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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.
00:56When I woke up this morning,
01:24I 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,
01:57usually 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? Absolutely. Amazing.
02:10So did you have an old shed in the back garden that just had bits of pieces of coat hangers?
02:14Yeah, me carnal sets, coat hanger wire, knicker elastic. I think that was my mum's.
02:18And one day I came home from school with a friend and there's this beautiful smell of baking
02:24and I said to my friend, oh, 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. Absolutely amazing.
02:33The mechanics inside of these, and you think of modern day robots,
02:37humanoid 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
02:46and 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. Are these your favourites out of the collection?
03:10They are because, you know, the song, My Old Dutchess, is a very romantic song
03:14about an old couple who've been together for 40 years and it don'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.
03:35Very difficult thing to value, but I think they were to come on the open market, I would expect.
03:40Three to five thousand, I would say.
03:43Yep. Dad would be so, so proud to be here today to see this from up on 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,
04:07so it's really lovely to be here and to be looking at a beautiful diamond necklace
04:12in a box that says Fattorini's.
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.
04:35It 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, and 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. I've bopped the night away in it.
04:59Oh, brilliant!
04:59That's fabulous, and that's the way it should be, jewellery's to be worn.
05:06So, Fattorini's, they were founded by Antonio Fattorini,
05:09who came over from Italy and settled in Leeds.
05:13They were fabulous jewellers and decided to open up in Harrogate,
05:16which 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,
05:26which, 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,
05:39which are sparkling away all the way around.
05:42And they're picking up on the delicate Edwardian style of jewellery,
05:46which is sometimes referred to as the garland style of jewellery,
05:50and a little bit of Art Nouveau movement to it as well,
05:54which is really absolutely wonderful.
05:56There are clips either side.
05:58There are, that'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.
06:09So, yes, we've got these little clips here just at the sides,
06:12and it would have just sat nice and elegantly on the top of the head,
06:17sparkled away as the sunshine shone through.
06:19So, really is lovely.
06:21And, of course, this was the period for tiaras,
06:23with 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.
06:33The tiara fitting?
06:34No.
06:35Sadly, no.
06:36As a necklace at auction, this period is doing very well at the moment,
06:40and an auction estimate would be between £2,000 and £3,000.
06:46If we had had the tiara fitting,
06:49I 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.
06:57I knew absolutely nothing about it.
06:59It's a shame I don't have the tiara fitting,
07:01but I love it anyway,
07:03and 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
07:29to bring out the masts of the ships,
07:31or the boats, the little sailing boats in the background.
07:34Now, he's used watercolour on paper,
07:36and 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,
07:47whom 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.
08:02But a cousin of mine who lives in Canada came to see me,
08:06and he immediately recognised it as a Dutch boat,
08:08as 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,
08:19he taught himself how to paint by going to his local library
08:22and copying reproductions of the old masters.
08:26And it was only on his honeymoon, which was to Holland,
08:28that he became completely inspired
08:30by the tradition of Dutch landscape painting
08:32and 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
08:44to describe the background.
08:45The water is a bit sludgy.
08:48It's not sunny.
08:49There's no beautiful reflection.
08:52But then, to make it more dynamic,
08:55he'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
09:10at a time where this kind of impressionistic style
09:13had 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,
09:24that colour just pulls you into the centre of it, doesn'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, yes, no, no, they haven't come through to me, sorry.
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, yes, that's...
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.
10:04Well, 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?
10:17So this came to me by 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, so...
10:40And 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?
10:48So we'd say, it's something called John Paul George and Ringo in the picture.
10:50And then you would say, well...
10:53We're good, yeah.
10:55We're 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.
11:28Wow.
11:29That'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.
12:00Gunpowder?
12:00Gunpowder.
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?
12:21When 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.
12:29Then I got confused with the design here.
12:32This is very geometric and not American at all.
12:35And it reminds me of the work of a designer called Bugatti,
12:39which it isn't.
