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00:00Today, we're on the east coast of Scotland, just a few miles from St. Andrews, and our venue is the stunning Hill of Tarvit Mansion, with Edwardian architecture and beautiful gardens.
00:15It's a place full of quirky features, and even surrounded by its own nine-hole golf course.
00:21It was designed in the 1920s, but then fell into disuse for decades after it was commandeered by the Ministry of Agriculture during the Second World War.
00:28Restored to its former glory in the 21st century, golf is still played here, and I'm going to give it a go.
00:35And as will become immediately apparent, I have no idea how to play golf, and I don't think the antiques over there with our visitors are in any danger.
00:42Right, here we go.
00:48Four!
00:51And our experts are all above par today, looking for those antique classics.
00:56This is the best outfit.
01:00I want it for every future roadshow.
01:03Well, there are certain names within the firmament of art and design that will raise anyone's pulse, and one of those has to be Pablo Picasso.
01:12Is it a fake?
01:13No.
01:14Wow.
01:14It's interesting, because from a silver point of view, it's kind of been wrecked.
01:19Yeah.
01:20CG and I could pull it off.
01:21Doctor Who villain?
01:22Absolutely.
01:24Welcome to the Antiques Roadshow.
01:26We've had quite a lot of comments about this piece since it arrived on the table.
01:52Quite an extraordinary looking thing.
01:54Certainly is.
01:54What do you know it as?
01:56It's an aperne.
01:57Mm-hmm.
01:57But we just call it the family heirloom.
02:00The family heirloom.
02:01Well, the aperne is the right terminology.
02:03Aperne is a French word, and that's what it is.
02:05It's a centrepiece.
02:07Obviously not from this neck of the woods.
02:09No.
02:09I think we have got emus.
02:12Yes.
02:12Yes.
02:12We've got kangaroos.
02:14Yes.
02:15And we've got an indigenous hunter.
02:16Yes.
02:17Tell us a bit about the inscription plaque.
02:19It's to Mr Peel I saw.
02:20Yes.
02:21It's to Edward Peel, who was my great-great-grandfather.
02:25Mm-hmm.
02:25And he became mayor of Durham, and this was a present to him from his son, who'd obviously
02:33emigrated to Adelaide.
02:35Right.
02:35And it must have been sent over to him as a present for his appointment.
02:40When Edward Peel died, it never went back to him, so it came to Robert Peel's sister.
02:46She married my great-grandfather, and it just came down.
02:49So what did you think when you inherited it?
02:53There were two things that came.
02:55One was a solid silver soup tureen, and one was this.
02:58Yeah.
02:58And I lost the toss, and I got this.
03:00You'd have preferred a soup tureen.
03:02I would have.
03:02It made me more functional.
03:03Anyway, it's fine.
03:04But, of course, a new parent has got a function, although this one's highly decorative.
03:08This is for fruit.
03:09But let's have a closer look, because it's made by an Australian silversmith, as we'd
03:13expect, and we've got a nice plaque with his name on it here, Vent, W-E-N-D-T, of Adelaide.
03:19We know the date, so it's late 19th century.
03:23Australian silver from this period, with a known maker and a known inscription, gives it
03:29a bit more provenance and cachet.
03:30So, I would say, I would say, if this turned up in a sale here, you're looking at £3,000 to £5,000.
03:38Well, looking at this pair of bookends, the style and design of them sort of belies who actually
03:59made them, especially when I say the name Clarice Cliff.
04:03But before we unpick the mystery of them a little bit, I've got to ask, how did they come to be yours?
04:08They were my mum's, so I can remember them when I was a child, propping up books, but in the guest bedroom,
04:14so they weren't really on display for everybody to see.
04:16So, when we were clearing her house out, I claimed them, and they're at home now with holding up books as well.
04:23So, what is worth remembering is that for all of those whimsical landscapes, all of those bold geometrics,
04:29Clarice loved modelling, and here it is in absolute full display.
04:32At Wilkinson's in 1922, she was formally indentured as a modeller before all of the other designs came about,
04:40and all through her career, she would revisit that as something to do.
04:44And here we've got a fabulous pair of bookends.
04:47Some call them the cottage, this is the Tudor mansion,
04:50but it's this idea of this whimsical country, you know, bucolic lifestyle that she wanted to recreate.
04:56But I'm even going to say to you that I know who painted these.
05:00Wow.
05:00And that's the work of a lady called Elsie Nixon.
05:04Now, this technique here is called Delicia, and Elsie Nixon was called the Delicia girl.
05:10And in terms of the date, you're looking around 1932 to 1934,
05:15and actually, if we just turn them upside down, we've got exactly the marks that you'd want to see.
05:22Bizarre, which of course is the range, by Clarice Cliff.
05:25To the collectors, well, some like collecting geometrics, some like collecting landscapes,
05:32some like collecting these which fall under the bed of novelties.
05:36And a pair of these today is going to cost you somewhere between £300 and £400.
05:41That's good.
05:42Not that I want to sell them, because I quite like them, they're very pretty.
05:45Well, what a glorious sunny day, blue skies above us.
05:56It certainly is, yeah.
05:57Blue, beautiful necklace.
05:59Tell me how you got this necklace.
06:01It came to me about 15 years ago from my mother.
06:05And the lady who delivered my mother, sadly, none of her own baby survived.
06:12That's all.
06:12So that left Granny Martindale, as she became known in the family,
06:16without any of her own surviving children.
06:19So when Mum was 21, she'd managed to buy the sapphires for Mum's birthday.
06:25How wonderful.
06:26And she bought them from a pawn shop.
06:28Well, that's interesting, because the date of this actual necklace is the late 19th century.
06:33So we're talking around 1880 to 1890.
06:36Yeah, it's quite...
06:37That is much older than I thought.
06:38Yeah, exactly.
06:39So we've got this gorgeous row of sapphires,
06:42and it would have probably been bought by somebody who travelled in India.
06:47The stones are more likely to come from Sri Lanka, Salon.
06:52And they would have been pieced together when they got back to Britain
06:56into this row of beautiful stones mounted in this gold claw setting
07:02and also the lovely fine gold chain.
07:04So when we're looking at the stones, in order to get the value,
07:07we need to look at the consistency of colour,
07:09not just of the stones as they sit on the necklace,
07:13but also when you look into the stones
07:15to make sure that the colour is the same from the top to the bottom.
07:18And we also look inside the stones and on the surface for flaws and inclusions.
07:23The one thing that we can't tell for sure when we're out on location like here,
07:28because it isn't done in a laboratory environment,
07:31is to make sure that the stones are all naturally coloured
07:34with no heat enhancement there.
