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Antiques Roadshow Season 48 Episode 8
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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.
00:08This 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.
00:16And I'm not talking about porcelain or some old master, no, I am talking vacuum cleaners.
00:22It's from the Daisy Sweeper to the Star Bellows, used from the 1900s, to the Hoover Junior from the 1930s.
00:31And these represent just some of the gadgetry loved by the Sharp family who built this house between 1904 and 1908.
00:39And they're a family that worked hard, they played hard, and they loved the latest in mod cons and technology.
00:46And I'll be taking a look at some of those later on.
00:48But in the meantime, who dropped those biscuit crumbs?
00:52And taking a sweep of all the antique items on show is our trusty team of experts.
01:02Just a little bit of what's said at home, and it's largely your fault.
01:07What?
01:09When I saw this box coming down the queue, my knees started to shake.
01:15Well, it might have been a good evening because they left the kilt as well.
01:19So...
01:20I said, don't put it in the garden.
01:22Oh, dear, no, we won't.
01:24Who doesn't dream of running their fingers through chests full of gold coins?
01:29Welcome to the Antics Roadshow.
01:31I always remember my father saying to me that one is a single.
01:57Two is a pair, three is a collection.
02:00Look before us.
02:01This is collecting, isn't it?
02:04It's part of it, yes.
02:05One of my lifelong obsessions is the work of pool pottery, and particularly the interwar years and the designs of Trude Carter.
02:14Hmm.
02:14Now, this seems to be your absolute divine point as well.
02:19So tell me, when did this start?
02:22I only started collecting maybe two and a half years ago, and this is just a little bit of what's said at home.
02:31And it's largely your fault.
02:33What?
02:33May I ask how?
02:38It is my fault.
02:39Because I saw one of the episodes where you were playing one of the games with Fiona and showing your collection.
02:47And 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.
02:56So that kind of made me investigate more.
03:00Right.
03:01Do you know what?
03:01I've never been blamed for a collection habit ever in my life.
03:05And it's interesting because pool as a company, I mean, they are incredible.
03:10They're one of these names that throughout their history, throughout their career, have always kept in track with the trends.
03:19You come forward into the 1920s and 30s, and really this pivotal moment where Trude Carter joins the firm, when the firm becomes Carter, Stabler and Adams, and there is this absolute boom in design.
03:35I mean, this, this, I covet this.
03:39I mean, this is the most incredible vase and a rare pattern in a design underneath.
03:44And I'm sure you've now learnt the pattern is called Cayenne.
03:48You've got the most brilliant mark there because that's Ruth Paveley.
03:52Yeah.
03:53Who, for me, along with Anne Hatchard, are the two greatest paintresses working in this period.
03:59Look at it.
04:00That's a rare beast.
04:01Now, you say you've been buying for sort of two, two and a half years.
04:05Yeah.
04:06So, here, what's the most you've spent on any one piece here?
04:11That one.
04:11This one.
04:12Yeah.
04:13And what did it cost you?
04:14About £240.
04:17Tell me, if you added up here, how much have you spent here on the tables?
04:21Don't listen.
04:22How much have you spent here on the table?
04:25Maybe about £1,000.
04:26£1,000?
04:27Just over, maybe.
04:28I love the sideways glance.
04:31OK, look, I'm going to reward your hard work because that vase alone, I would happily pay
04:38you £500 to £600 for to walk away with it today.
04:42Oh.
04:43As a collective group here on the table, your £1,000 invested is closer to £3,000.
04:49Wow.
04:51OK.
04:52Well done.
04:53How much more at home?
04:55About ten times.
04:56About ten times.
04:59Do you know what?
05:00No wonder I haven't bought a piece of pool for two and a half years.
05:09I'm sure you know what this is.
05:11But what I'm more curious about is where you got it.
05:14I inherited it from my father.
05:16Yeah.
05:16From Ghana.
05:17Gold Coast then.
05:18And my father worked there in 1938.
05:21Is that when he acquired this?
05:22He caught malaria so he had to come home early or he would still have been there when the
05:27war broke out.
05:27So you've known this all your life?
05:29All my life.
05:30It'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
05:38a stool that I bought many years ago that drew me into the subject of African tribal art.
05:45These Ashanti stools, or thrones as they were known, you know, were the ultimate symbol
05:52of power for the Ashanti.
05:54And the Ashanti chief of chiefs would sit on a gold one of these.
05:59And they're a very important part of Ashanti tribal culture.
06:06They've got their own personal stool and they believe their spirit is absorbed into the
06:11timber of the stool.
06:12And when they're not using them, they turn them to the wall so that no one else's spirit
06:17can enter their stool.
06:19I mean, the whole culture is fascinating.
06:22You've known it all your life.
06:23Yeah.
06:24And did you sit on it?
06:25Occasionally, but as you can maybe see, it's been used for a plant on and it's been there
06:31all my life in various family homes.
06:33You know, this wouldn't have been a chief's stall, although it's made like that.
06:37They were made as souvenirs by the workshops that made them for the chiefs.
06:43It's a very heavy African hardwood.
06:47I think it's a kind of teak.
06:48I can't be sure.
06:49I'd like to just let me look underneath.
06:51Yeah.
06:52Looking underneath.
06:53I think this was made before the First World War.
06:56Goodness.
06:57If I hadn't tipped it up, you see, I'd have thought it was 1930s.
07:00I've tipped it up and that's older.
07:02And, you know, when I first bought things like this, you know, people like them.
07:06They appreciate it.
07:07And I love the shape they've made this ear and the way they've scrolled it around and
07:12the simplicity of the eye.
07:13And the tusk is way too fat here, but it makes it practical.
07:17You couldn't have the tusks out here.
07:18No, it wouldn't work.
07:19No, no.
07:19You know, these have gone up and up in value since I first bought them.
07:23And they're not a fortune.
07:25No.
07:25But a stool like this would be between five and eight hundred pounds for this.
07:30I had no idea.
07:33I was thinking, you know, 50 pounds or something.
07:35Not anymore.
07:36Thank you very much for giving me all the background.
07:38It's a lovely, lovely thing.
07:40Thank you so much for bringing this statue here today.
07:49We have Prince Albert in Highland dress.
07:53I, of course, recognize it as Prince Albert because there is a famous marble statue of him
08:00in Balmoral and that was by William Thied.
08:03And this is a rather smaller example, but beautifully made.
08:10And I'd love to know how you came about it.
08:12He belonged to my grandparents and I first noticed them when I was nine.