12:40But it almost makes me wonder where he got his ideas.
12:43I mean, he might have seen something like this.
12:44And 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.
12:55And the haystacks aren't haystacks round here.
13:00No.
13:01They're Zulu dwellings.
13:04Oh.
13:05Of course it is.
13:07We 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.
13:19And 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,
13:34not 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.
13:48And he often said,
13:49Oh, 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.
14:14We are beginning to lose the soldiers and sailors and airmen and nurses
14:20who were actually there during the Second World War.
14:22So every time I come across a person who was there at the time,
14:27the 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.
14:38And he, in 1940, was called up and joined the East Yorkshire Regiment
14:42and served for six years away from Bradford in North Africa and Italy as a fireman,
14:48returned on two home leaves,
14:50the first one to see my dad being born
14:53and the second where he wrote in his diary
14:55that 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.
15:02So this is Sunday, the 11th of November, 1945.
15:07He writes,
15:08spent the afternoon at Cartwright Hall and Lister Park
15:11and the next day he left from Bradford train station
15:14on the journey back to Naples.
15:16You know, by his medals,
15:17I can tell that what you're saying is what he did.
15:20We have a 1939 45 defence medal.
15:23He has an Africa star with the first army bar,
15:28which means that he was part of the invasion of Africa
15:31from 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?
15:46Do 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
15:55or the fires that he dealt with,
15:56but 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
16:02and 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,
16:11a tent with his uniform there and his bed.
16:15We're still all the family of artwork
16:18around the house that is done.
16:19It is these archives which are so important
16:23to tell the story of just ordinary people,
16:26just like me and you.
16:27Yeah.
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
16:36and for your whole collection,
16:39you're looking at somewhere in around about £500.
16:41Okay.
16:42Thank you so much for bringing it along.
16:43It's a privilege for us to talk about him.
16:54In 2025, Bradford is celebrating its status
16:58as City of Culture
16:59with exhibitions and events across the city.
17:02But over a century ago,
17:04Lister Park was at the centre of another cultural event,
17:08the Bradford Great Exhibition.
17:10At the time, the land was owned by Samuel Lister,
17:15whose family made their fortune from weaving wool and silk,
17:19owning some of the biggest mills of the day.
17:21Now, he was a wealthy industrialist
17:23and he wanted to give something back.
17:24So in 1898, he agreed to fund the building
17:27of a new museum, an art gallery,
17:30set in huge green parkland for the public to enjoy.
17:33And a few years later, in 1904, Cartwright Hall,
17:42with its galleries filled with artwork from around the world,
17:46opened its doors to the people of Bradford.
17:54As part of the opening,
17:55a great exhibition was held as well,
17:58spread all across Lister Park.
17:59Its aim was to celebrate Cartwright Hall,
18:02but also to showcase Bradford's trade and industry.
18:05It had all sorts of different attractions
18:07aimed at drawing in visitors from all over the world.
18:12Musicians and exhibitors came from all over the country.
18:16There were sports events,
18:18a fairground,
18:20even a huge water shoot,
18:22as well as mock naval battles on the lake.
18:25The exhibition here in Bradford was a huge success,
18:28between May and October 1904,
18:31nearly two and a half million people came,
18:34putting Cartwright Hall well and truly on the map.
18:49Well, this bird has come and landed on our table.
18:53Tell us, what do you think it is?
18:55Honestly, I've got no idea.
18:58Inherited it off my late father.
19:00My dad was a bit of a collector,
19:02slash holder,
19:03probably more than a holder.
19:04He used to do carbure sales a lot and that sort of thing, so...
19:08Did you have a name for it at home?
19:09I've called it Lydia.
19:11Lydia?
19:11Yeah, because it's got a lid on it,
19:13so it's just Lydia lid.
19:15It's just...
19:16It clicked that way.
19:17Lydia bird.
19:18Yeah.
19:19Wonderful.
19:20Well, it's an incense burner.
