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Antiques Roadshow - Season 48 Episode 16 -
Lister Park and Cartwright Hall 3
Lister Park and Cartwright Hall 3
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00:00Bradford, and our venue is Lister Park and the art gallery Cartwright Hall.
00:07Grand buildings like Cartwright Hall were built on the wealth of the textile industries in the 19th and 20th centuries,
00:14weaving materials like wool and silk, but also, later on, fabrics like this.
00:22Resilitex, it's called, and it had a crucial role in the Second World War.
00:26It was used to make decoy equipment, such as these inflatable tanks, in order to fool the enemy.
00:36And our experts will be hoping there are no fakes among the treasures on offer today.
00:41Exciting, isn't it? Every girl loves a tiara.
00:44One of the most bizarre things I've ever seen.
00:47Wow.
00:49I don't think we'll be getting rid of them, though.
00:54Welcome to the Antiques Roadshow.
00:56I don't think I'd be greeted by an artist.
00:58When I woke up this morning, I did not think I'd be greeted by an artist.
01:02When I woke up this morning, I did not think I'd be greeted by these two beautiful ventriloquist dummies.
01:29Aren't they fantastic? Tell me everything.
01:32OK, so Dad was a musical ventriloquist, born in 1916.
01:38He made his first puppet when he was eight years old.
01:41And over the years, he's worked with so many famous names.
01:44Morecambe Wise, Norm Wisdom, Tommy Cooper, Ken Dodd.
01:48Wow. OK, so was your dad just the creator, or was he also a showman himself?
01:52He was a showman. He operated the puppets, but he made them at home,
01:56usually on our dining room table, in front of Mum, driving her crazy.
02:01And he'd form them in clay, he'd then put paper mache on them and bake them in the oven.
02:06In your oven that you had your dinner out of?
02:08Absolutely.
02:09Amazing. So did you have an old shed in the back garden that just had bits of pieces of coat hangers?
02:14Meccano sets, coat hanger wire, knicker elastic. I think that was my mum's.
02:18Yeah.
02:18And one day I came home from school with a friend and there's this beautiful smell of baking and I said to my friend,
02:25oh, let's have a look in the oven and see what Mum's doing.
02:28And we opened the oven and there was a head in there.
02:30Amazing.
02:32Absolutely amazing.
02:33The mechanics inside of these, and you think of modern day robots, humanoid robots that are being created now.
02:39She is automated and she would walk across the stage, stop, turn, lift a hanky to her eye to wipe a tear away and she'd end the act next to the old man with his arm around her to a song of old Dutch.
02:52And this was in the 40s and 50s, was it?
02:54He started just before the Second World War full time.
02:57Into the 50s, his first TV performance was 1952 and then he got a TV series with Roy Kinnear.
03:04It was huge at that time in the mid-20th century. Ventriloquist dummies were huge, weren't they?
03:08Absolutely.
03:09Are these your favourites out of the collection?
03:10They are because, you know, the song Mail Dutch is a very romantic song about an old couple who've been together for 40 years and it doesn't seem a day too long.
03:18So I can still hear that to this day and Dad's no longer with us, I'm afraid.
03:22So that song, when I see these two, is always on my mind.
03:25Amazing. And what do you think of them, though?
03:27Well, it's certainly a different edge to the family.
03:31You can say that.
03:33Well, I suppose I will have to put a value on them.
03:35It's a very difficult thing to value, but I think they were to come on the open market, I would expect.
03:40£3,000 to £5,000, I would say.
03:43Yep.
03:43Dad would be so, so proud to be here today to see this from a full high.
03:49Amazing. Oh, you're making me emotional. That's lovely.
03:51Well, wonderful day here in Bradford, in the park.
04:04I used to come and play here when I was a child and go in the museum, so it's really lovely to be here.
04:09And to be looking at a beautiful diamond necklace in a box that says Fatterinis.
04:15How have you come to get this?
04:17My paternal grandmother was given it on the occasion of her 21st birthday.
04:22I know nothing about it, but I think that it was because she was the eldest of nine.
04:28Oh, my goodness.
04:28And she did a lot to help with her younger siblings.
04:32Yes, well-deserved by the sounds of things.
04:35Absolutely.
04:35It really is, isn't it?
04:36And who are the people in the photographs?
04:38Well, I've got this one here.
04:40This is my grandmother.
04:42She had no daughters, so it was given to my mother, who wore it on her wedding day.
04:48OK.
04:49And I wore it on my wedding day.
04:50Oh, how lovely.
04:51And my daughter wore it on her wedding day.
04:52Oh, how fabulous.
04:53So has it been worn outside of weddings, or is it just kept for wedding days?
04:57Oh, yes.
04:57I've bought the night away in it.
04:59Oh, brilliant!
05:02That's fabulous, and that's the way it should be, jewellery's to be worn.
05:06So, Fatterinis, they were founded by Antonio Fatterini, who came over from Italy and settled in Leeds.
05:12They were fabulous jewellers and decided to open up in Harrogate, which isn't that far away.
05:18It was the fashionable town at the time.
05:20That was in the 1830s.
05:21In the 1850s, they decided to open a shop in Kirkgate in Bradford, which, of course, is how we get the connection with the box.
05:29Date-wise, we're looking at round about 1900.
05:34It's got these lovely scrolls and pretty little diamonds which are sparkling away all the way around.
05:42And they're picking up on the delicate Edwardian style of jewellery, which is sometimes referred to as the garland style of jewellery,
05:50and a little bit of Art Nouveau movement to it as well, which is really absolutely wonderful.
05:56There are clips either side.
05:58There are.
05:59That's right.
05:59And I didn't know if that was so that you could make it into a tiara.
06:03Well, you're absolutely spot on.
06:05Oh, right.
06:05Which is exciting, isn't it?
06:06Every girl loves a tiara.
06:08So, yes, we've got these little clips here just at the sides, and it would have just sat nice and elegantly on the top of the head,
06:17sparkled away as the sunshine shone through.
06:19So, it really is lovely.
06:21And, of course, this was the period for tiaras with lace-fronted dresses in the early part of the 1900,
06:27the elegance of the Edwardian period.
06:29Have you got the fitting for the tiara anywhere?
06:33No.
06:33No, sadly, no.