07:37This is when the gems are heated to improve their colour and their clarity,
07:41which has become, to a point, accepted within the jewellery industry.
07:45Sapphires are also the stone of devotion.
07:49Oh, right.
07:49In the language of jewellery world.
07:52That would be very appropriate.
07:54Wouldn't it just?
07:55Now, the coloured stone market is also, at the moment, doing exceptionally well.
08:00If the necklace comes back that all the stones are natural, no heat treatment,
08:05then you're looking at a necklace that is going to be well in excess of £10,000.
08:09That's very nice.
08:10And they could fly.
08:12Granny Martindale would be amazed.
08:16Well, you've made my day.
08:17Thank you very much for bringing them in and cherish them.
08:20I will.
08:21Thank you very much.
08:22Thank you.
08:22Thank you.
08:23Wow, that is an extraordinary object.
08:32What do you know about it?
08:33It's come down through my husband's side of the family over several hundred years,
08:39and my husband now owns it.
08:42It's a hairball which has come from a horse's stomach,
08:47and the horse would have worked in the Dundee jute mills.
08:51So it's all the fibres from the jute.
08:53Yeah.
08:53And then when the horse died, they discovered this in its stomach.
08:56Wow.
08:57But what a size.
08:59I know.
08:59And it's such a weight, and it's almost perfectly spherical.
09:04I think it's a wonderful object, and in a way it's sculptural, isn't it?
09:10And I honestly think that in a sale where they were selling cabinet curiosities,
09:16I think this would be given an estimate of £200 to £300,
09:20and I think could make as much as £500.
09:23I think it's a fabulous object.
09:24It's not for sale.
09:25So, look, I am absolutely itching to get my hands on this lovely pendant.
09:41You can tell me what you know about it and what you would like to know about it.
09:44Well, my grandmother wore it a lot, so I remember my grandmother wearing it,
09:49but it came from her mother, my great-grandmother,
09:52who was part of the sort of arts and crafts movement,
09:55I think on the fringes of a Bloomsbury set, that type of thing.
09:58And I know that she not only collected art, but she did also do art.
10:01So, it's quite possible that she might have even made this.
10:05I'm guessing, really.
10:06I don't know an awful lot about it.
10:08She didn't make it.
10:08Right.
10:09It was made in China.
10:10OK.
10:10So, it is Chinese.
10:12So, look, it's a jadeite pendant,
10:13and jadeite was introduced to China from Myanmar, Burma,
10:17and it was really highly prized in the 18th century,
10:20although this one, I think, is made later on into the 19th century.
10:24As a material, it's a very precious stone.
10:28You can see why.
10:28I mean, this lovely kind of apple green colour,
10:31and you get it in kind of lavenders and yellows
10:33and all these sort of various inclusions.
10:34I marvel at how well they've, you know, incorporated.
10:37They knew that that was a slightly different colour,
10:40and they've just got the end of the stalk there.
10:41It's so well done.
10:43And just as good, you know, on the back as it is on the front.
10:46And this is a type of Chinese pendant.
10:48They go back to the Neolithic times.
10:50You know, this one's much, much later than that.
10:52It's not 18th century.
10:53In fact, this one, I think, is possibly quite late in the 19th century.
10:57What I like about this one as well is you've got your little toad down here.
11:00And I had a really good look at him, and he has got little...
11:04He's got the little warts on his back.
11:05Yeah, I called him a frog.
11:06I think you're right.
11:07He's a toad.
11:08He's definitely got warts, which make him a toad.
11:11And they're sitting on these lily pads there.
11:13So, look, I mean, it is a lovely thing.
11:15And actually, sort of, JJ needs to be worn.
11:18It brings it to life.
11:19Have you worn it?
11:20I haven't worn it, partly because of the state of the string.
11:22But, no, it hangs in my bedroom, and I look at it.
11:24I admire it, but I haven't yet worn it, so...
11:26If that came up at auction, that would make £8 to £1,200.
11:29Fantastic.
11:30There you go.
11:30But you're right.
11:31I'm keeping it.
11:32There you go.
11:32Do I have to give it back now?
11:33I have to say that when you arrived at my table with this picture wrapped up, I wasn't
11:47too sure what to expect.
11:48And then when you eventually unwrapped it, I have to say my eyes nearly popped out of my
11:52head.
11:53It really is the most stunning embroidered sampler mat.
11:59How did it come into your life?
12:00Well, the lady who embroidered it, Anne Hextel, was my great-great-great-grandmother.
12:09What surprises us about this is the date on it is 1794.
12:14Well, in 1794, she was six years old.
12:18Ooh.
12:18So she did this as a small child.
12:21And to our mind, it's just stunning.
12:23Accurate, as far as you can tell, from that date.
12:26It's certainly a virtuoso piece of embroidery, isn't it?
12:29Yes.
12:30And here we have the world, the Eastern Hemisphere or the Old World, as it says here.
12:36And then we have the Western Hemisphere or the New World.
12:39And it just really is the most incredible piece of embroidery.
12:43We have in the corners these vignettes, little allegories, the four continents of Europe.
12:48Here we have Africa, America and Asia.
12:52And right in the centre, this wonderfully rendered compass here.
12:57And then right at the top, a new map of the world, Anne Hextel, 1794.
13:03This is taken from a pattern.
13:04And other ones do actually are in existence of this very map.
13:09So you would have the pattern.
13:10And then you would start something like this as a way of learning your stitching and showing what you could do.
13:16These were the female attributes, female skills that you would need to learn in order to prepare for your adult life.
13:22The thing that I really love about that is the time it must have taken, the patience.
13:28Yes, completely.
13:29I just hope she enjoyed it.
13:31I do hope for her sake it was a labour of love and not a chore.
13:35So we take a closer look.
13:36It just really is fascinating.
13:39This is the late 18th century, the dawn of modern expeditions, just not long after Captain Cook.
13:44And here we are with New Holland, before it was Australia.
13:48Van Diemen's Land, modern day Tasmania.
13:52And then moving across, we've got America.
13:54We've Upper Canada, the United States, and then Louisiana.
13:59Yes, separately.
14:00Yes, before it became part of the United States of America.
14:03It's all going on there.
14:05It really is the most wonderful, wonderful piece of embroidery.
14:09And I think at auction, I think this would do rather well.
14:13And I could see it comfortably fetching at auction between £1,000 and £1,500.
14:19Wow.
14:19That's amazing, yes.
14:20Thank you.
14:24With Scotland known as the birthplace of golf, it's no surprise the sport still reigns supreme.
14:32There are around 50 courses in five alone.
14:35And the world's oldest course at St Andrews is just up the road.