19:22Hence, we have the lid on the top
19:24and also the wings you'll see are pierced and engraved,
19:27so that's to allow the fragrance to waft out.
19:31Now, it comes from a north-eastern area of modern-day Iran,
19:35so Persia,
19:36called Kurasan,
19:38and it was a metal-working area
19:40specialising in intricate work, just like this.
19:42So this decoration on the bird,
19:45it's all hand-engraved,
19:47beautifully worked.
19:49And birds occupy quite a pre-eminent position
19:52in Islamic decoration.
19:54It symbolises the freedom of the spirit,
19:57and they're also looked on as good luck
19:58or good fortune pieces, so...
20:00Right.
20:00Hopefully 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,
20:11in the Louvre in Paris.
20:14Wow.
20:15But they are much earlier ones.
20:17They are from the 12th, 13th century.
20:19Yeah.
20:19Your one, I think, dates from late 19th stroke,
20:22early 20th century,
20:24so it's more a kind of touristy piece.
20:26Yeah.
20:26So what's it worth?
20:27We don't know what was paid for it.
20:29La wadda.
20:29It'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.
20:48I'm pleased with the art.
20:49To be honest,
20:50I wasn't expecting it to be worth anything.
20:52I just thought, you know,
20:53it'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 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
21:20that 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.
21:34So she's been a family companion, really?
21:36Yes, yes, I've known her all my life.
21:39And presumably...
21:40Yes.
21:40..you have too?
21:41Yes, yes, she's always been outside my bedroom.
21:44And if my parents went out,
21:45I would sneakily lift off the dome and touch.
21:49Sorry.
21:51Touch!
21:51The scissors were my favourite.
21:54So let's talk about peddler dolls generally.
21:57I mean, in the 18th and 19th centuries,
22:00shops were a long way away,
22:02and you would have travelling salesmen
22:03often ladies who had a big array of those things
22:09that made a lady's life at home
22:11just a bit more enjoyable.
22:14And so when you look into this tray,
22:17you've got pins and needles and buttons,
22:20there'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.
22:29Oh, yes.
22:29The older peddler dolls,
22:34often their heads were made from apples,
22:37dried apples,
22:38and so you get this very kind of wizened-looking face.
22:43But she's got a wax head, it looks like,
22:45and she looks as if she's got human hair on there,
22:47not mohair.
22:48Yeah.
22:49The doll market really has had massive peaks
22:53and then a bit of a slide.
22:56So I'm happy to put a valuation on it
22:58of between £1,000 and £1,200,
23:01which I think is right for now.
23:03Yeah.
23:03But who knows, in the fullness of time,
23:05we 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.
23:13A little go to my daughter and granddaughter.
23:15Lucky you.
23:16May be great-granddaughter one day.
23:18No pressure.
23:26Our ceramics expert Stephen Moore
23:29has discovered an item linked to the Black Dyke Band,
23:32Yorkshire's celebrated brass ensemble,
23:35established in 1855.
23:37With an impressive 170-year legacy,
23:41the band is playing a leading role
23:43in 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,
23:57up the hill,
23:58we would end up at Queensbury, wouldn't we?
24:00Yes.
24:00And 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?
24:11More hair cloth for the Japanese businessman.
24:14OK.
24:14£4,000 a suit.
24:16Quite high-end stuff, yeah.
24:17Oh, yes.
24:18And were you a member of the famous band?
24:20I was, from 1958 to 1973.
24:22Hence the Skellecton of Black Dyke,
24:23most memorabilia.
24:24So tell me how it came to your possession.
24:26The gentleman, Phineas Bower, there,
24:29was the original owner of the jug.
24:31Right.
24:32He then passed it on to his son, Fred,
24:34who then passed it on to his daughter, Gladys Bower.
24:37Right.
24:37But she had no family,
24:39and I was an apprentice at the mill at the time.
24:42And the lady there, she asked,
24:43would somebody like the jug and the medal?
24:46Right.
24:46And I said, yes, please.