08:18He sat at a table in the hall and my grandfather hung his hat on.
08:23Why not?
08:24It's as good a place as any.
08:26Do you have memories of Albert?
08:28Yes.
08:28He's traveled the world a bit.
08:30My first memory is of him in Canada.
08:33And then he came back over to Britain and spent some time down in England with my mum's twin sister.
08:40And he's now back up with us in Scotland.
08:43Wow.
08:43OK, so well-traveled Queen Victoria and Prince Albert, who really popularized the idea of traveling to Scotland,
08:50especially with their purchase of Balmoral in 1852.
08:55Queen Victoria also promoted the idea of wearing what she called Highland things,
09:00which 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,
09:09and he even has a brooch here fastening his plaid.
09:13It was made in 1863 by Elkingtons, 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.
09:27This is silver plated.
09:29Elkingtons really captured the moment of the unveiling of the statue in Balmoral
09:36by creating a model of the famous sculpture by William Thede.
09:44I absolutely love him.
09:46He's a recognizable character.
09:48And I think if this came up at auction, I can see it making between three and five thousand pounds.
09:55Yes.
09:56Good.
09:56Good.
09:57Good.
09:58That was lovely.
09:58Now, that is the most fabulous photograph of a little girl holding what looks like a duck.
10:10And if I'm not mistaken, you may be that little girl.
10:14Yeah, you're quite right.
10:15Now, when was this photograph taken?
10:18I think I was probably about three or four.
10:21Let's talk about this.
10:22Yes.
10:23Because he looks a bit like a duck.
10:26But if you take your hand away, we can see there's something really rather unique about this with his stripy head.
10:34And if you put his head up a little bit higher, he looks like something that isn't a duck.
10:39What does he look like?
10:40I think he looks like a pedestrian crossing sign, a Belisha beacon.
10:45Yes, he is the Belisha duck.
10:48The first Belisha beacon was put into use in 1934.
10:52And this commemorated it.
10:54I've seen a couple of these in the past, and they're usually put down to the maker Farnell, which is a British maker.
11:00They are rare.
11:01And I think that in an auction, he would probably fetch perhaps a couple of hundred pounds.
11:06Really?
11:07Really?
11:07Well, he's not going to an auction, but not that I know of.
11:11Thanks very much indeed for bringing him in.
11:23So here is an artist who probably needs no introduction to our audience at home.
11:27It is, of course, Jack Vettriano, instantly recognisable to many, many people.
11:31Now, I just want to thank you for bringing this in today, because I was hoping we would see a Vettriano today.
11:35That's because we're here in Fife, which is where he is from originally.
11:39And also, earlier this year, he unfortunately passed away.
11:42So perhaps you could tell me a little bit about how you came by the painting.
11:45My parents bought it in the early 90s at the Pittamine Arts Festival.
11:49Just down the road, yes.
11:51They liked it because of the close resemblance of my dad and his cousin, my Aunt Molly.
11:59And I think they bought it for the region of about £300.
12:02Yeah, and this was in the early 90s, so they wouldn't have actually heard of him at this point.
12:06This was quite early on in his career.
12:08And before he was taken on by some of the more major galleries in London that made his name.
12:13Interestingly, 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.
12:20But it is actually an oil.
12:21It's an oil on canvas or perhaps canvas board.
12:24There's this sort of crisp delineation, this sort of sense of draftmanship in the outline.
12:28And it gives it this quite sort of graphic, almost, you know, photographic kind of impact.
12:32You can sort of see it's him transitioning from his early style into his more mature style.
12:37It's exactly the kind of subject matter you'd expect from a vetriano.
12:41It's a little bit sort of flat in its handling.
12:43He sort of went on to develop a bit more depth.
12:45But it's a really, really lovely composition, this one.
12:47And in fact, I think you've done a little bit of research yourself, haven't you?
12:50And you think you've identified it as a picture called Deck Chairs, potentially?
12:53Yes, yes.
12:54He was always a contentious figure, extremely popular.
12:58One of Britain's best-loved artists, I think, by the general population.
13:01And critically, less highly regarded.
13:04However, I know that when the Kelvin Grove had an exhibition of his work,
13:07a major retrospective, about ten years ago,
13:10I think it was their exhibition with the most footfall they've ever had.
13:13So, you know, he was an extremely popular artist.
13:15But can I ask whether you like it?
13:17We've always liked the picture, but mainly because of the reference to his dad and his aunt.
13:22OK, so in terms of value, obviously, as I mentioned earlier, he passed away earlier this year.
13:27It's a bit early to tell what kind of impact that's going to have on his market.
13:31I think you're probably looking at around the £10,000 mark, if this were to appear at auction.
13:36Wow.
13:37Yeah.
13:38What a money.
13:39That's great.
13:39You know, when I saw this box coming down the queue, I mean, I was sitting down, but my knees started to shake.
13:53Because I know what's in this box, and you know what's in this box.
13:57So, what have we got inside the box?
14:01OK, here it comes.
14:03And we have a wonderful mid to late 18th century microscope.
14:10What a beauty.
14:14So, what on earth are you doing with a late 18th century microscope?
14:18A history of science in the family or something?
14:20Yeah, that's older than I thought it was.
14:22It was my grandparents, and they left it to me.
14:25My grandparents had it for longer than my mum was alive, so I don't really know the story behind it.
14:32I work in science.
14:34Ah.
14:34So, I think that's why they left it to me.
14:36So, do you like it?
14:38I do like it, yeah.
14:39The shape of a microscope can tell you a lot about its age.
14:42Now, I mentioned it was 18th century, mid to late 18th century.
14:46So, we call this, with this sort of vertical column here and this wonderful little curving bracket, a cuff type.
14:52A cuff type.
14:54And a cuff type was developed by John Huff, but it was an association with a natural philosopher called Henry Baker.
15:00Now, Henry Baker was kind of frustrated with the microscopes of the day.
15:06So, you either had a little miniature one, or else you had what they called a culpepper type.
15:10So, that has the tube with the lenses in above sort of brackets with three or four legs.
15:17And, of course, if you're trying to move the slides around, and you'll know about this if you're a scientist,
15:21the legs kept getting in the way, but it was also a friction fit.
15:24What you tended to find was it jerked up and down and basically wouldn't move very smoothly.
15:29So, getting that all-important focus, which you'll know about, was really difficult.
15:33So, cuff developed this.
15:35It's a wonderful instrument.
15:37I mean, it really makes my heart skip a beat.