14:39So when Frederick Sharp bought the Hill of Tarvit estate in 1904, keen golfer himself,
14:44he built his very own course, which today hosts a unique version of the game.
14:51Here, they do things a little differently.
14:53Now, I may not be dressed in traditional plus fours, but I am ready to play a round of traditional golf.
14:58At Hill of Tarvit, they have a hickory golf course.
15:01It's the only one of its kind remaining in the UK.
15:04Hickory wood was used to make early golf clubs because of its strength and flexibility.
15:11Dave Allen runs the course here at Hill of Tarvit, and he's also my caddy for the day.
15:17Dave, what do I need to play a round of hickory golf?
15:19You need a set of hickory golf clubs to start with, and that's what we've got here in front of us today.
15:25We give you out here five clubs in your bag.
15:28You have a driver, which is the obvious one, and you have three irons.
15:32You have your long iron, your jigger, your medium iron, which is your mashie,
15:37and your short iron, which is your nibbleg, which probably all means nothing to you.
15:41I mean, a mashie and a nibbleg, what are they?
15:43They're traditional words for golf clubs.
15:46Mashie means club.
15:47And so it was just the maker's way of, in a way, trying to sell it.
15:52What makes them different is the shaft.
15:55The shaft's the important part because the shaft is the part that's made of hickory.
16:00And this is where it gets its name from, the hickory shaft.
16:03And these are original clubs?
16:05These are original clubs.
16:06These clubs date anything from the 1880s through to the 1930s.
16:12And so that's what we use here.
16:14Nothing is replicated.
16:15It's all original.
16:17And so when people started to make golf clubs with steel, as opposed to wood,
16:22is that when we got into the sort of a five iron?
16:25Yes.
16:25Those kind of names are more familiar with.
16:26Basically, they both came around about the same time.
16:29Steel did come in roughly around about the First World War.
16:32It was a new thing that wasn't popular.
16:34So what they would do is disguise them.
16:37They would disguise them either as hickory or bamboo.
16:40And one of the clubs I brought you here today, this one, is actually designed to look like bamboo.
16:48Oh, I see, but it's...
16:50But it's a steel shaft.
16:51How extraordinary.
16:53Well, I'd like to have a go at a mashie or a niblick.
16:56Or a mashie niblick.
16:58Can we?
16:58Of course we can.
17:03All right, mind yourself.
17:05Nice swing from the shoulders.
17:07Keep your head still and you'll be fine.
17:09That is not too bad.
17:14It's not bad at all, actually.
17:16Give yourselves a couple of days and you'll be on the green.
17:21Not so sure about that.
17:24The entire course is managed in an environmentally friendly manner.
17:28It's planted with sustainable wildflowers and grasses,
17:32all without using modern fertilisers or artificial irrigation.
17:36Even the weeds at each hole are removed by hand.
17:40What about the golf balls, Dave?
17:41Was there a sort of traditional type that they used for hickory golf?
17:44There was a traditional, because it was like the clubs at the time,
17:47the balls were developing at the same time.
17:50Unfortunately, nowadays, we can't use these kind of balls.
17:53They're far too expensive and they're also too rare.
17:56So what we've managed to do is develop, through our company in America,
18:00this golf ball.
18:01It's square dimpled.
18:03It's a replica of a ball that was used in the 1920s.
18:06So it's a ball we now use on the golf course.
18:08What were the original golf balls like for hickory golf?
18:11There was feathers in them.
18:13They must have been so light.
18:14They were, and they went out of shape very quickly.
18:17Right, I'm going to have a bit of a go.
18:19I've got the flag.
18:20You're dropping this in the hole.
18:21This is for the open.
18:23Right.
18:24Nice swing.
18:25I'm not getting my hopes up.
18:29This one's going in for you, Anna.
18:31Oh!
18:32Put it there.
18:37Oh, my goodness.
18:38Told you.
18:39That one was going in.
18:40That was beginner's luck.
18:42Doesn't matter.
18:43It's in.
18:43I think I'll quit while I'm ahead, and get back to the mansion and garden, where Hillary
18:51Kay has found some quirky-looking costumes.
18:53This is the best outfit.
18:57I want it for every future roadshow.
19:00This is my pot black look.
19:02Do you think it'll catch on?
19:04Oh, absolutely.
19:05But look, we're surrounded by fabulous costumes.
19:08We've got orange and lemons, St. Clemens.
19:11We've got Mrs. Washing Powder.
19:13We've got a fabulous clown, Piero outfit, and we've got notes.
19:19I mean, there's also some photographs here, so there has to be a story.
19:23Tell me where it starts.
19:24Our grandma made these costumes in the 1920s.
19:29She must have been very different then to how we know her.
19:33Okay.
19:34Because she was very, very strict, quite a disciplinarian when we were growing up.
19:38But there was a previous rather frivolous life.
19:41I think she was, yes, a flapper girl.
19:44Fabulous.
19:44Well, let's just look at some of these images, because first of all, we've got that dress,
19:49the notes dress, and this is grandma wearing it.
19:53And then what's even better is we've got a photograph of what is this kind of fancy dress party?
20:02Absolutely no idea, I'm afraid.
20:04No.
20:04It was interesting.
20:05As we were setting this up earlier, somebody said to me,
20:08you know, that was the era of dressing up parties.
20:12He said, I remember my grandparents.
20:14It wasn't just a sort of small thing.
20:17It happened regularly, and everybody did it.
20:21You know, we perhaps see too much of that sort of great Gatsby style,
20:24where everybody was, you know, super louche and super rich.
20:28These were the people who were also having really good fun.
20:32Yes.
20:32But homemade fun.
20:33You know, it wasn't Cartier, it wasn't, you know, Chanel.
20:36It was homemade and really good knees-ups, which you can see.
20:41Oh, definitely, yes.
20:42I'm really pleased that she had that.
20:45Maybe each one on its own is not going to be a commercial wow.
20:50But I think putting it all together and putting the story together
20:55makes it something much more interesting from a social history point of view.
20:59Yes.
20:59I think that it would fetch between about £400 and £600 at auction.
21:03Wow.
21:03Really?
21:04And it is a collection which shines a light onto everyday fun in the 1920s in London.
21:13Brilliant.
21:13Thanks so much for bringing it in.
21:15Thank you.
21:15Thank you.
21:16It's a gorgeous day here in Fife and I can't wait to kick back at the end of today with
21:36something nice to drink and I couldn't think of a better object for wine to come out in than
21:43this beautiful claret jug. I'd love to hear a little bit about how you got it.