24:48I mean, this joke records that between 1856 and 1882,
24:53the band won £2,011, nine shillings and nothing.
24:59Yeah.
24:59That's a lot of money then, isn't it?
25:01I mean, that's it.
25:01And then this is the same.
25:03This is a record history of the band.
25:06Yes.
25:06And the band won thousands.
25:07I mean, all these on here.
25:09Oh, yeah.
25:10This one, they've got seven guineas for being disqualified.
25:12Yeah.
25:13That was a good gig, wasn't it?
25:15But I mean, we have to put that in the context of the period.
25:18I mean, this joke dates to the 1880s.
25:22That was a huge amount of money.
25:24What 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.
25:37And the week after, I got £3 in my hand.
25:39So, like, two weeks wages for about 30 weeks each year.
25:44Well, there we are.
25:45Well, I think this little collection,
25:47a little booklet on the history of the band and the jug,
25:50this is nine-carat gold, let's not deny that.
25:52We're looking at between £8 and £1,200.
25:57You didn't think it was that much.
25:58The medal I earned is £500.
26:00Wow.
26:01Keep it safe.
26:10The wonderful Liberty Table, turn of the century.
26:14And it's just superb.
26:17And 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.
26:27And I've got no idea where it came from.
26:30I 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.
26:38I'm 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, very in vogue, easily £300 to £500.
26:49Oh, this.
26:50It really is.
26:51It's a lovely table.
26:57Here we have a little, I think I know what that is,
27:01a very beautiful, little singing bird music box.
27:09I can see that the lid needs a little bit of tweaking because it doesn't quite pop back down,
27:15but 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.
27:21I 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.
27:32It'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.
27:48It's quite mesmerizing, isn't it?
27:50Yeah.
27:51Yeah.
27:51Where did you buy it?
27:52My antiques dealer.
27:53Right, OK.
27:53Yeah, because it was kind of, we thought it was a bit interesting.
27:56Do 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.
28:00I think that was kind of about the money, to be honest with you.
28:20A nice lady's gold fob watch.
28:23Who did it belong to?
28:25It 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, so no, I'm afraid not.
28:37OK, well, 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.
28:48And there it is.
28:50It's signed Dent.
28:51Yeah.
28:52Watchmaker to the Queen.
28:53Now, of course, that was Queen Victoria.
28:55Yes.
28:56A good maker.
28:59You've got a full set of London hallmarks for 1871.
29:04OK.
29:05I'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 carat.
29:18So 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 would have been even better if it would have been 18 carat gold, of course.
29:31But it's still very nice.
29:33Has anybody wear it any more 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, £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, a similar price on the chain as well.
29:58Goodness me.
29:59Goodness 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.
30:04My daughter, perhaps.
30:06She'll probably sell it.
30:07She'll never know.
30:07She better not.
30:09This is a rather beautiful hand-worked 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 bit of a pioneer.
30:44She trained at the National Art Training School in London under Louis Forman Day.
30:48Obviously, a very well-known arts and crafts designer.
30:51That's right.
30:51Yeah.
30:51And she then went to Greece to be a designer at the Royal Hellenic School of Needlework and Lace.
30:57She travelled all over Egypt, India.
30:59She 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.
31:10There would have been very few women that were in a position to be able to have done that.
31:13There's a great photo of her on the Khyber Pass on the back of a camel in full Edwardian gear with a hat and everything.
31:20And she just looks amazing.
31:21I mean, we can only imagine what that would be like.
31:23And it's corseted as well.
31:25Yeah.
31:25When she came back to Bradford and the First World War was on, she did a lot of work with the Abraham Peel Hospital, which was a hospital for shell-shocked soldiers.
31:33She worked with them as a form of occupational therapy, really, in doing embroidery work and other things.
31:41And they worked on this, the shell-shocked soldiers, to her design.
31:45So, this idea of, you know, occupational therapy, the hand and the mind being occupied, that it was really, really good for them.