06:36As a necklace at auction, this period is doing very well at the moment,
06:41and an auction estimate would be between £2,000 and £3,000.
06:46If we had had the tiara fitting, I probably would have been straight in there at £5,000 to £7,000.
06:53Wow.
06:53Yeah, it makes such a difference to have that.
06:55Yes.
06:55I knew absolutely nothing about it.
06:59It's a shame I don't have the tiara fitting, but I love it anyway, and I shall continue to enjoy wearing it.
07:06So, I was immediately drawn to this watercolour of boats,
07:24because the artist has used such confident brushwork to bring out the masts of the ships,
07:31or the boats, the little sailing boats in the background.
07:35He's used watercolour on paper, and I can see that it's signed George Horton,
07:39who has spent a lot of his life in South Shields.
07:41Now, how did this come to be yours?
07:43Well, George Horton is a great, great uncle of mine, whom I never knew,
07:48and I discovered him through doing family history quite a while ago,
07:52and he turns out to be an artist.
07:55So, we looked him up and tried to find something.
07:58I bought it, and I didn't know where it was painted.
08:01I didn't know much about him.
08:03But a cousin of mine, who lives in Canada, came to see me,
08:06and he immediately recognised it as a Dutch boat, as though it's painted in Holland.
08:10I think, actually, George Horton's quite inspiring,
08:12because his family didn't really support him as an artist,
08:16and as the story goes, he taught himself how to paint
08:21by going to his local library and copying reproductions of the old masters.
08:26And it was only on his honeymoon, which was to Holland,
08:29that he became completely inspired by the tradition of Dutch landscape painting,
08:33and therefore became inspired to paint boats such as these.
08:38From a distance, this looks like quite a rainy day.
08:41He's used a palette of browns and greys to describe the background.
08:46The water is a bit sludgy.
08:48It's not sunny.
08:49There's no beautiful reflection.
08:52But then, to make it more dynamic, he's bringing out the colour.
08:57And I think that could be some sails that are wrapped up.
09:00It could be cargo.
09:02But most importantly, it really draws you in.
09:04I love it.
09:05And it's also quite bold for the time period that he was painting in.
09:08I mean, he was painting in the early 20th century.
09:10Yes.
09:10At a time where this kind of impressionistic style,
09:13he had only really quite recently come to Britain.
09:17Yes, yes.
09:17What do you like about it?
09:19Oh, well, I love it, first of all,
09:21because I know he was a relative of mine, which is brilliant.
09:23And like you say, it's just that colour just pulls you into the centre of it,
09:27doesn't it?
09:27And it just lightens everything.
09:29And is the rest of your family artistic?
09:31No, not at all.
09:33Certainly not me.
09:34So the Horton jeans?
09:36Yes.
09:36No, they haven't come through to me.
09:38Sorry.
09:39No, no.
09:40Well, it's the sort of thing that were it to come to auction today,
09:43I would probably put an estimate in the region of £400 to £600.
09:46Right.
09:47Yes.
09:48The money plan isn't important.
09:50It's just that I've got a painting that belonged to a relative of mine,
09:53which is absolutely wonderful.
09:54Let's find the next Horton in the family.
09:57It won't be me.
09:58Who might be a good artist?
09:59Sorry, it won't be me.
10:07Well, I think everybody knows who these four are.
10:10It's a great, great photograph of them,
10:12and with all these lovely signatures below.
10:15How did you come by it?
10:16So this came to me via my dad, via his brother,
10:20who got it via George Harrison's dad.
10:22Oh, really?
10:23In a pub, drinking in Skipton.
10:27But my dad's brother didn't like the Beatles.
10:31Like Cliff Richard.
10:35But my dad's brother did say,
10:36well, look, my brother absolutely adores the Beatles.
10:39And then a few years ago, my dad said,
10:42you can have it now, because you're the biggest Beatles fan.
10:44And when the children were younger,
10:46they always used to ask, who is it in the picture?
10:47So we'd say it's something called John, Paul, George and Ringo in the picture.
10:52I think you would say, well...
10:53It'll be good, yeah.
10:55It'll be good.
10:56Fantastic.
10:56So, well, I think it's a great photograph,
10:58and the story gives it provenance as well.
11:01But you have to remember that there are a lot of these photographs
11:05with facsimile, you know, signatures,
11:08and they're out there everywhere, you know?
11:11But this particular one is a genuine one.
11:14These are genuine signatures.
11:18That means that this, if it went into auction,
11:21and I'm going to be very conservative,
11:23this is worth between £3,000 and £5,000.
11:27Wow.
11:29Wow.
11:30That's amazing.
11:30This is a very interesting cow horn.
11:53What do you think it was for?
11:55Well, blowing, making a tuna, of course.
11:57No, it's for holding gunpowder.
11:59Oh, my gunpowder.
12:01It's a powder horn.
12:02We didn't know that, did we?
12:03Where did you get it?
12:05Well, it was my grandfather's,
12:07and then when he passed away, it went down to my father,
12:11and now he passed away a few years ago.
12:14I'm sorry.
12:14So it's now mine.
12:16So you've known it all your childhood?
12:18I remember it at my grandparents' house.
12:21You do?
12:21Yes.
12:22When I first saw it, I thought it was North American.
12:25Yes.
12:25Settlers.
12:26We wondered about it.
12:28Is that what you think it is?
12:29Yeah, yeah.
12:29And then I got confused with the design here.
12:32This is very geometric and not American at all.
12:35Yeah.
12:35And it reminds me of the work of a designer called Bugatti,
12:39which it isn't.
12:40I mean, it almost makes me wonder where he got his ideas.
12:43I mean, he might have seen something like this.
12:44Yeah.
12:45And then I looked at this more closely.
12:47This is cow horn, and these are cows, or they're steer.
12:52And then there's what look like haystacks on it.
12:54Well, I look at it closely, and the haystacks aren't haystacks around here.
13:00They're Zulu dwellings.
13:03Oh, of course it is.
13:06We did.
13:07Yes.
13:08So this is South African design.
13:10Yes.
13:11I lived in Cape Town for 20 years and came back five years ago.
13:15So how bizarre that we've got something in the family.
13:18Exactly.
13:18And that's what it is.
13:20And 19th century.
