to the whole sort of pub drinking experience.
53:07So when you ordered your brandy or your rum and your whisky,
53:10it was a dispenser such as this that it came out of.
53:14Yeah.
53:14This one would originally have had probably some gilding and enamel here in the engraved detail.
53:20Yeah, there was little bits of that when I got it,
53:24but it's gradually fallen off over the years, you know.
53:27It still looks very splendid.
53:28And it's got this lovely cover with the cut facets and the tall finial handle here.
53:34It's of this ovoid baluster form and raised on this round foot.
53:38Yeah, yeah.
53:39So it's a really nice piece.
53:40And these are quite collectible today.
53:43In terms of value, because it has lost some of that original gilding and decoration,
53:49I'm going to put an estimate of around £150 to £200 on it.
53:53Yeah, yeah.
53:54And for a slightly more decorative one, it could easily make double that.
53:57Mm-hmm.
53:58Yeah, yeah.
53:58But it's really nice to see your rescue project.
54:01And thank you very much for bringing it along today.
54:04Oh, you're welcome.
54:05Yeah.
54:12When you came to my table and you said you had a coin collection,
54:15I thought, oh dear, she hasn't read the blurb that we don't have a coin specialist or a stamp specialist.
54:19A single coin collection can take a day to go through.
54:22So we don't normally look at coins, unfortunately.
54:25Then when I saw them, I thought we would have a go at these after all.
54:29Tell me what you know about your coin collection.
54:32Well, I went up into the loft and I opened up this blue ice cream box and found these.
54:37I can see that there are two with Queen Victoria's head on, dated in the 1800s,
54:42and then the rest all seem to be the sort of after Queen Victoria.
54:46And I don't know anything about them, so I'm hoping you can tell me a bit more.
54:50Well, I can tell you in two sweet words exactly what this is.
54:55This is gold bullion.
54:56Nice attic find. I wish I'd bought your house.
55:01These are gold sovereigns. You've got 21 gold sovereigns and two half sovereigns.
55:07In theory, they are legal tender. You could spend it.
55:10But they're used as a form of storing wealth, effectively.
55:14Now, something that's important is the dating on them,
55:16because some of the earlier ones can fetch more for their collectible value than for their gold weight.
55:21Right.
55:22The earliest ones here are late Victorian, and the rest are either Edward VII, George V, George VI.
55:29They're largely late 19th and early 20th century.
55:32There are also some that have got a bit thumb-worn,
55:35but they are still 21 gold sovereigns and two half sovereigns.
55:40Do you have any idea of their value?
55:42None. Absolutely none.
55:45I didn't even know they were gold until you just told me.
55:47You can get fakes that aren't gold.
55:49Right.
55:50These are gold.
55:51Gold has outperformed everything for a few years now.
55:54These, a year ago, were making ad auction £400 each.
55:59Now they are £550 each.
56:01So, your collection here is worth the best part of £10,000 to £15,000.
56:09Whoa.
56:12Right.
56:15Who doesn't dream of running their fingers through chests full of gold coins?
56:19And here, you've got it.
56:20You've got it.
56:21Well, that's amazing.
56:22That's absolutely amazing.
56:24Thank you very much for bringing them in.
56:25No, thank you.
56:26They are absolutely beautiful coins as well.
56:29Pleasure.
56:31As our day at Hill of Tarvik comes to an end,
56:38I wanted to show you a local sport you might not have seen before.
56:42The Scottish Coal Carrying Championship.
56:46It's a tradition dating back to the 19th century.
56:48The race still takes place today, every year,
56:51the annual coal miners race in nearby Kelty.
56:55Wallace and Stacey here, our previous winners.
56:57And the way it works is Stacey, as a woman,
57:00will pick up 25 kilos of coal and put it on her back.
57:03Wallace, 50 kilos.
57:05And the first person to get the end of 1,000 metres is the winner.
57:09Today, to save their legs,
57:10it's the first one to reach the house.
57:12Right.
57:14Load up.
57:14Wallace and Stacey.
57:18Whoa.
57:19OK.
57:20On your marks, get set, go.
57:21From the Attic's Red Show.
57:27Bye-bye.
57:27Bye-bye.
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57:53Bye-bye.
57:54Bye-bye.
57:55Bye-bye.
57:56Bye-bye.
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