21:47It was a gift from elderly neighbours who lived very close to us. Dr. Mosko died and his wife
21:58moved to Glasgow. I visited Nancy quite regularly and Nancy was becoming really quite frail and
22:07she decided on one of my visits, that was the day, to give me the claret jug, which we were
22:13absolutely delighted about. It's such a very precious and personal gift.
22:20Were you surprised?
22:21Very surprised.
22:23Yeah.
22:24Very surprised.
22:24We were close friends but, you know, you don't expect to receive some things beautiful.
22:30Yeah.
22:31Absolutely. Well, it is beautiful. I personally love the decoration. It's high Victorian. You
22:39have the fruiting vine on the finial repeated all the way down the neck in these gorgeous pierced
22:47and openwork silver mounts and all the way down the curved handle to where it meets the body of the
22:56jug. And then in addition, the crystal or glass body has been engraved with fruiting vines as well.
23:06And I just think that that is a lovely continuity of decoration. We're fortunate to know exactly the
23:13date it was made. And the way we know that is from the hallmarks, which are stamped here.
23:18The date letter for 1852 and the crown here, which is the town mark for Sheffield.
23:26So, it's a beautiful object. Do you have any idea of what it might be worth?
23:32Not at all. The value to us is, it was a gift from various precious friends.
23:41So, at auction, I could see this making anywhere between £1,500 to £2,000.
23:47Well, yes, that's a big surprise. A very pleasant surprise, but that's a big surprise.
23:57Oh, yes. Sorry, I'm getting a bit emotional.
24:02I'm so pleased you brought it today.
24:04Thank you.
24:05Thank you very much, Dave.
24:06A Lancaster crew.
24:36Which one's your dad?
24:38In the middle there. Then flying officer and finally retired as a squad leader, Ken Coombs.
24:43We have several logbooks here with 20 operational bombing missions as part of Bomber Command during World War II.
24:49World War II, as we know, ends 8th May 1945, VE Day.
24:53But in his logbook, May 1st, 1945, it's an operational flight, but it's a slightly different one.
24:59Yeah.
25:00Because this one is something called Operation Manor.
25:03Do you ever talk about this mission?
25:04No, never. He sadly died very early, 1990, so he's been gone for 30-something years.
25:09So, yeah.
25:09Yeah.
25:10So, luckily, we have this one piece of paper.
25:13Because I think this is fantastic, because it says, Operation Manor, 1st of May 1945, Target, Rotterdam Racecourse, which is what it says in the logbook.
25:21The government decided to assist the Dutch people who were starving. Instead of bombs, we took food in the bomb base.
25:28The raid took place in daylight, so we could go in as low as possible.
25:32We soon noticed that workers in the field, supervised by German soldiers, did not look up when we were overhead.
25:38Others waved frantically. We threw out packets of aircrew sweets and any packets of cigarettes we had.
25:44We were enjoying this until we arrived at Rotterdam.
25:47Nobody looked up, military personnel at various points. Then we saw, we thank you, laid out in washing on a roof.
25:55We dropped canisters containing food from the bomb bay at the racecourse.
25:59We were annoyed by now, as we realised the plight of these people.
26:04This is a part of World War II that sometimes gets missed out at the very end of the war, where instead of going out to kill people, we're going out to help people.
26:13And then we have, on May the 8th itself, VE Day, they're now going over and bringing home POWs.
26:20So again, it's another part of World War II that we don't really think about.
26:23How did we get all those POWs home? And he does two flights here.
26:27And I know it's only a copy, but don't they look happy?
26:31Yeah, they do. They look great.
26:32Have you ever thought what this is worth?
26:34No, I haven't, to be honest. They'll never be sold.
26:36My father's, we have no family beyond, and they will bequeath to the Bomber Command Memorial at Lincoln.
26:44I know you've got his medals as well.
26:45Yes, I do.
26:45Because you showed me those earlier.
26:47It's always hard to put a price on these things, especially logbooks.
26:50They are really, honestly, such personal documents.
26:53With the medals that you've got and the logbook that you've got, it's £1,000 worth of equipment.
26:58But as you say, the only place for it really is the Bomber Command Museum, where it deserves to be.
27:04Thank you for bringing that in. It's an incredible story from World War II.
27:07And thank you. Much appreciated.
27:17So we tend to get quite a lot of Rolexes on the Antiques Roadshow.
27:21But the reason I've chosen this is because it's got something slightly unusual about it.
27:25Perhaps you could tell me a bit about how it came to you.
27:27It was my dad's, and I have three sons, and my mum wanted me to have it for my oldest boy, whose name was Ian, and my dad's name was Ian as well.
27:39So it comes from your dad?
27:41Yes.
27:41And what did your dad do for a living?
27:43My dad was an engineer.
27:44And did he wear it for that, do you think?
27:46I believe he wore it all the time, eh?
27:49So, in the 1950s, just at the beginning of the 1950s, Rolex made what they went on to call the Rolex Explorer.
27:58This watch is technically not a Rolex Explorer.
28:02It's called the Rolex Pre-Explorer.
28:04The Rolex market became more and more for sporty watches, and this was like the precursor to the sporty watch.
28:11So this watch was made in 1953-1954, and this is the reference 6150.
28:17The later Explorer started with the reference 6350.
28:22We know it's a 6150 because it says between the lugs, 6150, and the serial number on the other side between the lugs is exactly right for 1953.
28:33And it's an Oyster watch, therefore it's waterproof.
28:36The 6150 was only made for about a year to 18 months, and that makes it seriously rare.
28:42The downside is the condition, because the dial has suffered quite a bit.
28:48Now, am I right in thinking you thought this was a fake?
28:50Yes.
28:51And why did you think it was a fake?
28:53Just because my dad wore it all the time, and I just thought, if it was worth anything, then he wouldn't be wearing it all the time because of doing engineering work.
29:05This all boils down to whether it's a fake or it's not a fake, doesn't it?
29:11Is it a fake?
29:12No.
29:13If you put the watch on the market today, it would fetch very easily between 15,000 and 20,000 pounds.
29:20Wow.
29:21It's great to have it on the show, and thank you for bringing it in.
29:30Our experts always love to explore the history of chairs of all shapes and sizes brought in by our visitors.
29:37But a futuristic design is puzzling Mark Hill.
29:40You know, I pride myself on knowing a little bit about mid-century modern, and it's really true that in our job, every day is a school day.
29:49When I look at this chair, I think I ought to know who designed it and who made it, but I don't.
29:55So educate me.
29:56Let me learn my thing of the day.
29:58Well, that's the problem. The problem is we don't know who designed it.
30:01OK.
30:01I bought these about seven or eight years ago from a charity recycle furniture centre.
30:06I paid £40 for the pay, and I posted a photograph online. Nobody seemed to know.