15:40Do you say the same?
15:41I do say the same, yeah.
15:44It's got to make his name on it.
15:46So, we've got Jay Bennett here of London.
15:48Now, there were two Jay Bennett's, as far as I'm aware, and we don't know much about either of them.
15:53But they were really good quality makers.
15:55Now, the first thing I need to do when I see one of these as well is to fiddle around.
15:59Do you know what's inside the drawer?
16:00There's a few, like, accessories.
16:02OK.
16:02You're going to know what these are better than I am, but you've got some little lenses here,
16:07and then some little bits and bobs and some slides as well, and what I believe to be the original box.
16:12So, you work in a laboratory, presumably.
16:14I do, yeah.
16:15Have you ever tried using it?
16:17I have not.
16:18I have been a big chicken, afraid to do any damage to it, but I do use a microscope at least once a month at work, so...
16:27Oh, come on, you're an old hand.
16:28I mean, you'll know what to do.
16:29You'll be fine.
16:29Maybe I will give it a go.
16:32So, this is a bit of living room decoration.
16:35It's a curio in your house, connected, of course, to your career.
16:39It's also £1,200 to £1,800.
16:42It's more than I expected.
16:45Wow.
16:45The land on which the mansion and garden stands has witnessed human settlement for thousands of years,
16:57with evidence of an Iron Age homestead in the surrounding fields.
17:01But as grand homes go, the mansion itself is a bit of a youngster.
17:06This is a 20th century house built for Frederick Sharp.
17:09He was a businessman from Dundee and made his fortune from finance and the textile industry with the family jute mills.
17:16And he employed a talented and ambitious architect, Robert Lorimer, to create a country pad.
17:21This is the story of a modern house and a modern family.
17:29Frederick Sharp wanted a home that would showcase the latest designs and, just as importantly, be a place to entertain his guests.
17:37The house was perfect for parties.
17:39And Frederick Sharp and his wife, Beatrice, whose sister married Sharp's brother, loved the estate with its leisure and sporting facilities.
17:47And they embraced the dinner party.
17:49And here in the dining room is a perfect example of Frederick Sharp's eye for the unusual.
17:55This silver galleon, or neff, could be wheeled along the table like so.
17:59Providing a very lavish method of passing condiments to the assembled guests.
18:08It was both a conversation piece and a very effective way of showing just how wealthy Sharp was.
18:18To help with its running, the house was designed so that the front was for family entertaining, while the back was for the staff.
18:25This was an improvement from the upstairs-downstairs approach of previous centuries,
18:29and came equipped with modern technology.
18:32It made sense that the kitchen was near the dining room,
18:34and the modern phone system meant you didn't have to wait for your meal.
18:38In fact, this was one of the first properties in the area to have a phone.
18:41And more than a century later, the number is still the same.
18:46Hello, Hill of Tarvit.
18:49As the lady of the house, Beatrice Sharp insisted on many additions,
18:54such as three taps on the kitchen sink for hot, cold and rainwater.
18:59An early nod to sustainability, as the rainwater could be used for cleaning jobs.
19:04She also invested in a large laundry room, so 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,
19:16but at the end of the day, it was hard, physical work for the laundry maze.
19:26Sadly, this grand and modern house was not to remain with the Sharps for long.
19:30By the late 1940s, all the family had passed away,
19:34and the house and its precious contents were bequeathed to the National Trust for Scotland.
19:38It remains a very special house, and one of the most modern managed within the Trust,
19:43a snapshot of cutting-edge Edwardian design and early 20th-century Scottish family life.
19:59My first impression is it's an amazing thing,
20:02and I'm going to tell you everything I know about it in a minute.
20:05I want to know everything you know about it.
20:06Well, it came into my family via my husband's grandparents,
20:12and we've had it in the family for many years,
20:15and it's just been around the house, and it's a very tactile piece,
20:20and kids all rubbed its head, you know, when they were young.
20:23Do you know where it's from?
20:25I suspect it's maybe Indian, but I have no proof of that.
20:29OK. Well, we can debunk that one straight away.
20:32It's Chinese. He's in our hat,
20:33and they were, you know, protectors of the Buddhist faith,
20:37and this is a particular arhat because he went out into the forest
20:41because there was a ferocious tiger loose in the forest in China a long time ago,
20:46and he was sent out, and unlike a warrior, he had no weapons at all,
20:49only compassion and his spiritual wisdom,
20:52and he met this ferocious tiger in a clearing,
20:56and the tiger approached him, and he tamed the tiger,
20:59took him back to the temple, and became known as the tiger-taming arhat.
21:04Oh.
21:04I mean, if I had to put a date on him, probably somewhere around sort of 1850,
21:08something like that.
21:08I see a lot of this type of kind of wood carving,
21:11and on this lovely kind of naturalistic fitted stand.
21:14The thing that strikes me about this one is the attention to detail and the quality,
21:19and I was taught something actually quite recently by a scholar,
21:22and that is there are things that, you know, his words,
21:25which is, why would you bother, and it's a mark of quality,
21:27and what I mean by that is if you turn this over
21:30and you just look at the attention to detail, the pores underneath,
21:34they spent as much time making that look as good as that,
21:38and it's a sign of good quality.
21:40It's a sign of, you know, one of the best carvers.
21:41You know, the way that fits onto that stand, it's as good as the day it was made.
21:46I love the fact the kids rubbed the head,
21:47because it's actually put, to me, quite a nice bit of sort of patner into it.
21:53I can see that at auction making between £3,000 to £5,000.
21:57Oh.
22:05That is absolutely one of the nicest, best of its type I've ever seen.
22:10I mean, to use a modern phrase, when the carver finished that, he knocked it out of the park.
22:14It's something I would love to own myself,
22:17and I think if, once people have seen the quality that I've seen in that,
22:20you could end up with a bidding war, and that could end up going anywhere at auction.
22:23Well, you have brought me a collection of Ian Fleming's James Bond books.
22:36I've just emptied a box, and this is a small proportion of what I've found in the box.
22:41I think we can call this a library.
22:43This is a small Ian Fleming James Bond library.
22:46Firstly, can you tell me why they were all in the box you brought to me?
22:50Yes, so the library was considerable, and it was my mum's personal book collection,
22:55and far more than these in the overall collection.
22:58But these were particularly important to her,
23:01because she developed really an adult lifelong interest in Ian Fleming.
23:07She was interested in him from when she first read Bookspion,
23:10and she continued to follow, even after his death,
23:12she continued to follow everything that was written about him.