13:22It's the end of the 19th century, I think.
13:25The Zulu were herders by nature.
13:28Cows are their wealth.
13:30But these are Westerners herding the cattle, not the indigenous people.
13:37But it really is a real pictorial dream.
13:41Mum really loved it.
13:43And she had a relative who was quite involved with antiques.
13:47And he often said, oh, if you don't want it, I'd like it.
13:51I bet he would.
13:51I would too.
13:53But she wouldn't part with it, obviously.
13:55People collect them.
13:56And I think they would pay something like between £800 and £1,200 for this.
14:04Wow.
14:05That's what I think.
14:07It's charming.
14:15We are beginning to lose the soldiers.
14:17And sailors and airmen and nurses who were actually there during the Second World War.
14:23So every time I come across a person who was there at the time, the story always fascinates me.
14:30So who was this man?
14:31This is Sergeant Eric Light.
14:34He's my granddad and my Auntie Andrew's father.
14:37And he, in 1940, was called up and joined the East Yorkshire Regiment and served for six years away from Bradford in North Africa and Italy as a fireman.
14:47He returned on two home leaves, the first one to see my dad being born.
14:53And the second, where he wrote in his diary that he was visiting Cartwright Hall and Lister Park.
14:59Where we are.
15:00Where we are today.
15:01Can you read that for us?
15:02I can, yeah.
15:03So this is Sunday, the 11th of November, 1945.
15:07He writes, spent the afternoon at Cartwright Hall and Lister Park.
15:11And the next day he left from Bradford train station on the journey back to Naples.
15:16You know, by his medals, I can tell that what you're saying is what he did.
15:20We have a 1939-45 defence medal.
15:24He has an Africa star with the first army bar, which means that he was part of the invasion of Africa from the western side going towards Tunisia.
15:35Then he moves to Italy, as you say.
15:38The 1939-45 star and the 1939-45 war medal.
15:44Did he talk about this stuff?
15:45Do you know?
15:46He loved Italy.
15:48He loved the language.
15:49He learned Italian.
15:50So he spoke about his time in Italy.
15:52He didn't particularly talk about the events or the fires that he dealt with, but he was a wordsmith.
15:58He enjoyed telling stories.
16:00He's a good artist as well, isn't he?
16:01He was an artist from the beginning and he documented quite a lot of his journeys.
16:06But this is where he was billeted for two years.
16:09This is Jean d'Arc in North Africa, a tent with his uniform there and his bed.
16:14And we're still all, all the family have artwork around the house that is done.
16:19And it is these archives, which are so important, to tell the story of just ordinary people, just like me and you.
16:27Yeah.
16:28Yeah.
16:28But they stood up.
16:30When the time came, they went and did it.
16:33Yeah.
16:33It's been a real honour to meet him today.
16:35Yeah.
16:35I know you've got lots more stuff and for your whole collection, you're looking at somewhere in around about 500 pounds.
16:41Okay.
16:42Thank you so much for bringing it along.
16:43It's a privilege for us to talk about him.
19:33It's all.
19:34This is gonna be really tough out.
19:35Now, it comes from a northeastern area of modern-day Iran, so Persia, called Kurasan,
19:38and it was a metal-working area, specialising in intricate work, just like this.
19:43So this decoration on the bird, it's all hand engraved. Beautifully worked. And birds occupy
19:50quite a pre-eminent position in Islamic decoration. It symbolises the freedom of the spirit. And they are
19:57also looked on as good luck, or good fortune pieces. פ сеq
20:00Right. Hopefully that might be true today.
20:02Yeah, yeah.
20:04This is copying a style from much earlier.
20:07There are similar birds to your birds
20:09in the Metropolitan Museum in New York,
20:12in the Louvre in Paris.
20:14Wow.
20:15But they are much earlier ones.
20:17They are from the 12th, 13th century.
20:19Yeah.
20:20Your one, I think, dates from late 19th stroke early 20th century.
20:24So it's more a kind of touristy piece.
20:26Yeah.
20:27So what's it worth? We don't know what was paid for it.
20:29Oh, my dear.
20:30It's hopefully brought you some good fortune.
20:31Yeah.
20:32And if this turned up on the market today,
20:35you'd be looking at between £600 and £1,000.
20:39Wow.
20:41Really?
20:42You're joking?
20:43No, I'm watching.
20:48My pleasable dad, to be honest,
20:50I wasn't expecting it to be worth anything.
20:52I just thought, you know, it's a big metal bird
20:54and, you know, it's quite pretty, you know.
20:56It won't be going anywhere.
20:57It's going to stay with me and the family for a bit.
20:59But, yeah, I don't think...
21:00I don't think I'm...
21:01I'm certainly not ready to part with it anyway, so...
21:03So I'm looking at a small doll under this dome.
21:14But what interests me is this tray of wonderful objects
21:19that she's holding and showing to the viewer?
21:23Did you buy her?
21:24No, she was left to me by my great-aunt.
21:27It was made by her grandmother.
21:30That puts us back into the 19th century?
21:32The 1890s, I think.
21:33I would put her.
21:34So she's been a family companion, really?
21:36Yes, yes, I've known her all my life.
21:38And presumably...
21:39Yes.
21:40Yes.
21:41You have too?
21:42Yes, yes.
21:43She's always been outside my bedroom.
21:44And if my parents went out, I would sneakily lift off the dome
21:48and touch.
21:49Sorry.
21:50Touch.
21:51Touch!
21:52The scissors were my favourite.
21:54So let's talk about peddler dolls generally.
21:57I mean, in the 18th and 19th centuries, shops were a long way away.
22:02And you would have travelling salesmen, often ladies,
22:05who had a big array of those things that made a lady's life at home
22:11Yeah.
22:12just a bit more enjoyable.
22:14Yeah.
22:15And so, when you look into this tray, you've got pins and needles
22:19and buttons, there's a tennis racket, there are skittles,
22:23there's a little doll, there are scissors.
22:25Your favourite, you said.
22:26You may have borrowed them, but you put them back again.
22:28Oh, yes.
22:31The older peddler dolls, often their heads were made from apples,
22:36dried apples.
22:38Oh, yes.
22:39And so you get this very kind of wizened-looking face.