30:12And then about two or three years ago, this gentleman contacted me, and he said he'd been identifying all the furniture out of Doctor Who and Blake 7.
30:20This I love instantly.
30:22Now, this chair appears in a lot of early episodes of Doctor Who from about 1971 onwards.
30:27So this is John Pertwee's period.
30:29I believe so.
30:30Then it also appeared on the flight deck of the Liberator out of Blake 7.
30:34Oh, wow.
30:34OK, which is very cool. You see Blake walking in.
30:37Yeah, Blake walks in, and the chairs are all sat there on screen.
30:40But I've got no provenance as where this appeared from.
30:43Now, nobody seems to have seen another example of this chair.
30:47Was it made at Elstree?
30:49So I don't know.
30:50OK.
30:50I said much as mystery as it is to you.
30:52Let's just roll things back here.
30:54So I don't recognise it. You don't recognise it.
30:56I asked a couple of colleagues if they recognised it, and they didn't either.
30:59OK.
31:00Now, it's made out of fibreglass.
31:01Yep.
31:01So fibreglass, of course, has to be built up.
31:04You have the sort of mesh fabric that's applied with the resin.
31:07OK, yep.
31:08That implies you need a mould.
31:09Yes.
31:10You need some form of body to put that on to create it.
31:13What I don't understand is why you would go to the trouble of making a mould and making two.
31:19I've seen maybe two or three on screen.
31:22Ah.
31:22I have seen one in cream.
31:24OK.
31:25But again, I've not seen...
31:26Nobody's ever seen one, a physical object.
31:30OK.
31:30Apart from the two that I have.
31:32It could possibly be that it wasn't, therefore, a set designer.
31:35It wasn't somebody who was just making something to sort of look good in the set.
31:39It was actually perhaps, you know, let's think about maybe a design student or something.
31:42Yeah, possibly, yeah.
31:43Somebody who actually thought about the design in the whole rather than just making something look good for the telly.
31:48Yeah.
31:49I just think there's an awful lot going on here, really.
31:52I mean, there's more than meets the eye at first glance.
31:54So there's this almost sort of floral feel to it.
31:58So it almost feels like it's sort of blooming out.
32:00And, of course, it's made out of this material that in the 60s and 70s was used for sculpture as well.
32:04Fibreglass, very, very popular.
32:05I also just like little design features.
32:08So you've got a little hollow bit here.
32:09Presumably, you could tuck your feet inside it.
32:11And also the hollow back there enables you to lift it up.
32:14To lift it up and carry it, yeah.
32:16So I don't think it was just thought about as being a very cool, very sort of period piece that summed up the style of the day.
32:22I think it's important to find out the link with Elstree.
32:24Yeah.
32:254 to 600 each.
32:26Cool.
32:27Cool.
32:28Yeah, it's a cool chair.
32:29Interesting, yeah.
32:31Let's see whether we can complete the story.
32:32Absolutely.
32:33Be good.
32:33There's one final test.
32:36Is it comfy?
32:38I think it is.
32:39I think it is too.
32:40So do you really like I could pull it off?
32:41Doctor Who villain?
32:42Absolutely.
32:56Thank you for bringing this artwork in today.
32:59Can you tell me a little bit about how you came by it?
33:01Well, this is a painting that my dad bought in a job lot.
33:06He actually bought the painting because he liked the frame.
33:10And when he got home, he took the painting out the frame and put a painting that my brother had done at primary school in the frame and hung it on the wall in our family home.
33:21And what happened to this painting?
33:22This painting went behind the wardrobe and was forgotten about for about 20 odd years.
33:28We took the frame and reunited it with the painting and then I thought that we would like to find out a wee bit more about the actual artists.
33:38So this is an artwork by Jane Younger.
33:42Now, she is an obscure Scottish artist, but perhaps I think undeservedly obscure.
33:48So this work was probably painted in the sort of late 1880s, 1890s.
33:53Now, Jane was a student in the Glasgow School of Arts.
33:56Yeah.
33:56And she was a member of what's become known as the Glasgow Girls.
33:59So the Glasgow Boys are perhaps a bit more familiar to our viewers at home.
34:03So not too much is known about Jane.
34:06She's not someone I've really come across often.
34:08And there's a fantastic book called The Glasgow Girls that mentions her.
34:11And we know that just like the Boys, she was going off to France, which is where we think this is a view of.
34:17There's this sort of almost Breton, like, you know, bonneted figure wearing the pails and going along to the village pump, as the painting is called.
34:25The sort of red pan-tiled roofs you might expect from that region as well.
34:28It probably was actually sketched on the spot during her travels.
34:31You know, she might have been seated in the centre of this village and just sketching day-to-day life, little scenes that took her fancy.
34:37She was very influenced by the French realist school.
34:39And so that's what we're seeing coming through here.
34:41So it was you that really sort of spotted the quality of this piece, wasn't it, when it emerged from behind the wardrobe?
34:46Can you tell me what you like about it?
34:48The vividness of the colours, I think, that caught my eye.
34:51And looking at it, I thought, slightly naive, but absolutely, you know, it's beautiful.
34:57So can you tell me what came of your research once you guys had rediscovered and fallen in love with this painting?
35:02I found out that she had died in the village where we live.
35:07We found out that she died in Crawford in 1955.
35:10The house where she died, you can see it straight through the window of our house at the top of the landing where we have hung her picture.
35:22And we didn't know that when we hung it there.
35:25Well, that's a fascinating twist.
35:26If I were to put this into an auction, slightly speculatively, I would be putting around £500 to £700.
35:34Wow.
35:34Absolutely. Brilliant.
35:36So not bad for a purchase from a job lot for the frame.
35:38Absolutely.
35:39But she's not going anywhere.
35:40Good. I can see it's very well loved.
35:42Yeah, absolutely.
35:43Valuation is fantastic.
35:48I mean, it's not important to value it because of the sentimental value of the actual painting itself.
35:54But to get to the appreciation and interest of the, you know, Charlotte here today is fantastic.
36:01To put Jane Younger on the map.
36:02Yeah.
36:03Three beautiful rings, but one of them is not quite what it seems.
36:13Susan, you brought these along.
36:16Tell us about them.
36:17Well, today we're going to spot the fake.
36:20Two of the rings are set with natural precious coloured gemstones.
36:25One isn't, but they're all surrounded by diamonds.
36:29So the ring there, the yellow one.
36:31Could that be a lab-grown yellow diamond surrounded by white precious diamonds?
36:39Or could it be a fancy natural yellow diamond?
36:43Right.
36:44Then the middle ring.