23:15So that's why these are of particular interest to her,
23:18and she left them effectively together,
23:20with a few notes for us about why they mattered to her.
23:23I've picked out the only three which I think are first editions.
23:26These are late James Bonds from the mid-1960s,
23:29towards the end of Fleming's life.
23:30We've got On Her Majesty's Secret Service, first edition of 1963.
23:35You Only Live Twice, 1964.
23:37And The Man with the Golden Gun, which came out in 1965,
23:42by which time Fleming had died.
23:44They're in their original dust jackets, which is great,
23:47because that's part of the appeal of Bond, isn't it?
23:49Is these really...
23:50I mean, I find these really unsettling, these dust covers.
23:53They are by Richard Chopping, contemporary artist of the period,
23:56a book illustrator, I think strongly influenced by the surrealists.
23:59You know, this toad under the chrysanthemum,
24:02it's very, very strange indeed.
24:04They set the mood for James Bond, don't they?
24:06OK. Absolutely.
24:08So, do you think your mother bought these three
24:10when they first came out?
24:12Yes, I think she did, because she saw fit to comment
24:15on some of the things that were written in them,
24:17and those letters date from being very close
24:19to when she had been able to buy them
24:21when they were first published.
24:22How did she comment on them?
24:23She commented on them by writing to Ian,
24:27at his public care of his publisher,
24:29to correct him on some of his medical facts.
24:32OK. So, your mother, she was a medic, a doctor?
24:36Yes, at that time, she was a kind of jobbing,
24:39recently qualified doctor.
24:40Yeah.
24:40She subsequently went on to become a psychiatrist.
24:43But, of course, what we all want to know is
24:45what she wrote to Ian Fleming,
24:47and did Ian Fleming write back?
24:48And we're looking here on the table at two letters
24:51which Fleming clearly did write back to your mother,
24:54which is brilliant.
24:55This letter's from London, the 23rd of April, 1963,
24:58signed by Ian Fleming.
25:00Thanks, your mother, very much,
25:02for the most interesting and informative letter.
25:04Goes into some detail and then says,
25:06but, of course, you realise that I have to be careful
25:08not to stuff too much expertise down my readers' throats,
25:10or they'll think that I'm trying to educate them!
25:12Exclamation mark.
25:14So, clearly, there is some value here.
25:16It's a large library.
25:17The value is in these three first editions,
25:20but, unfortunately, condition isn't great.
25:21So, I'm going to be cautious and say,
25:23really, on the table of these books,
25:24£750 to £1,000, something like that, for the three.
25:28The letters are a different matter,
25:30and I think there are Bond collectors
25:31who have everything, who've bought all the books
25:33and are looking for the next great Fleming item
25:35to add to their collection.
25:37They'd be really enthusiastic about these.
25:38So, certainly, I'd be looking at
25:40between £2,000 and £3,000 for the letters.
25:43That's lovely to know.
25:44She'll be delighted that the books are still being read
25:47and people are still enjoying them,
25:48and we're delighted to have some family artefacts
25:50that we'll keep.
25:51Brilliant. Thank you so much.
25:54As our venue today boasts its very own historic golf course,
26:02we were hoping some golfing antiques would pitch up,
26:05and Gordon Foss is thrilled to land a rare item
26:07from the very early days of the Ryder Cup,
26:10the competition that pits the best of European golfers
26:13against the USA's finest.
26:16Well, here we are in Fife,
26:19not far from St Andrews, the home of golf, arguably,
26:21and you've brought along a really unusual piece
26:25of golfing memorabilia.
26:27When we talk about golfing tournaments,
26:30you know, the greatest ones,
26:31the Open, the US Masters, all the rest of them,
26:35but arguably, the Ryder Cup,
26:37which this piece refers to,
26:39has now become one of the greatest viewed tournaments
26:42in the world.
26:43Yeah.
26:44Tell us a little bit about it.
26:45When my father died,
26:47I was clearing out the house,
26:48and in the bottom of a chest of drawers,
26:52I came upon this.
26:53It's a menu
26:54from the very first Ryder Cup played
26:58in the United Kingdom.
26:59My grandfather was present,
27:02quite how he was present,
27:04I'm not entirely sure.
27:06And, obviously, he went round
27:08and he got the signatures
27:09of both teams on the menu,
27:13and it passed from him to my father,
27:15and then, obviously, to me.
27:17Let's have a closer look at it.
27:18So, it's, as you've said,
27:20it's the first British version
27:21of the Ryder Cup, 1929.
27:24This is the dinner the evening before.
27:26I see it's in the Queen's Hotel, Leeds,
27:28and, of course, the Ryder Cup
27:29was played at Moortown Golf Club
27:31near Leeds, 1929.
27:33Let's have a look at some of the names,
27:35because there's some great names on here.
27:37There are.
27:37Gene Saracen, you know,
27:40multi-major winner, won the Open.
27:42Yeah.
27:43We've got the two captains,
27:44Walter Hagen and George Duncan.
27:46So, Walter Hagen for the Americans,
27:48George Duncan for Great Britain and Ireland.
27:51Walter Hagen, of course,
27:52a great figure in golf.
27:53I think he captained the Ryder Cup team
27:55on several occasions thereafter.
27:58And, of course, Henry Cotton,
27:59another huge name in the game of golf.
28:02Yes.
28:02Have you ever been to a Ryder Cup?
28:04Yes, I went to the Ryder Cup at Glen Eagles
28:07when it was held a few years ago.
28:09I was also interested to see
28:10the layout of the golf course.
28:12Some quite long holes was pointed out,
28:15you know, 586 yards, the long...
28:18Considering the sort of clubs they were using.
28:20Well, exactly.
28:22If this ever turned up in the market,
28:24you would have interest from all sorts of people.
28:26You would have collectors,
28:27American and worldwide,
28:30because of the Ryder Cup.
28:31You know, people want a piece of Ryder Cup history.
28:34I think we'd be looking at easily £5,000
28:38up to £10,000.
28:41Wow.
28:42That's very good.
28:52In this lovely light,
28:54this beautiful costume
28:56is sort of glinting in a royal way.
29:00It's a fabulous piece of embroidery
29:02that you've brought in
29:03from the Weems School of Needlework.
29:04And I want to know where it's come from.
29:07It comes from Weems Castle in Fife.
29:10And this particular jacket
29:11was found in the castle wardrobe.