22:42But she's got a wax head, it looks like,
22:45and she looks as if she's got human hair on there, not mohair.
22:48Yeah.
22:49The doll market really has had massive peaks and then a bit of a slide.
22:55So I'm happy to put a valuation on it of between £1,000 and £1,200.
23:00Yeah.
23:01Which I think is right for now.
23:02Yeah.
23:03But who knows?
23:04In the fullness of time, we could see another peak developing.
23:07Yeah.
23:08But fabulous object.
23:09Great to hear that it's a family thing.
23:11Good.
23:12And thank you for bringing it in.
23:13It'll go to my daughter and granddaughter.
23:15Lucky you.
23:16Maybe great-granddaughter one day.
23:18No pressure.
23:27Our ceramics expert Stephen Moore has discovered an item linked to the Black Dyke Band,
23:32Yorkshire's celebrated Brass Ensemble, established in 1855.
23:38With an impressive 170-year legacy,
23:41the band is playing a leading role in Bradford's 2025 City of Culture celebrations.
23:46And it all started in the hills around the city.
23:50If we were to head out of Bradford towards Halifax, up the hill, we would end up at Queensbury,
23:59wouldn't we?
24:00Yes.
24:01And what would we find there?
24:02Queensbury and the Black Dyke Mills.
24:04And you worked at the Black Dyke Mills?
24:06I did, from 1958 to 1993.
24:09What did they make at the mill?
24:11Mohair cloth for the Japanese businessman.
24:14OK.
24:15£4,000 of suits.
24:16Quite high-end stuff, yes.
24:17Oh, yes.
24:18And were you a member of the famous band?
24:19I was, from 1958 to 1973.
24:21Hence the skeleton of Black Dyke Mills memorabilia.
24:24So tell me how it came to your possession.
24:26The gentleman, Phineas Bower there, was the original owner of the jug.
24:31Right.
24:32He then passed it on to his son, Fred, who then passed it on to his daughter, Gladys Bower.
24:37Right.
24:38But she had no family, and I was an apprentice at the mill at the time.
24:41And the lady there, she asked, would somebody like the jug and the medal?
24:46Right.
24:47And I said, yes, please.
24:48I mean, this joke records that between 1856 and 1882, the band won £2,011, nine shillings and nothing.
24:59Yeah.
25:00That's a lot of money then, isn't it?
25:01Yes.
25:02And then this is the same.
25:03This is a record history of the band.
25:05Yes.
25:06Yes.
25:07And the band won thousands.
25:08I mean, all these on here.
25:09Oh, yes.
25:10This one, they got seven guineas for being disqualified.
25:12Yeah.
25:13That was a good gig, wasn't it?
25:14It's a...
25:15But I mean, we have to put that in the context of the period.
25:18I mean, this joke dates to the 1880s.
25:21That was a huge amount of money.
25:24Yeah.
25:25What happened to the band prize money?
25:26It was divided amongst the band members.
25:28You see, it was worthwhile being in the band.
25:30It was because I earned £3, two and six a week.
25:33And we did two concerts on Saturday and Sunday.
25:36And the week after, I got £3 in my hand.
25:39So I had two weeks wages for about 30 weeks each year.
25:43Well, there we are.
25:44Well, I think this little collection, a little booklet on the history of the band and the jug.
25:50This is nine carat gold.
25:51Let's not deny that.
25:52We're looking at between £8 and £1,200.
25:56You didn't think it was that much.
25:58The medal alone is £500.
26:00Wow.
26:01Keep it safe.
26:02The wonderful Liberty table, turn of the century.
26:14And it's just superb.
26:16And what's beautiful about this is all the hand carved detail on there is just wonderful.
26:21Super stylish and super usable as well.
26:24Was this table in the family?
26:26It was my grandma's and I've got no idea where it came from.
26:29I can't imagine that she could afford to go to Liberty's and buy it, to be quite honest.
26:34But she used to go to a lot of auctions.
26:36I always loved it as a little child and growing up everything.
26:39And then when we lost her, that was the one thing that I wanted from her house.
26:44Good choice.
26:45It's a lovely table.
26:46Very in vogue.
26:47Easily £300 to £500.
26:49Oh, this.
26:50It really is.
26:51It's a lovely table.
26:52Here we have a little, I think I know what that is.
27:01A very beautiful little singing bird music box.
27:05Ah, I can see that the lid needs a little bit of tweaking because it doesn't quite pop back down,
27:14but that's something that can be remedied.
27:16Tell me what you know about it.
27:18I know the manufacturer is Swiss, I think.
27:20Yes.
27:21Because I looked them up on the bottom.
27:22It says, Sainte Croix, made in Switzerland.
27:25Now, they are a very old traditional music box maker.
27:29This one was probably made in the 1960s.
27:32Oh, OK.
27:33It's made in exactly the same tradition as those early antique boxes.
27:37Right.
27:38But it's faux tortoiseshell finish on it.
27:40It's not real tortoiseshell.
27:42It's a nice thing.
27:43Do you really like this?
27:44Yeah, I really like it.
27:45Watching it dance and like sing.
27:48Yeah.
27:49It's quite mesmerising, isn't it?
27:50Yeah.
27:51Where did you buy it?
27:52My antiques dealer.
27:53Right, OK.
27:54Because we thought it was a bit interesting.
27:55Do you mind me asking what you paid for it?
27:57I can't remember.
27:58What did you pay for it?
27:59I think it was £1,500.
28:00£1,500.
28:01I think that was kind of about the money, to be honest with you.
28:04Yeah.
28:21A nice ladies gold fob watch.
28:22A nice ladies gold fob watch.
28:23Who did it belong to?
28:24It belonged to my grandmother, Isabella.
28:27OK.
28:28And do you ever recall her wearing it?
28:31Well, I was only four at the time when she died.
28:34So no, I'm afraid not.
28:36OK.
28:37Well, let's have a look.
28:39It's one of these English watches that you just have a little nib there in the six o'clock position.
28:44You push that in and then you withdraw the movement, OK?
28:48Uh-huh.
28:49And there it is.
28:50It's signed Dent.
28:51Yeah.
28:52A watchmaker to the Queen.
28:53Now, of course, that was Queen Victoria.
28:55Yes.
28:56A good maker.