36:46Could this be a synthetic ruby with natural diamonds?
36:50Or, again, a lab-grown ruby?
36:54OK.
36:55And then here, in front of me, we have a green stone and precious diamond ring.
37:02Could that be a beautiful Colombian emerald?
37:06Or is it, again, a synthetic emerald?
37:09How early were synthetic stones being created and used in jewellery?
37:12We were finding them at the end of the 19th century.
37:16Other ways of imitating stones had been used before.
37:19But it isn't necessarily a bad thing,
37:22because even some of the bigger name jewellers like Fabergé and Cartier
37:25started to use synthetic stones when they had to find a large amount of smaller stones
37:31to put into bracelets and rings as little details.
37:34And they couldn't get those cut.
37:35It was expensive.
37:37Various wars had happened.
37:38And so it was a perfectly acceptable alternative to use.
37:42What are the values of the three rings?
37:44OK.
37:45So one at auction, these are auction estimates, is between £400 and £600.
37:51One is worth around £1,000 to £1,500.
37:54And one is worth between £3,000 and £5,000.
37:59Right.
38:00OK.
38:01So diamond, ruby, emerald.
38:03I mean, that's what they all are.
38:06But it's whether they're natural, dug out of the earth, or synthetic, created in a lab.
38:11That's right.
38:11We did show you all the rings beforehand to give you at least a fighting chance.
38:15You've got a marvellous hat on.
38:17Very appropriate for this weather.
38:19I think it's the green one.
38:20It just didn't look a natural source of green colour.
38:23The emerald.
38:24Yeah, the emerald one.
38:25I mean, it is still an emerald, it's just a synthetic one.
38:27Yeah, but it's just...
38:28I don't know, it's just not as emerald-y as other emeralds I've seen.
38:31Who have we got here?
38:32Another hat.
38:34What do you think?
38:36I'm not sure about the ruby.
38:38It's probably really expensive, but I didn't feel it had the strength of colour.
38:43So it didn't attract me.
38:44So that would be my least favourite, even if it's the most valuable.
38:47I think the yellow diamond...
38:50Is the synthetic one.
38:50Is the synthetic one.
38:51It's just because yellow is a rare colour for a diamond and might be desirable in a lab.
38:56That's an interesting way of looking at it.
38:59Now, lots of different answers.
39:00I've got to be honest, I have no idea.
39:04I mean, this has got more diamonds on it.
39:06So might it therefore be the most valuable?
39:09Yellow diamonds, we don't see them that often.
39:12Is that fair to say?
39:14Or maybe you do.
39:16Oh, goodness.
39:18I love the look of the emerald.
39:20I love the look of this yellow diamond.
39:23So on that basis alone, given that I like this the least...
39:26OK.
39:26I'm going to go with this being the synthetic ruby, the synthetic stone of the three.
39:33OK.
39:37Well, it was only a 33% chance.
39:42Which one did you like the best?
39:43I liked the emerald best.
39:45That's the synthetic one.
39:46I know.
39:47It's amazing, isn't it?
39:48It really is.
39:49And it's fascinating because the mount around it is actually dated from the 1900s.
39:56piece of jewellery into which they have placed a synthetic emerald.
40:00If that was a natural emerald, then we'd be looking at a ring that's worth quite a few
40:05thousand pounds in comparison to what we've got now.
40:08So this one's 400 to 600 because of the mount and it's pretty.
40:12But we saw the first synthetic emeralds back in the 19th century, as we did with synthetic
40:16rubies.
40:17But that is a very pretty ruby.
40:20It's a nice stone.
40:21Rubies, quite often, they're slightly pinkier or redder.
40:25But this is sort of a midway with the colour.
40:28So that one's worth £1,000 to £1,500 at auction.
40:31And then the one on the right-hand side is a fancy light yellow diamond.
40:35There are loads of yellow diamonds around.
40:38There were huge quantities mined over the last few years.
40:42But unfortunately, that has meant that the value of the yellow diamonds has come down.
40:46So that's worth between £3,000 and £5,000, but is a natural, fancy, light diamond.
40:52And I think it goes rather nicely with my jacket.
40:54Well, I think it does too.
40:58Lovely.
40:59I'm warming to this one.
41:02Oh, Susan.
41:03What were the chances I'd get that right?
41:05Very slim.
41:06Thank you very much.
41:07It's been great.
41:08Thank you, Fiona.
41:29So here we have a ceramic figure of really impressive size and scale.
41:34What's your connection with this piece?
41:36It actually belongs to a family member.
41:38He purchased it at an auction five, six years ago.
41:41It was £80 to £100, I think he paid.
41:43And he'd done some research on it.
41:45And he believes, well, it's of an American actress called Doris Keane.
41:49What attracted to him was the monkey on the front.
41:52He thought, you know, when you look at a doping, it's just a bit different, this one.
41:55Yeah, so as you said, it's a ceramic figure.
41:58And it is this American actress, Doris Keane, who became very, very famous in her day.
42:04And in this depiction, she is playing a character called Margherita Cavallini,
42:09who was a central character in a play by Robert Sheldon called Romance.
42:14Mm-hmm.
42:14And I think that this depiction is probably based on a studio portrait she models with her pet monkey.
42:21This is made for Royal Dalton, and it's modeled by a man called Charles Noak.
42:27So we have the inscription on the base telling us that this is Doris Keane as Cavallini in Romance,
42:35and we also have the signature C.J. Noak.
42:38And here, again, it's inscribed Potted at Dalton & Co.
42:42Now, Charles Noak really transformed the fortunes of Royal Dalton.
42:47Yes.
42:47And with his modeling and designs for wonderful figures such as this.
42:51So this is an earthenware ceramic figure made in Stoke-on-Trent with matte glaze on her black skirts
42:58and a sort of shiny white glaze applied in other areas.
43:03Her face is really beautifully enameled, and she's portrayed here with a pink in her cheek and vivid blue eyes.
43:10Yeah.
43:10This particular model was in production from 1918 until about 1938.
43:16OK, then.
43:17And it's quite a rare model if it came to auction today in a dedicated ceramic sale.
43:23I can see it making in the region of £800.
43:26Oh, fantastic.
43:27It'll be delighted.
43:28It was a really lovely surprise to see such an unusual figure like this here today.
43:32So thank you for bringing it on his behalf.
43:35You're very welcome.
43:35Thank you.
43:36We see all sorts of music memorabilia on the roadshow, and avid fans are always on the hunt for rarities,
43:46from instruments belonging to famous artists to limited edition recordings and singles.
43:52Today, James Broad has spotted some interesting-looking CDs by the Manchester superband Oasis.
43:58So we've got all these Oasis items. Who's the big Oasis fan?