29:14Looking at the style and the silhouette,
29:17which is quite slim,
29:19and these curved panels here at the front,
29:23my feeling is that it's perhaps 1760, 1770.
29:28The design of the embroidery
29:32is absolutely spectacular.
29:34Now, what do you make of that embroidery?
29:37I think it's beautiful.
29:39Yes.
29:39And it's quite heavy as well.
29:41It gives it a three-dimensional look,
29:43but it's a lot of metallic threads,
29:45which you don't often think about being used
29:48in a way back then.
29:49And that's what makes it so interesting as well.
29:52Where did they come from?
29:54Where were the threads made and used?
29:57If we get right into it
29:58and look at these,
30:01these are the sort of golden threads,
30:03and the silver threads further down
30:06and the whole kind of glinting feel to it.
30:11There's lots of metallic work going on in there.
30:15So you can imagine in an evening situation
30:17in the candlelight,
30:18you know, this would have glinted and shimmered
30:22and it would have been fabulous by candlelight.
30:25You can't imagine how enticing that would have been.
30:29I don't feel it's English work.
30:30I think it's continental.
30:32And to me, the extraordinary thing is
30:34that the colours haven't faded.
30:36Now, in this period,
30:38we're talking about natural dyes.
30:40There weren't chemical dyes,
30:42which came in in the 19th century.
30:44And natural dyes fade.
30:48And this hasn't.
30:49And why?
30:50Well, one side is slightly more faded than the other
30:53because of the way it's hanging in the wardrobe.
30:55You're absolutely right.
30:57Hanging in the wardrobe for...
30:59All that time.
31:00...hundreds of years.
31:01Yeah.
31:02You see them coming up for sale every so often.
31:05You know, they're not in every costume auction,
31:07but they do come up regularly.
31:10And they usually fetch around £2,000, £2,500.
31:14So I would put it into that category.
31:17It's worth a lot to the museum at Weems.
31:20Fantastic.
31:20Thank you so much for bringing it in.
31:28What a lovely piece of Copeland pottery.
31:31How did it get to be here today?
31:33It came through my husband's family.
31:36I think from the Isle of Wight.
31:38OK.
31:39And I think it used to live in the garden.
31:40So you rescued it from the garden?
31:42When she came up here to live later on,
31:44it came up with her.
31:46And then when she passed on, it came to us.
31:48And you've no idea what it's for?
31:50No, I just keep corks and bits and pieces in it.
31:54Well, why not?
31:55Well, I know what it's for.
31:57Oh, good.
31:57And there's probably the best way would be to demonstrate it.
32:02Mm-hmm.
32:02Has anyone got a jug of water?
32:05Oh.
32:06Do you see?
32:07Oh, it just appeared.
32:09So you said it lived in the garden.
32:11Well, is it a water feature, do you think?
32:13Mm-hmm.
32:13Well, there's a second part of this.
32:16Right.
32:16Has anyone got a dog handy?
32:18Ah.
32:20Are you a thirsty dog?
32:22Ah.
32:24Oh, very good.
32:26It's all mystery solved.
32:29It's a Copeland dog dish from about 1830, you see.
32:32Goodness me.
32:34Considering it's been in the garden,
32:35considering it's a dog bowl,
32:37it's an amazing condition,
32:39and collectors love these,
32:41which is why it's worth £300 to £400.
32:44Whoa!
32:45So don't put it in the garden again.
32:48Oh, dear, no, we won't.
32:50It's a pleasure.
32:50Thank you very much.
32:54Antiques in action, ladies and gentlemen.
32:56Yes!
32:57This is a lovely combination of yellow Cairngorm citrines
33:12with the beautiful warm gold
33:15where we've got stylised thistles and oak leaves,
33:19and it's so intricately done.
33:21It's absolutely beautiful.
33:23How did you get this piece of jewellery?
33:25Well, I inherited this from my granny,
33:29my highland granny from Aberdeenshire.
33:32She left it to me,
33:34and when she left it to me,
33:36she told me it was Scottish,
33:38and she told me that the gold
33:41was actually mined in Scotland.
33:43I'm just interested to know
33:45about the provenance of the piece itself.
33:49Well, yes, the citrines are
33:50what we call Cairngorm citrines,
33:52so, of course, from Scotland,
33:54and any Scottish jewellery
33:56which is either set with Cairngorms
33:58or with hardstones as well
34:00has become extremely popular over the years.
34:03So it's just beautiful to see this piece.
34:05With regard to the gold being Scottish,
34:08yes, they were mining gold in Scotland.
34:10It's always a little bit tricky to say
34:12that the gold definitely came from Scotland,
34:14but fingers crossed, let's hope it did.
34:16We like to think it is.
34:17We do.
34:17We like the romance of the story, don't we?
34:19And, of course, the Victorian period
34:21was all about romance, which is superb.
34:24There are no marks on it
34:25to say that it was definitely made in Scotland.
34:28They didn't have to hallmark during that period.
34:31It's interesting to see such bright stones, actually,
34:34like this, and the yellow.
34:36In today's world, yellow is the hardest colour to sell
34:39as far as gems are concerned,
34:41but you obviously love it.
34:43I do love it.
34:44I love yellow gemstones.
34:46I have yellow in different forms in jewellery.
34:50Oh, wonderful.
34:50So I do like it, yes.
34:51Oh, that's fantastic.
34:53Obviously, we're here.
34:54We want to put a value on it.
34:55To a collector of Scottish Highland jewellery,
34:58I think at auction we would be looking
35:00at an estimate of between £800 and £1,200.
35:03Oh, my word.
35:04OK.
35:05Well, that's much more than I expected.
35:07It's not going anywhere past to my daughter,
35:10but that's lovely to hear.
35:12Good.
35:12Well, I hope she gets as much enjoyment out of it as you have,
35:15and thank you for bringing it along.
35:17Thank you very much.
35:21It's great to hear that it's a really nice piece of Scottish jewellery
35:27because she was a very fine Scottish lady.
35:30And so when I see the brooch, I think of that and I think of her.
35:33Will, you brought along three pieces of Art Deco,
35:44which is you all over because you love your Art Deco.
35:48What is the game with these three things?
35:50So I wanted to pose a new idea for you today.
35:53My game is where in the world we are in the 100th anniversary,
35:58the centenary of the Art Deco exhibition,
36:01the hugely groundbreaking exhibition that was held in the City of Light in Paris in 1925.
36:07It was born out of an idea by the French that in 1925 they would invite the world
36:14to exhibit the very best that they could produce and show what they could create.