28:59But you've got a full set of London hallmarks for 1871.
29:04OK.
29:06I'm delighted to see this long chain.
29:10And of course, it would have been worn on a long chain around her neck, popped into a pocket somewhere.
29:17Hallmark nine carats.
29:19So many of these were cut into small places to make bracelets or necklaces.
29:25So to see an original long chain is really rather nice.
29:28It's very unusual.
29:29Even better have been 18 carat gold, of course.
29:31Yeah.
29:32But it's still very nice.
29:33Has anybody wear it anymore or not?
29:35No, sadly not.
29:37It's been in a draw for years.
29:39So, money.
29:41Yes.
29:42The watch, 18 carat gold by Dent, in pretty good condition.
29:48£800, £900 for the watch.
29:51And the chain, because it's original and because it's long and it hasn't been cut down at all,
29:56a similar price on the chain as well.
29:58Christmas me.
29:59Christmas me.
30:00Don't leave it in the draw.
30:01Get somebody to wear it.
30:02Don't you think?
30:03I will.
30:04I will.
30:05My daughter, perhaps.
30:06She'll probably sell it.
30:07She'll never know.
30:08This is a rather beautiful handworked textile, which is actually an altar frontal.
30:36Can you tell me about it?
30:37So, this was designed by Louisa Pestle, who was a Bradfordian woman, born in 1870 and a
30:43bit of a pioneer.
30:44She trained at the National Art Training School in London under Lewis Forman Day.
30:48Obviously, a very well-known arts and crafts designer.
30:50That's right, yeah.
30:51And she then went to Greece to be a designer at the Royal Hellenic School of Needlework
30:56and Lace.
30:57She travelled all over Egypt, India.
31:00She made notes of all the textile designs, the motifs, the patterns.
31:04So, she was one of those group of sort of pioneering Victorian ladies.
31:08That really was something.
31:09There would have been very few women that were in a position to be able to have done
31:13that.
31:14There's a great photo of her on the Khyber Pass on the back of a camel in full Edwardian
31:19gear with a hat and everything.
31:20And she just looks amazing.
31:21I mean, we can only imagine what that would be like in this corset as well.
31:25Yeah.
31:26When she came back to Bradford and the First World War was on, she did a lot of work with
31:29the Abraham Peel Hospital, which was a hospital for shell-shocked soldiers.
31:34She worked with them as a form of occupational therapy, really, in doing embroidery work and
31:40other things.
31:41And they worked on this, the shell-shocked soldiers, to her design.
31:44So, this idea of, you know, occupational therapy, the hand and the mind being occupied,
31:49that it was really, really good for them.
31:51Yeah.
31:52The repetitive nature of it is very kind of soothing, really, for people suffering from,
31:56you know, post-traumatic stress.
31:58What's very interesting is that she went to the Royal Hellenistic School of Needlework
32:02in Greece, because I think we can see that influence here definitely in the stitch work.
32:07And because we've got this sort of meandering design and then these sort of, these little
32:11flower heads.
32:12And this is all worked in cross-stitch.
32:14If you look at the stitches, they don't really appear to have been done by different people.
32:18So, perhaps she was a very exact sort of mistress.
32:21I imagine she was, because she was an expert in her field.
32:24It's an absolute pleasure to see it.
32:26We need to mention price.
32:28Generally speaking, you can buy auto frontals from this sort of period, when they do come
32:33up at auction.
32:34It would probably only be something like £300 to £400.
32:36But obviously, its home is Bradford, and it's still in Bradford, and that's where it's
32:40going to remain.
32:41I mean, to us it's priceless.
32:42So, thank you very much.
32:43Exactly.
32:53You've brought me here a brooch and a ring.
32:57I'm going to start with the brooch first.
33:00And it's lovely to see the three leaf clover design here.
33:04How did you find this?
33:05It belonged to my grandmother.
33:07My father gave it to me about 15 years ago.
33:10Because I kept wearing it, he said, rather than storing it all the time, he gave it to me.
33:15But you were borrowing it?
33:16You were allowed to wear it on...?
33:17Yeah.
33:18High days and holidays.
33:19High days and holidays.
33:20That's quite a substantial jewel.
33:22It is.
33:23My granny was very, very proud of it, and was also worried about losing it.
33:28So she carried it in her handbag every single day of her life.
33:32Really?
33:33Yes.
33:34Everything?
33:35On the bus?
33:36No.
33:37When she went shopping?
33:38Everywhere.
33:40Oh my goodness.
33:41Yeah.
33:42Well, this is dated about 1880.
33:45Right.
33:46And it is silver and gold.
33:48But there's no maker's mark, and that's quite usual for jewels of this period.
33:54But it looks English to me.
33:57All set with cushion-shaped diamonds and rose-cut diamonds.
34:02And then you also have this ring.
34:05And tell me the story about this ring.
34:07The family legend is that my great-grandfather accepted it in settlement of a gambling debt in Monte Carlo.
34:15In Monte Carlo?
34:16Yes.
34:17Oh my gosh.
34:18I wonder how much the debt was.
34:20It would be interesting, wouldn't it?
34:21It would.
34:22It would be lovely to know.
34:23But unfortunately, he spent the family fortune.
34:27Oh, did he?
34:28And by the time my grandfather came back from the First World War, my great-grandfather passed away.
34:35And there was no money left, apart from the ring.
34:38Well, it's 18-carat gold.
34:40And these are cushion-shaped diamonds.
34:42Again, the diamonds were cut in about 1880.
34:45Right.
34:46And I think they're set in a slightly late amount.
34:48So, I mean, at auction, you'd be looking at about £3,000.
34:55And for this one here, you'd be looking in the region of about £1,500 to £2,000.
35:01Right.
35:03So what will happen to it now?
35:04I'll continue to wear them and enjoy them.
35:06Oh, that's wonderful.
35:07At a previous roadshow in Yorkshire in 2021, we revealed the Bellevue Studio Archive, a collection
35:25of 17,000 portraits taken by photographer Tony Walker between the 1950s and the 1970s.
35:37Housed in Bradford, the archive is a fascinating record of the migrant communities who made the city their home after the Second World War.
35:45And now available online, it's become a valuable resource for families to search for long-lost images of their relatives.