44:04I think it's both of us, really, isn't it?
44:06Yeah.
44:06You've got the haircut, so...
44:07Yeah, he's got the haircut.
44:08Where were these collected from?
44:10Well, from my side, they came from my dad's collection.
44:14He had a shop in Dundee called Groucho's, and he started that in 1976.
44:19Wow.
44:19And, of course, they've been part of my youth right the way through, so that's probably where my interest comes from.
44:25So I'm assuming this was the record bag from your dad's shop?
44:29Yeah, the last incarnation, yeah. There's been a few.
44:32I love it.
44:33And where did your Oasis start?
44:34Well, just basically since they started.
44:36And then since then, it's just been a kind of thing that's always been in the background,
44:39and they've always consistently collected.
44:42There's some really nice items here.
44:44I mean, some that you do see more often.
44:45I mean, these are fairly valuable, and they are absolutely iconic.
44:48But this one here, I have never seen one.
44:51What's the story behind that one?
44:53It's a CD acetate that was used in Abbey Road.
44:57It was one of only two singles that was ever produced at Abbey Road.
45:01It's done by Chris Blair, who was a tape operator on the original Abbey Road by the Beatles.
45:07This wasn't released until the later box sets and the reissues 20 years later.
45:13Where did you get it?
45:14I bought it in a job lot.
45:16In a job lot?
45:17Yeah.
45:17How much did you pay for that job lot?
45:1950 quarts.
45:21In terms of value for this collection on the table here, which I imagine is only part of your collection,
45:26I would value around about £1,000 mainly for this particular one here,
45:31because you're not going to get another.
45:32So if you add that in a specialist auction, it could fly.
45:35It really could fly, because it's a rare, rare thing.
45:38But obviously going nowhere.
45:39Keep it and enjoy it.
45:40Yeah, exactly.
45:41Do your dad proud.
45:42Yes.
45:43Amazing.
45:43Amazing.
45:43You've brought this supreme piece of edged elegance.
45:52How did you come across such an elegant piece?
45:55Well, I first saw this sword not long after I met my present wife of 51 years.
46:02And it hung above the door in her aunt's and uncle's house.
46:07Yeah.
46:08They were farmers.
46:10We were there one Christmas and we were leaving.
46:12And she went, can you get that down for me, please?
46:15It's yours, David.
46:17You're the one that's looked after it, marvelled at it.
46:19Keep it.
46:19Foolishly, never asked where it came from.
46:23Right.
46:24Because you assume people are going to live forever sometimes.
46:26I look at the blade and to actually make that blade by hand.
46:30Oh, yeah.
46:30It's something else.
46:31Small swords were not really swords.
46:34They were a gentleman's accoutrement.
46:36In the mid-16 to late 1700s, you'd wear your small sword.
46:42They had a straight blade.
46:43This, if we look at this blade shape, is really unusual.
46:46It's got a name.
46:48It's a colchimard blade.
46:50This, if we look.
46:52Yeah, that's always fascinated me.
46:54This is concave, which makes it remarkably stiff.
46:57In comparison to a rapier or a small sword, this is much wider.
47:02And this is called the forte of the blade.
47:05And if you are dueling and you have somebody with a little thing,
47:09that, you can catch his blade on the forte.
47:12It's much stronger.
47:13You have one tiny piece of damage here.
47:17That is bent.
47:18Yeah, I've never touched that.
47:19Right.
47:20The reason for it being bent, it should come up there,
47:22because when you handle one of these, you do not handle it like that.
47:26You handle it like that.
47:27Ah, OK.
47:28That is called the pasdane.
47:30Ah.
47:31And it enables you to...
47:34Wow.
47:34It's slightly shorter than a rapier and a small sword,
47:39which makes them infinitely faster.
47:41This might be terribly elegant, but it is a fighting, dueling sword.
47:46We can date this relatively accurately.
47:501680s to about 1770s.
47:52This was reputed to have been designed by a chap called Konnismach,
47:56who was a German duelist.
47:58Why did they stop making it?
48:00Because by about the 1770s, dueling was still going on,
48:03but they stopped stabbing each other.
48:05They started shooting each other.
48:07OK.
48:08The sword duel just fell away.
48:12Probably English.
48:12At a push might be French.
48:14What's it worth?
48:15I would think, at auction, £1,500.
48:20Seriously?
48:21It's lovely.
48:22That's brilliant.
48:23Wow.
48:24Can't thank you enough.
48:24No, it's really wonderful.
48:32This, which must be a concertina.
48:35Nothing ever comes in a box like that that isn't a concertina.
48:38The story is that it was actually loaded onto the Titanic
48:40as a consignment of gifts for a family that had immigrated to America.
48:44But they didn't have the right paperwork, so it's offloaded.
48:47No.
48:48So it survived the Titanic.
48:50If only I had paperwork to prove that.
48:52Can you play it?
48:53No, no.
48:55Where is a concertina player when you need one?
48:57There's never one in the right place in the right...
48:59Yes, exactly.
49:01Well, look, here we've got the name of the maker,
49:04which is George Case,
49:07and retailed by Boozy and Son in London.
49:09You're a very lucky concertina.
49:12I'm sure it would have floated.
49:13Yeah, that's true.
49:15Okay, value, I'd like to say perhaps four to six hundred.
49:18Lovely thing.
49:19Thanks very much indeed for bringing it along.
49:21Well, thank you.
49:21Thank you.
49:22Pleasure.
49:22Cheers.
49:23The thing I'm interested in is that...
49:29Mm.
49:30Where do you think this is from?
49:31Well, my husband brought it back from America
49:33when he came back from a year's university.
49:37And when was that?
49:38Um, 1962.
49:40He said he got it from a Navajo reservation.
49:44So he thought it was made by the Navajo.
49:46Yes, he thought it was made by...
49:47But it isn't.
49:48It's made by the Zuni people.
49:50Zuni?
49:50Which are a neighbouring tribe.
49:52I mean, the Zuni can be found in New Mexico.
49:55Yes.
49:56It's lapidary work.
49:57Yes.
49:58There's cut stones and elements, minerals.
50:02You know, what's that about 100 years old?
50:03Yes.
50:031925.
50:05Oh, goodness.
50:051930.
50:07You know, this is silver, obviously.
50:08So your husband bought this for you.
50:11He gave me this in lieu of an engagement ring.
50:15Someone who specialises in Zuni,
50:18and there are one or two shops in England,
50:20I think they would sell that for about 750 pounds.
50:25Are they really?
50:26Yes.
50:27Yes.
50:27Gosh, one of her grand horses will get it eventually.
50:30It is.