31:51The repetitive nature of it is very kind of soothing, really, for people suffering from, you know, post-traumatic stress.
31:58It's very interesting that she went to the Royal Hellenistic School of Needlework in 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 little flower 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 exacting sort of mistress.
32:21I imagine she was, because she was an expert in her field.
32:25It's an absolute pleasure to see it.
32:26But we need to mention price.
32:29Generally speaking, you can buy auto frontals from this sort of period, when they do come up 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 going to remain.
32:41I mean, to us, it's priceless.
32:42So, thank you very much.
32:44Exactly.
32:53You've brought me here a brooch.
32:56And a ring.
32:58I'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?
33:06It belonged to my grandmother.
33:08My father gave it to me about 15 years ago.
33:11Because I kept wearing it, he said, rather than storing it all the time, he gave it to me.
33:15You 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.
33:23It 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.
33:34On the bus?
33:35No.
33:35When she went shopping?
33:37Everywhere.
33:37Oh, my goodness.
33:41Yeah.
33:41Well, this is dated about 1880.
33:45Right.
33:45And it is silver and gold, but there's no maker's mark, and that's quite usual for jewels of this period, but it looks English to me.
33:57All set with cushion-shaped diamonds and rose-cut diamonds.
34:02And then you also have this ring, and 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.
34:14In Monte Carlo?
34:16Yes.
34:16Oh, my gosh.
34:18I wonder how much the debt was.
34:20It'd be interesting, wouldn't it?
34:21It would.
34:22It'd 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, and there was no money left, apart from the ring.
34:38Well, it's 18-carat gold, and these are cushion-shaped diamonds.
34:42Again, the diamonds were cut in about 1880, and I think they're set in a slightly late amount.
34:50So, I mean, at auction, you'd be looking at about £3,000, and 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?
35:05I'll continue to wear them and enjoy them.
35:07Oh, that's wonderful.
35:18At a previous roadshow in Yorkshire in 2021, we revealed the Bellevue Studio Archive, a collection of 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.
35:52I'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, and you were looking in the archive for pictures of yourself, I think.
36:10That's right. I thought, you know, I'll have to look in the archives and see if they think of me as a baby, and then found mum, and then 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 quarter-lose sleeves, and it just took me back to being six or seven years old.
36:32Oh. And what about you, Olive? Do you remember this picture being taken?
36:37Yes.
36:38And you look beautiful in this picture.
36:41What did you do when you were here, when you first came over?
36:44The first time I come here, I used to work at a school.
36:48To work at a school?
36:49School, yeah. They were very nice.
36:51Were they?
36:52People with me, you know.
36:54So I sit to them until I get to come back to Bradford, 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? Who'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?
37:33No, I only discovered that picture, first of all, of my uncle, and then the more I went into it, I discovered two or three more pictures, and then after a week or two, I found another five pictures, and then before I knew it, I'd had 50-plus pictures of my close relatives.
37:55So, boys, this is your grandad.
37:59Yeah.
37:59I think he looks very handsome, don't you?
38:01Yeah.
38:01Yeah.
38:01Yeah, absolutely.
38:03Absolutely. So, 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 him so young like that.
38:16He came over in 1961. He was a second-year medical student. He didn't want to come, but Grandma said, go on, go, see what it's like.
38:25So, he came over. His 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. He worked in textiles then after that.
38:40So many did in this part of the world.
38:42Because the Asian community came over to do the labour jobs.
38:47Well, 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.
39:11So, on this beautiful sunny day at Lister Park, when the gardens are in full bloom and the flowers are all out,
39:17you've brought along this beautifully florally-painted tea set.
39:21Are you a collector?
39:22No, not at all. This was my mother's.
39:26She was very poorly as a small child.
39:29She was confined to bed for months.
39:32She had yellow jaundice, I think.
39:34And her father, my grandfather, bought her this to cheer her up.