36:19Secretly amongst it all, the French idea was that they were going to show the rest of the world
36:25that they were the arbiters of good taste.
36:28But actually what came out of it was something where the French weren't the leaders,
36:33they were merely participants because this became a global style.
36:37So we have three items here.
36:39One of them is from Italy, one of them is from France, and one of them is from Austria.
36:45And your task and your challenge is to tell me where in the world.
36:50Oh.
36:51Nearest you, you have this incredibly fashionable ice skater with her beret,
36:56and she's fallen over on the ice and she's called the SOS girl.
37:00In the middle we have this, which for me is just so dynamic.
37:05You've got to think about Deco, it was the age of travel.
37:08This is about speed and about power, and I mean, so beautifully executed.
37:13It's just shooting like an arrow, isn't it?
37:15It is.
37:15It's actually called the comet, and you can see it going through the night sky.
37:21Nearest me, we have the most glorious depiction of Josephine Baker.
37:26Now, Josephine Baker was this wonderful actress who took Paris by storm.
37:32She was the review that you had to go and see.
37:35So she was the toast of Paris.
37:38Your task is, which one was made in Italy, which one was made in France, and which one was made in Austria?
37:46Over to you, kid.
37:47Right.
37:48OK, now, I should have listened to you more over the years, because this has the look of lynchie, but I can't remember where that came from.
37:57Any ideas?
37:59OK, I think the middle one, possibly Austria.
38:03I do love that.
38:04So do I.
38:04It's beautiful.
38:05I do think it's obvious that one's France and Italy, for the porcelain one.
38:12OK, because that's kind of where I'm heading.
38:14Yes.
38:14Oh, that's good.
38:15You are as well.
38:16You're all nodding.
38:17Do you feel any differently?
38:18I think the middle one could be the French.
38:23Oh.
38:24I think Italy.
38:26Italy, the Josephine Baker is Italian.
38:29France in the middle.
38:31Austria.
38:32What's that?
38:33I think that's Italy.
38:34France and Austria.
38:35So you think, hang on, which one do you think is Italian?
38:38The one in the middle.
38:38The one in the middle is Italian.
38:39Wow.
38:40OK, this is no help at all.
38:41No help.
38:42No help.
38:44They've left you high and dry.
38:45You've got one of each there.
38:46So I'm going to call out the country.
38:50And you're going to point to which one it is.
38:54OK, go on.
38:55Go on.
38:55Right.
38:55OK, then.
38:56Let's make you choose Italian.
39:03OK, Italian.
39:04Italian.
39:05French.
39:07Josephine Baker.
39:08Austrian.
39:09The Comet.
39:10You got one right.
39:12And it wasn't this one, was it?
39:14It was that one.
39:15Oh, it was!
39:15Oh, and is it Lenci?
39:17So you were really close.
39:19You mentioned Lenci.
39:20This is actually by the firm of Ecevi, which was run by the gentleman called Sandro Vecchetti.
39:24Now, Vecchetti was actually the artistic director at Lenci, but ended up setting up in direct competition.
39:30This dates from around 1934, 1935, a beautiful ceramic figure with that classic comedic element, but also that great element of Italian fashion and style.
39:42And today is worth in the region of £10,000.
39:46Wow.
39:46That was a very satisfying gasp.
39:49So, nearest me, this is Karl Hagenhauer made in Vienna, in Austria, and a depiction of the great Josephine Baker in a chrome-plated finish with lacquer.
40:01And date-wise, early 30s, this one was made.
40:04And the value of this, you're looking around sort of two to two and a half thousand.
40:07But it's the one in the middle.
40:10This is the spectacular piece.
40:12This is by Maurice Giraud Rivière.
40:16And this was made at Etling in Paris, and it actually dates from 1925, from the year of the exhibition.
40:23So it is Art Deco in its purest, purest form, and one of the pieces that you will see in virtually every documented book on the period.
40:31And it is a silvered bronze.
40:33And if you would like to own this, you're going to have to part with somewhere between £20,000 and £30,000.
40:40Oh, my God.
40:42Wow.
40:44So then, to recap, closest to me is Austria.
40:47In the centre, our spectacular piece from France.
40:51And nearest you, the one you did get, Italy.
40:54But collectively, what we've got here is just a wonderful representation of, for me, the most incredible design movement
41:02that gave us so much that is even still relevant today.
41:05So beautiful, so modern.
41:07And look at these three, but all with their individual interpretations.
41:10So, well done.
41:11You were nearly there.
41:12Oh, no.
41:15I think we're so used to seeing Victorian black and white photographs that we forget
41:36that London cities, towns were a riot of colour because of these incredible Edwardian and Victorian signs.
41:45So, you must be a fan of Victorian signs?
41:48Or how did you come to own this chap?
41:50Forty years ago, my husband and I bought a house out in Perthshire, which had been the village shop for over 100 years.
41:57And we renovated it and converted it into a home.
42:03And this we found in the garden.
42:06It had obviously been used as an advert in the village shop, and it had been stored behind an old wooden shed.
42:13But he also has a connection in my mind with my mother's family.
42:18My grandmother was widowed in 1910, left with three small children to raise, and she had to go out to work.
42:29And she went to work in the sunlight soap factory in Port Sunlight.
42:35We really like him, anyway.
42:37So, when I first saw this, I had to keep looking at it, and I had to look at it all over, and I had to look at the back,
42:43because you see so many fake examples today.
42:47They're primarily the rectangular or the square ones, but even to the extent that they actually sort of put in the wear and the rust and the damage as part of the design itself.
42:56But he is bang on.
42:58He's a great sign, a really great sign.
43:01So, he's known as the baker boy for obvious reasons, and he's advertising sunlight soap, which was introduced in 1884,
43:08and was one of the first packaged, branded soaps.
43:11And this £1,000 guarantee of purity here, I mean, £1,000, around 1900, 1905, when this was made, is a vast sum of money.
43:20But they were so confident that there were no harmful impurities, that they were prepared to bet £1,000 against that being proven.
43:28How do you hang him?
43:30We normally hang him with a hook there and a hook there, and he's slightly at an angle,
43:36which he obviously shouldn't be, because there is a straight line there.
43:41Like, he was obviously on a corner or something, something like that.
43:44The reason I ask was because this wasn't actually hung outside the grocer's shop.
43:49It may have been hung outside the grocer's shop.
43:51But they were produced around 1905, and they were produced to be hung on the side of trolley buses or carts.