35:54I'm sitting here with people who found relatives in the Bellevue archive.
36:00Now, Cynthia, you're here with your mum, Olive, who I hope you don't mind saying you're 103, grand old age.
36:07And you were looking in the archive for pictures of yourself, I think.
36:10That's right.
36:11I thought, you know, I'll have to look in the archives and see if there's anything of me as a baby.
36:16And then found mum.
36:18And there she is.
36:20What did you think when you saw that?
36:22Oh, it took me back because I remember that jacket she was wearing.
36:26It was an olive green jacket, three quite olive sleeves.
36:29And it just took me back to being six or seven years old.
36:32Oh.
36:33And what about you, Olive?
36:35Do you remember this picture being taken?
36:37Yes.
36:38And you look beautiful in this picture.
36:40Yes.
36:41What did you do when you were here, when you first came over?
36:43The first time I come here, I used to work at a school.
36:48To work at a school?
36:49School, yeah.
36:50They were very nice.
36:51Were they?
36:52People with me, you know.
36:54They let me, so I sit together until I get to come back to Bedford, yeah.
37:00What a wonderful thing to come across it.
37:02So, unexpectedly.
37:03Yeah.
37:04So, you've got this one picture, whereas you, Hamza.
37:07Yep.
37:08So, you found all sorts of members of your family.
37:10I found, yep, from my mum's side as well as my dad's side.
37:15Who have we got here?
37:16Who's this one?
37:17That's my father, and that's his two brothers.
37:22That's his brother-in-law, and these are uncles, and just general relatives, family.
37:29When you started looking, Hamza, did you have any idea you would find such a treasure trove?
37:34No.
37:35I only discovered that picture, first of all, of my uncle, and then the more I went into it,
37:42I discovered two or three more pictures, and then after a week or two, I found another
37:48five pictures, and then, before I knew it, I'd had 50-plus pictures of my close relatives.
37:55So, boys, this is your...
37:57Grandad.
37:58Grandad.
37:59Yeah.
38:00I think he looks very handsome, don't you?
38:01Yeah.
38:02Yeah, absolutely.
38:03So, what did you think when you saw your dad?
38:06Well, I hadn't seen a picture of him like that, yeah, but I was emotional, yeah, seeing
38:14him so young like that.
38:16He came over in 1961.
38:18He was a second-year medical student.
38:20He didn't want to come, but Grandma said, go on, go, see what it's like.
38:25So, he came over.
38:27His mum gave him half a dozen boiled eggs to come over with, and a fiver in his pocket.
38:34And did he then pursue a medical career?
38:36No, no, he didn't.
38:37He worked in textiles then, after that.
38:39So many did in this part of the world.
38:41That's it, because the Asian community came over to do the labour jobs.
38:48Well, it's fascinating to meet you and hear your stories and see these pictures.
38:52And if you're watching at home and think, I mean, who knows, maybe your family's in the Bellevue archive, have a look.
38:57There's clearly thousands of pictures to go through, from what Hamza says, but you never know what you'll find.
39:01So, on this beautiful sunny day at Lister Park, when the gardens are in full bloom and the flowers are all out, you've brought along this beautifully florally painted tea set.
39:20Are you a collector?
39:22No, not at all.
39:23This was my mother's.
39:25She was very poorly as a small child.
39:29She was confined to bed for months.
39:31She had yellow jaundice, I think.
39:33And her father, my grandfather, bought her this to cheer her up.
39:37I can think of nothing that would cheer me up more if I was poorly than getting a cup of tea and my breakfast served to me from a service like this,
39:45with toast from this little toast rack and even this wonderful warming dish so that your breakfast comes to the table warm.
39:53And you just remove this stopper, fill the base of the dish with hot water and it keeps the breakfast toasty and warm.
40:00Yep.
40:01The service is by Clarice Cliff, an iconic designer in Britain in the 1920s and the 30s.
40:08And the shape of this teapot is known as the bonjour shape with this round design and the very distinctive round finial handle, even on the little circular feet.
40:18These pieces are a bit later in Clarice Cliff's design career.
40:22Her heyday was really the late 1920s to the mid 1930s.
40:27I would think these are sort of late 1930s and date.
40:30And you can see the slight change in style where she's used this more sort of floral, feminine decoration rather than the bold, iconic art deco designs with very strong colours.
40:41I'm sure it's something you would never want to sell, but of course it does have a value.
40:46My thoughts are that being a slightly later Clarice Cliff design, slightly removed from the more iconic art deco period, I think it's worth in the region of £200 to £300 for this group.
40:58Well, thank you very much. That's absolutely lovely. I won't be selling it and hopefully it can go on to generations, you know, still to come.
41:15We've got Mae West's name spelt out in her own hair. Where on earth did this come from?
41:23We're not 100% sure of its original provenance.
41:27It was a gift to the family on my dad's side, a wedding gift.
41:32And it's just been sat in my dad's downstairs toilet for about 10 years.
41:36I think as a talking point for parties, that sort of thing.
41:40It is that. I mean, she's one of the legends of film. I mean, in the 1930s, she was the big box office drawer.
41:49And obviously she's done an official opening.
41:52Yeah.
41:53We have the Rishi Salons for Hair and Beauty Culture were officially opened by Mae West.
41:59And I mean, I don't know much about women's hair, I'll be honest, but it almost looks like little sort of extensions.
42:05They're beautifully tied.
42:07But underneath, and I think this is the name of the hairdresser, but we can't make it out.
42:14Most lovely beauty salon, every success, something, something, Mae West.
42:21And that almost definitely is her signature.
42:24Brilliant. Yeah.
42:26She's got to put a value on this.
42:27I can't see.
42:28Yeah.
42:29Unique thing.
42:30Um.
42:31I mean, her signature alone is fairly sought after.
42:34I think if it went in a number of times, you know, she said what she thought.
42:36Yeah.
42:37And some of the things were quite risque.
42:38She's famous for the line, is that a pistol in your pocket?
42:41Or are you just pleased to see me?
42:44She said censorship.
42:46I like censorship.
42:47I've made a fortune from it.
42:49Um.
42:50We've got to put a value on this.
42:52Yeah, I can't see.
42:53Yeah, unique thing.
42:55Um.
42:56I mean, her signature alone is fairly sought after.