50:31I love it.
50:31Right.
50:32Thank you.
50:35Well, here we are in Fife, the home of golf.
50:46St Andrew's just over the hill along the coast.
50:49And you've brought this wonderful silver trophy
50:51with very local interest, Cooper Golf Club.
50:54Where about is that exactly?
50:55Well, the golf club is just over this hill,
50:58just on the north side of Cooper.
51:00The course is on a bit of land that was originally owned
51:03by Frederick Sharp, the owner of this house.
51:05He was a keen golfer,
51:06and he ended up being the club president
51:08for a good number of years as well.
51:10So 1855 was when the club was founded.
51:13And originally, we didn't have a course.
51:15We played on Farmer's Field two days a week.
51:19Subsequently, we moved away and played for a little while
51:21at one of the other local golf courses,
51:23but still as Cooper Golf Club,
51:24before we found our home there in the early 1890s.
51:29I see it's called the Peripatetic Cup.
51:32So it was competed for each year,
51:34and you would go to a different club to compete.
51:37Absolutely.
51:37So this was in 1921, Glen Eagles.
51:39And they must have decided to go there
51:41because Glen Eagles opened in 1919,
51:43the King's Course designed by James Braid,
51:45who designed so many famous Scottish golf courses.
51:48And look at them.
51:50They're really on a big day out.
51:51Yes.
51:52Resplendent, wonderful attire,
51:55the tweed suits, shirt and tie,
51:58bunnets or tweed hats.
52:00It's got a wonderful feel to it, the cup.
52:01It's basically a Victorian silver wine goblet.
52:04Okay.
52:04And they've adapted it.
52:06And I know that because the hallmarks
52:08have actually been covered over by one of the blobs.
52:10Right.
52:11Soldered on there.
52:12Okay.
52:13But it just feels so nice.
52:14And that's little knopped stem, they call that,
52:16so that would facilitate the grip
52:18when drinking wine originally.
52:20It's dated 1873 on the cup,
52:22so we know that's definitely, stylistically,
52:24that's bang on.
52:25Okay.
52:26Slightly heavy because of all these different
52:28winners' medals on it.
52:29Yes.
52:29It's interesting because from a silver point of view,
52:32it's kind of been wrecked.
52:33Yeah.
52:33But there's much more value attached
52:35with the provenance that you've just given
52:36and all that added history.
52:38And I would have put a value on that
52:40of around about maybe £2,000 to £3,000.
52:43Okay.
52:44That kind of area.
52:45Right.
52:45The club are very proud of it.
52:47Oh, sure.
52:48It's been lovely to come along.
52:49Excellent.
52:50Thank you very much.
52:50Thank you.
52:51Thank you.
52:57Well, there are certain names
52:58within the firmament of art and design
53:00that will raise anyone's pulse.
53:02And one of those has to be Pablo Picasso.
53:06And before us, we have a jug by Pablo Picasso.
53:10So, before we tell more about the piece,
53:12I have to ask the question,
53:14how do you come to own it?
53:15Well, it belonged to my parents.
53:19When my father died,
53:20my brothers and I cleared the house.
53:22And actually, funnily enough,
53:23this had been a jug that I was scarcely aware of
53:26as being in their house.
53:28My mother was a keen art collector,
53:30but it didn't have pride of place in the house at all.
53:33And your mother never spoke of it?
53:35No.
53:35They may have acquired it.
53:37No, that's why I'm assuming
53:38that it might have been acquired
53:40under one of the trips to the south of France,
53:42but I have absolutely no idea.
53:44Well, you mentioned the south of France,
53:46and where we have to head for
53:47is a place called Valois.
53:49And within that area,
53:51there were potters and workers,
53:52but a particular note,
53:54there was a firm called Madura
53:55that was run by George and Suzanne Rame.
53:58Let's take ourselves back to 1946,
54:02when Picasso went to visit Madura Pottery.
54:05And while he was there,
54:08George and Suzanne Rame
54:09allowed him to make three pieces.
54:12And he was so transfixed by this medium
54:15that a formation of a new adventure
54:18began from 1947 until 1971,
54:24Picasso created,
54:25with the assistance of the Rame
54:28and their team of potters,
54:30over 630 different designs.
54:34Now, amongst them,
54:37there are the unique pieces,
54:38but then he would also create editions.
54:42And all of these editions
54:43have different ranges in numbers.
54:46The very small have a very short edition
54:48of only 50 pieces.
54:49Some go up to 500.
54:51This jug itself is called Shop Visage,
54:54and was created in 1959
54:57to an edition of 300.
55:00It's wonderful.
55:03OK.
55:05Now, if we look underneath here,
55:07we have a number of marks here.
55:10We have Madura,
55:13edition Picasso,
55:15and then handwritten edition Picasso,
55:17one-to-one of 300 Madura.
55:21It's about that energy,
55:23that economy of line, isn't it?
55:25The fact that in just a few very simple strokes,
55:29you can turn a very ordinary pitcher,
55:31a very ordinary jug,
55:34into something that has been touched and kissed by Picasso.
55:37Yes.
55:38By this point in his career,
55:40he was becoming internationally famous.
55:43He realised his acclaim,
55:45he realised that he was getting out the reach of other people,
55:48but he thought that by doing ceramics,
55:51he could make himself accessible to everybody.
55:53Mm-hm.
55:54In 1959 was accessible.
55:57How accessible today?
56:00No idea at all.
56:01I'll tell you.
56:03£8,000 to £12,000.
56:05Oh!
56:06Oh, OK.
56:07I like it because of the very economy of line.
56:17I'm fascinated by it.
56:19With a few simple lines,
56:21you get a face, you know,
56:23and it really looks good.
56:25I very nearly didn't bring it this morning.
56:28I had one or two other things to bring,
56:31and it was just my husband at the last minute said,
56:33why don't you bring the jug?
56:36So I did, and here we go.
56:38And yes, it's very surprising.
56:51Any idea what this is?
56:54Hmm?
56:55Let me give you a clue.
56:56Look at these beautiful sweeping lawns,
56:59mown, of course, by gardeners with lawnmowers.
57:02But in the 19th century,
57:03there was a contraption pulled by a horse
57:06that did all the hard work.
57:08Now, of course, horses' hooves
57:08would leave indentations in the newly mown grass.
57:12But if they had these things,
57:14these shoes, leather shoes, put on their hooves,
57:17they wouldn't leave any marks at all
57:19because it was smooth underneath.
57:21Not sure how the horses felt about it.
57:24From Hill of Tarbit, here in Fife.
57:26Until next time, from all the team,
57:28bye-bye.
57:32Sous-titrage ST' 501
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