43:57So that explains why there are no holes, because there would have been fixings for him to be hung on the side of that.
44:04They're really quite scarce signs.
44:08Yeah, yeah.
44:09What's he worth?
44:09Well, I think if you put him into auction, he's worth what he says.
44:14I think he's worth about £1,000.
44:16That's really interesting.
44:18Yeah.
44:19But he's going back home with me today.
44:20Bravo.
44:23Thank you very much.
44:24Thanks.
44:24Thanks very much.
44:33Where did you find them?
44:34They belonged to my dad, and when he died, I took the stuff from the house, and that's what was there.
44:40So do you know who they belonged to?
44:41Yes.
44:42My great-uncle Frank, Frank Gibbons.
44:45OK.
44:46So what we know about Frank from his medals is that he's in the Royal Air Force.
44:50Yes.
44:51So the medals that he has are the British War Medal and the Victory Medal, so this is First World War.
44:55Yes.
44:56He's also in the Royal Flying Corps.
44:58Yes.
44:58So the very start of flying as a fighting arm.
45:02Right.
45:03Now, he is flying a two-seat aircraft on observation missions.
45:09Right.
45:09In 22 Squadron.
45:11OK.
45:12He's flying still just at the beginning of 1918.
45:17So the Royal Air Force was formed on the 1st of April 1918, so he starts flying in action in February.
45:23OK.
45:24So he's flying with the Royal Flying Corps.
45:26OK.
45:26He finishes the war, and at the end of the war, he has shot down 14 German aircraft.
45:33All right.
45:33It's OK.
45:34So you need five to be an ace.
45:36Oh, right.
45:37So he's definitely a fighter ace.
45:39OK.
45:40And in 1919, he's awarded this thing here, which is the Distinguished Flying Cross.
45:46OK.
45:46So this is a brand new medal that was invented just for the Royal Air Force when it was formed on the 1st of April 1918.
45:53OK.
45:55They are in appalling condition.
45:57I know.
45:58What have you done to them?
45:59Nothing.
46:00I don't usually say that, but these are such a nice group of medals.
46:04It would be worth getting them re-ribboned, but don't get rid of the old ribbons.
46:08So did you know anything about him?
46:10Not an awful lot.
46:11But just what I've read about him, I know he died in 1932 in a flying competition.
46:21Oh, really?
46:21And he hit a tree.
46:22No.
46:23Yes.
46:24That's really all I knew about him.
46:25He was only, I think, 33 when he died.
46:27It's a really dangerous job these people did.
46:29The aircraft were so flimsy, so, you know, difficult to control.
46:33Now, you found them in a tin?
46:35Yes.
46:35Yeah, my dad, he had kept them.
46:37He did talk about them.
46:39In the hierarchy of medals, this is only two away from a Victoria Cross.
46:44Oh, right.
46:45Gosh.
46:45So he's genuinely a brave man, and he must have been an exceptional pilot.
46:49Right.
46:50Yes.
46:50They are worth £4,000.
46:53No.
46:54Really?
46:56Oh, my goodness.
46:58Such a lot.
46:59Oh, hello.
47:07What have you brought with you today?
47:08Hi, I've brought you a sporn.
47:10Oh, excellent.
47:12Well, that's a very good-looking one.
47:13It's in nice condition, isn't it?
47:15Do you know the regiment?
47:16Highland Light Infantry.
47:18Yes.
47:19And the initials are just in there, aren't they?
47:23Now, do you know what this is made of?
47:25Have a feel.
47:27I think it's made by horse here.
47:29It is.
47:29It's really tough, isn't it?
47:31It's in great condition.
47:32It was my dad's.
47:34It passed down to me.
47:36He had a pub in Maryhill Road in Glasgow.
47:39Ah, yes.
47:40And that came from the barracks.
47:42There used to be an army barracks there as well.
47:44So, somebody had a bit of a nice evening at your father's pub and left this behind.
47:50Yeah, well, it might have been a good evening because they left the kilt as well.
47:53Do you know what it's worth?
47:56No, how lucky?
47:58About £150.
47:59Really?
48:00Wow.
48:01Thanks so much.
48:02OK, thank you.
48:02This is a very interesting object.
48:08Yes.
48:09What made you bring it here today?
48:10It's probably the most interesting thing I have.
48:13You know it's a club, don't you?
48:15Yes.
48:15It's called a liangle and it's from Australia.
48:18Mm-hmm.
48:19And it's used in single combat and they use it in conjunction with a small flat-faced shield with a sort of angular back to it.
48:29Ah, OK.
48:30You know, you get a lot of the clubs from Australia have this, it's like this spiral cone-like ends to them.
48:38And I actually think they use those for digging.
48:40It looks to me as though it's been polished or varnished, which is a bit of a shame.
48:45I think it could be removed so you get it down to the natural patina.
48:49But 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.
49:02OK, I'll maybe hang it on the wall.
49:10There's nothing more beautiful than the Scottish landscape.
49:19And of course this Oil Uncanvassed by David Young Cameron, he has really created the mood and drama brilliantly.
49:25I was imagining, you know, this picture, if it was multiplied by 10, it would work as a brilliant backdrop to anything.
49:32It's got mood, it's got a really sort of dark, gorgeous palette.
49:35What's your connection to Stirling Castle?
49:37Well, I was brought up near Stirling, a place called Dunblane, and my aunt, when she died, she left me this picture.
49:46And she died about 30 years ago, so I've just had it ever since.
49:51And what do you know about David Young Cameron?
49:53Not a lot, actually, other than he's obviously a Scottish artist.
49:57Well, I have to say, I think he's very underrated.
50:00He was a Royal Academician, he was a member of the Royal Scottish Academy also, I mean, he was a very major name at the time.
50:05But at the moment, I still think he's significantly underrated.
50:09He'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.
50:22You 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.
50:30His paintings are rarer, and some of his paintings are really large and hugely dramatic, with a really, really dark palette.
50:38I think those are the earlier pictures.
50:40This is probably a little bit later, it's probably 1920s.
50:43It'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.
50:52And we're going to come to value.
50:54OK.
50:55So it's certainly worth £3,000 to £5,000.
50:57It's a very sought-after picture, and actually, if anything, you know, these are the sort of pictures that should go up in value by him.
51:04It's a really good, dramatic picture by David Young Cameron, and I'm so pleased you brought it in today.
51:10Good. Well, I'm pleased I brought it in too.
51:17Well, you've brought along this wonderful piece of glassware today, and we're seeing it in all its glory, glistening here in the sunshine.