42:59Yeah.
43:00I think if it went in an auction, it would do probably £1,000 to £1,500.
43:04Cool.
43:05I think it'll hang around in the family though, do you know?
43:08Uh, yeah, it's so strange.
43:10One of the most bizarre things I've ever seen.
43:15Don't forget, you mustn't see me some time.
43:24Oh, I've been waiting for one of these to come in for a long time.
43:28Good.
43:29Okay, so where did you get it from?
43:30To my parents' house for as long as I can remember.
43:34Okay.
43:35It's a cinema ticket for a film called Theirs Is The Glory.
43:38Yeah.
43:39For the premiere.
43:40Yeah.
43:41It was made in 1946.
43:42It premiered on the 17th of September 1946.
43:45Yeah.
43:46Which is exactly two years after the first day that they dropped by parachute and glider into a place called Arnhem.
43:53Yeah.
43:54Now we would know it as A Bridge Too Far, but the original film was Theirs Is The Glory.
43:58Yeah.
43:59And these were the original cinema tickets for the premiere.
44:02Yeah.
44:03They're amazing because it says, this souvenir ticket is made of metal from one of the crash gliders which carried the British 1st Airborne Division into battle at Arnhem on September 17th, 1944.
44:16That has to be the very best cinema ticket in the world.
44:21Do you know what it's worth?
44:22I haven't got a clue.
44:23It's 150 quid.
44:24150 quid's worth for a bit of aluminium.
44:28It's a very special piece of aluminium though.
44:40This is a lovely silver and enamel case and it looks quite classy, doesn't it?
44:44Yeah.
44:45It looks something quite special.
44:47Tell us about the dog.
44:48When we bought it, you couldn't see all the detail on it.
44:51As in it was really tarnished, you mean?
44:53Yeah.
44:54Yeah.
44:55It was black.
44:56So Mule Spint cleaned it up and then it revealed what were on it.
45:00It's a French bulldog.
45:01It's got pointed ears.
45:02That is gorgeous, isn't it?
45:03Yeah.
45:04It's a little cigarette case.
45:05Oh, right.
45:06So that's what the elasticated band is for.
45:08Yeah.
45:09Now I know it doesn't look like you could fit cigarettes in there, but that's what cigarettes were like when this was made, which was about 1910.
45:16Now, did you notice also on the side here?
45:19That is a sapphire push thumb piece.
45:23Oh, no, I didn't know that.
45:24Yeah, so that is quality.
45:26It's superb detail, the way that's all painted.
45:28It's enamel painted, all hand done.
45:30It's either Austrian or German probably.
45:32Right.
45:33Now you're going to have to tell us what you paid for it.
45:37It was £4.
45:38You've done very well.
45:39That now is £400 to £600.
45:43Lovely.
45:45Beautiful thing.
45:48I think this is the most wonderful, enigmatic, beautiful photographic image.
46:06Can you tell me a little bit about it please?
46:08It's a snapshot that was taken by my grandfather in 1931.
46:12He entered a worldwide competition run by Eastman Kodak to find the world's best snapshot using the first introduction of the Velochrome film.
46:22This is my granny here.
46:24They were engaged and went on holiday to Brad Ahead on the Isle of Man.
46:29He entered it.
46:30He entered it in the competition and the final was in Geneva.
46:35And Eastman Kodak was a really famous company that was founded by George Eastman in 1888.
46:40Yeah.
46:41He made photography available to the masses.
46:44These vest pocket, in inverted commas, folding bellows cameras made it affordable and they made it portable.
46:52And your great grandfather was obviously one of those people.
46:55There he is, takes your grandmother out.
46:58Indeed.
46:59Takes this wonderful photograph of her, enters this competition and won it.
47:04He won the amazing amount of £4,400.
47:07It equates to £235,000.
47:10They got married and he bought his first house, their first house with that.
47:14And the family were very, very excited.
47:16Well it would have been huge excitement all over because he would have been pretty famous in fact
47:20because that would have been obviously published in the Eastman Kodak magazine thing.
47:25That's right.
47:26Which was a massive worldwide seller of a magazine as well.
47:29On the table here we have this beautiful silver trophy which of course is representative of photography by the lens.
47:36The lens, that's right.
47:38In the top here.
47:39That is stunningly beautiful.
47:41But I'm going to have to kind of try and put a value on this and it's a bit of an odd one really.
47:46Yeah.
47:47I'm kind of minded to give it a global valuation but then individually looking at some of the pieces it's a kind of different thing in my head so to speak.
47:54Yeah.
47:55So this beautiful Art Deco trophy is wonderful.
47:58Mm-hmm.
47:59And it's worth £2,000 or £3,000.
48:01Okay, yeah.
48:02Which is pretty amazing.
48:03Yeah.
48:04To be honest with you, if that were completely disconnected from this story and were just a Kodak pocket vest camera, it's worth £50 to £100.
48:12Right.
48:13Because they made so many of them.
48:15Yes, yeah.
48:16The image itself, stunning image.
48:18I really, really love this but in reality it's worth a few hundred pounds.
48:22Mm-hmm.
48:23We've got a couple of medallions that were awarded to him also.
48:27We've got a bronze one here but this one, did you see that I nipped off just before we started filming?
48:32You did, I did.
48:33Yes.
48:34Well, I nipped off to weigh this medal.
48:35Okay.
48:36Because I don't know whether you know but this is an 18 karat gold medal.
48:38Oh, gosh.
48:39Right.
48:40And it's scrap value alone is £7,000.
48:43That's amazing.
48:44I see why he ran off.
48:46I'm glad you came back.
48:47I did come back with it.
48:49So, I think that what you have here, one of my favourite stories of the day at £12,000 to £18,000.
48:57That's very good, isn't it?
48:58Yeah.
48:59Thank you so much for coming today.
49:00That's a pleasure.
49:06We've always been proud of him.
49:08I think that people could look more at what skills and talents they've got.
49:13There's more there outside if they only would try things because he was just a normal guy working as a draftsman and he tapped into the talents that he had.
49:34The sun is shining.
49:35Two beautiful jewels sparkling away.
49:37How did you get them?
49:38Well, these belong to my grandmother who was born in 1900 in Donegal in very rural Ireland.