51:24Did you give it a clean before you came?
51:26I did give it a little clean, yes.
51:28Well, you've done a lovely job.
51:29So what you've brought along today is a rum dispenser, a very splendid piece of glass.
51:35And we can see here that it's engraved along the front, rum, and also with the manufacturer or retailer's mark, J.W & Co.
51:44So this dispenser is probably late 19th, early 20th century in date.
51:49It was certainly made here in the British Isles, and very possibly made here in Scotland.
51:54Mm-hm, yeah.
51:54A fabulous piece of glass like this must have some stories to tell.
51:58What story can you tell me about it?
52:01Oh, the last year of my apprenticeship with a local joinery firm.
52:05And myself and another lad were given the task of cleaning out.
52:10It was described as an old shed in the workshop up in the corner.
52:14We got all the stuff out.
52:16We got to the back corner, and I saw actually two of these.
52:21One, the rum one, and a brandy one.
52:23So I took a hold of them, and I walked through the workshop.
52:25And I said to the foreman, what I'll do with these jobs, skip, throw them in the skip.
52:34Oh, right.
52:35I says, OK.
52:37So I went out the back, I got to the skip.
52:40No.
52:41So I walked past the skip and stuck them in my minivan.
52:43A wise decision.
52:44The brandy one got broken through the years.
52:48Still got the tap out of the brandy one, but that's a bit of it, you know?
52:51Well, 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,
52:59most likely in a sort of pub environment.
53:01Yeah, yeah.
53:02And they really added a bit of theatre to the whole sort of pub drinking experience.
53:06So when you ordered your brandy or your rum and your whiskey,
53:09it was a dispenser such as this that it came out of.
53:13Yeah.
53:13This one would originally have had probably some gilding and enamel here in the engraved detail.
53:19Yeah, there was little bits of that when I got it,
53:23but it's gradually fallen off over the years, you know?
53:26It still looks very splendid.
53:27Mm-hmm.
53:28And it's got this lovely cover with the cut facets and the tall finial handle here.
53:33It's of this ovoid baluster form and raised on this round foot.
53:37Yeah, yeah.
53:38So it's a really nice piece.
53:39And these are quite collectible today.
53:41In terms of value, because it has lost some of that original gilding and decoration,
53:48I'm going to put an estimate of around £150 to £200 on it.
53:52Yeah, yeah.
53:53And for a slightly more decorative one, it could easily make double that.
53:56Mm-hmm.
53:57Yeah, yeah.
53:57But it's really nice to see your rescue project.
54:01Thank you very much for bringing it along today.
54:03Oh, you're welcome.
54:03When you came to my table and you said you had a coin collection,
54:14I thought, oh dear, she hasn't read the blurb
54:16that we don't have a coin specialist or a stamp specialist.
54:18A single coin collection can take a day to go through,
54:21so we don't normally look at coins, unfortunately.
54:24Then when I saw them, I thought we would have a go at these after all.
54:28Tell me what you know about your coin collection.
54:31Well, I went up into the loft and I opened up this blue ice cream box
54:35and found these.
54:36I can see that there are two with Queen Victoria's head on,
54:40dated in the 1800s,
54:41and then the rest all seem to be the sort of after Queen Victoria,
54:45and I don't know anything about them,
54:47so I'm hoping you can tell me a bit more.
54:49Well, I can tell you in two sweet words exactly what this is.
54:54This is gold bullion.
54:58Nice attic find.
54:59I wish I'd bought your house.
55:00These are gold sovereigns.
55:02You've got 21 gold sovereigns and two half sovereigns.
55:06In theory, they are legal tender.
55:08You could spend it,
55:09but they're used as a form of storing wealth, effectively.
55:13Now, something that's important is the dating on them,
55:15because some of the earlier ones
55:16can fetch more for their collectible value
55:19than for their gold weight.
55:21Right.
55:21The earliest ones here are late Victorian,
55:24and the rest are either Edward VII, George V, George VI.
55:27They're largely late 19th and early 20th century.
55:31There are also some that have got a bit thumb-worn,
55:33but they are still 21 gold sovereigns and two half sovereigns.
55:39Do you have any idea of their value?
55:41None.
55:42Absolutely none.
55:43I didn't even know they were gold until you just told me.
55:46You can get fakes that aren't gold.
55:48Right.
55:49These are gold.
55:50Gold has outperformed everything for a few years now.
55:53These, a year ago, were making, at auction, £400 each.
55:58Now they are £550 each.
56:01So your collection here is worth the best part of £10,000 to £15,000.
56:08Whoa.
56:11Right.
56:12Who doesn't dream of running their fingers through chests full of gold coins?
56:18And here, you've got it.
56:19You've got it.
56:20Well, that's amazing.
56:21That's absolutely amazing.
56:23Thank you very much for bringing them in.
56:24No, thank you.
56:25They are absolutely beautiful coins as well.
56:28Pleasure.
56:29As our day at Hill of Tarvik comes to an end, I wanted to show you a local sport you might
56:39not have seen before.
56:41The Scottish Coal Carrying Championship.
56:45It's a tradition dating back to the 19th century.
56:47The race still takes place today, every year, the annual Coal Miners Race in nearby Kelty.
56:54Wallace and Stacey here, our previous winners.
56:56And the way it works is Stacey, as a woman, will pick up 25 kilos of coal and put it on
57:01her back.
57:02Wallace, 50 kilos.
57:04And the first person to get the end of 1,000 metres is the winner.
57:08Today, to save their legs, it's the first one to reach the house.
57:11Right.
57:13Load up, Wallace and Stacey.
57:17Whoa.
57:18OK.
57:19On your marks, get set, go.
57:24From the Antics Retro.
57:26Bye-bye.
57:33Celebrating Angela Lansbury and her untold connection to Ireland, the mystery of murder
57:39she wrote on Sounds Now.
57:40Second chances, first loves and one complicated family with a stellar cast, Last Tango in Halifax
57:47on iPlayer.
57:47And the creator and writer of that, Sally Wainwright, brings us brand new drama, Riot Women.
57:53Turn up the volume next.
57:54All in a couple minutes.
57:55Actuals.
57:56Provided.
57:56Actuals.
57:57One.
57:57Fun and Five.
57:58Fun and five days.
57:59One.
57:59Of the first.
57:59One.
57:59Of the first.
58:00One.
58:00One.
58:00One.
58:01One.
58:01One.
58:01One.
58:02One.
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