49:45And I always remembered this watch on my grandmother's wrist as a little child growing up.
49:51I can never remember her with any other type of watch on her wrist.
49:55She went to Trinity College in Dublin to study as a young woman.
49:59At the age of 25, in 1925, she travelled from Ireland to New York.
50:06Gosh.
50:07Where she would have travelled on her own.
50:08She would have sailed as a 25-year-old woman.
50:10Of course.
50:11And to know that she was such a confident lady, it's no wonder that she chose some really pretty pieces of jewellery.
50:17More than likely in New York because the style of both of the pieces is very American.
50:22They have a lovely way of producing what we could call this sort of filigree pierced metalwork in this bracelet in particular.
50:31There's another mark that denotes that it's not a European piece because it's marked 10K, which is for 10 carat white gold, which again is something very typical of American jewellery at the time.
50:43In the centre here, you've got a lovely little diamond sparkling away.
50:47And either side, the two green stones are actually synthetic emeralds.
50:51They're not natural emeralds.
50:53I bet she was drawn to the green for Emerald Isle, of course, no doubt.
50:58And it was very popular again to use synthetic stones at this stage because to cut stones this size and of that shape would have been very expensive.
51:07But all in all, a beautiful, elegant piece of jewellery.
51:11And she sounds as though she was a very elegant lady as well.
51:14And particularly if she wore this watch all the time, that is a level of sophistication, I have to say, to be wearing a beautiful cocktail watch as we can see here.
51:23She ended up also a pig farmer's wife.
51:25Oh, did she?
51:26I'm guessing she didn't wear those slopping out the pigs.
51:29Now, we have a watch which we would class as a costume watch because it's actually a metal that has been rhodium plated.
51:39So it's not a precious metal strap and also the green stones here.
51:44These are actually glass.
51:45So that fits in again with this whole idea of costume dress jewellery, which again was rising in popularity in the 1920s.
51:54I mean, even Chanel would mix up her costume jewellery and her precious gem jewellery and try and trick her friends and say,
52:01which do you think is real and which is fake?
52:03And they often got it wrong.
52:04But that was how good the quality was on both of them.
52:08You know, we're looking at a, you know, a reasonable value, maybe 50, 60 pounds.
52:13And then with the bracelet, because it is that 10 carat gold as opposed to 14, 15 or 18,
52:19and that keeps the value down.
52:21At auction, I'd expect that to fetch between 500 and 700 pounds.
52:25So collectively in the region of 600 pounds for the two pieces.
52:29But as we have seen, it is the story that counts in the elegance of your grandmother.
52:34That's right. Thank you very much indeed.
52:36My pleasure. Thank you.
52:45Two Indian albums dated around the start of the 1800s.
52:50So 1810 to 1820 are many of them.
52:54How did these come into your possession?
52:56My mother got them in a second-hand market in Dublin.
53:00OK. And do you remember how much she paid for them?
53:03Possibly maybe five pounds for the pair.
53:07OK. So we have two albums.
53:09And the school of painting is called company school, meaning East India Company.
53:16Started in 1600 and went on well into the late 1800s.
53:22Let's face it, they were there to extract money and resources from India.
53:27There are some small mercies and human stories that come out of it.
53:33So you have this beautiful new school of painting, which is a mix of Indian and European.
53:40And you see some beautiful examples in these albums.
53:45This one. It shows Indian life.
53:47You see the tradesmen working away in the background.
53:51Maybe a subject matter that was avoided in traditional Indian miniature painting or Mughal miniature painting.
53:59You see some real Indian life, which is what the Europeans were interested in.
54:03So this book was made for the Europeans?
54:06Exactly. Exactly.
54:08That's so interesting.
54:09These are the Polaroids of early India.
54:12And the centre of this picture is the abhorrent act of Sati.
54:18And Sati is when the husband dies, the woman put herself on the funeral pyre and commits suicide.
54:28It was banned by the Mughal emperors and later made illegal by the British in the mid-1800s.
54:35So this painting here, it's great that we've got such an early date, 1780.
54:43And this album is just stuffed with wonderful examples of this mix of Indian and European work.
54:54A tipoy. So a local soldier.
54:58Isn't that beautiful?
55:00Extraordinary.
55:01It's very European. It's like a biblical tale.
55:04It's really startling.
55:05Absolutely.
55:06Well, they are very collectible.
55:09Each piece, a slight variance in quality.
55:13The sepoy, for example, on its own, £1,000.
55:18Oh.
55:19Wow.
55:20Wait, each page?
55:22Each page.
55:23That's just the sepoy.
55:24That's extraordinary.
55:25Oh, my God.
55:26That's your starting point.
55:28The Sati burning, £6,000 to £8,000.
55:31For the book or each?
55:34For that page.
55:35For that page.
55:36That's the Sati burning.
55:37Oh, my God.
55:38£6,000 to £8,000.
55:40So to try and put an overall figure on both albums, minimum £22,000.
55:48Wow.
55:49That's amazing.
55:50If you ever decided to sell them.
55:52I don't think we'll be getting rid of them, though.
55:55I think they're so beautiful.
55:57You can't.
55:58It's great to hear.
56:02A lot more than we thought.
56:04Startling.
56:05Yeah.
56:06Really extraordinary.
56:08Really nice to know more information about it.
56:11I have to do some more...
56:12Digging.
56:13Digging, yeah.
56:14Before we go, I just wanted to show you something unusual.
56:27We see lots of dolls on the Antiques Roadshow.
56:29But I've never seen one like this.
56:32She dates from the 1860s.
56:33She's a fortune-telling doll.
56:35And she would have been used as a kind of after-dinner or parlour game
56:39if we passed around the guests.
56:41And the reason is, because look, under her skirts
56:44are all these little fortunes written on pieces of paper.
56:49And I've been allowed to open one, which I should do very carefully.
56:53Look.
56:55There you are.
56:56And in it, it says,
57:00What you wish for, you shall obtain.
57:04Isn't she amazing?
57:06From the Antiques Roadshow here at Cartwright Hall.
57:08Bye-bye.
57:11Bye-bye.
57:12Bye-bye.
57:14Bye-bye.
57:18Bye-bye.
57:23Bye-bye.
57:34Go-bye.
57:40You
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