39:38I can think of nothing that would cheer me up more if I was poorly than getting a cup of tea
39:42and my breakfast served to me from a service like this, with toast from this little toast rack
39:47and 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,
39:57and it keeps the breakfast toasty and warm.
40:00Yep.
40:00The 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,
40:12with this round design and the very distinctive round finial handle,
40:16even 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 in date.
40:31And you can see the slight change in style where she's used this more sort of floral,
40:36feminine decoration rather than the bold, iconic art deco designs with very strong colours.
40:42I'm sure it's something you would never want to sell, but of course it does have a value.
40:47My thoughts are that being a slightly later Clarice Cliff design,
40:51slightly removed from the more iconic art deco period,
40:54I think it's worth, in the region, of £200 to £300 for this group.
40:59Well, thank you very much. That's absolutely lovely.
41:01I won't be selling it.
41:02And hopefully it can go on to generations, you know, still to come.
41:06We've got Mae West's name spelt out in her own hair.
41:20Where on earth did this come from?
41:24We're not 100% sure of its original provenance.
41:27It was a gift to the family on my dad's side, a wedding gift,
41:31and it's just been sat in my dad's downstairs toilet for about 10 years.
41:37I think it's a talking point for parties, that sort of thing.
41:40It is that. I mean, she's one of the legends of film.
41:44I mean, in the 1930s, she was the big box office drawer.
41:49And, obviously, she's done an official opening.
41:53Yeah.
41:53We have the Rishi Salons for Hair and Beauty Culture.
41:56We're officially opened by Mae West.
41:59And, I mean, I don't know much about women's hair, I'll be honest,
42:02but 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,
42:12but we can't make it out,
42:14most lovely beauty salon, every success,
42:19something, something, Mae West.
42:21And that almost definitely is her signature.
42:24Brilliant, yeah.
42:26March the 11th, 1948.
42:29She was ahead of her times, you know.
42:32She said what she thought.
42:33Yeah.
42:34And some of the things were quite risque.
42:36She's famous for the line,
42:39is that a pistol in your pocket?
42:40Or are you just pleased to see me?
42:44She said censorship.
42:46I like censorship.
42:47I've made a fortune from it.
42:49We've got to put a value on this.
42:52Yeah, I can't see.
42:53Yeah, unique thing.
42:55I mean, her signature alone is fairly sought after.
42:59I think if it went in an auction,
43:01it would do probably £1,000 to £1,500.
43:05Oh!
43:05I think it'll hang around in the family, though, do you know?
43:08Yeah, it's so strange.
43:10One of the most bizarre things I've ever seen.
43:15Don't forget, I'm off the simmers in the time.
43:17Oh, I've been waiting for one of these to come in for a long time.
43:28Good.
43:28OK, so where did you get it from?
43:31It was to my parents' house for as long as I can remember.
43:35OK.
43:35It's a cinema ticket for a film called There's Is The Glory for the premiere.
43:39Yeah.
43:39It was made in 1946.
43:42It premiered on the 17th of September, 1946.
43:45Yeah.
43:45Which is exactly two years after the first day that they dropped by parachute and glider
43:51into a place called Arnhem.
43:54Yeah.
43:54Now, we would know it as A Bridge Too Far,
43:56but the original film was There's Is The Glory.
43:59Yeah.
43:59And these were the original cinema tickets for the premiere.
44:02Yeah.
44:02And they're amazing because it says this souvenir ticket is made of metal from one of the crash
44:09gliders which carried the British 1st Airborne Division into battle at Arnhem on September
44:14the 17th, 1944.
44:16That has to be the very best cinema ticket in the world.
44:21Do you know what it's worth?
44:23I haven't got a clue.
44:24It's 150 quid.
44:25150 quid's worth for a bit of aluminium.
44:28It's a very special piece of aluminium, though.
44:32This is a lovely silver and enamel case, and it looks quite classy, doesn't it?
44:44It looks something quite special.
44:46Tell us about the dog.
44:48When we bought it, you couldn't see all the detail on it.
44:52As in it was really tarnished, you mean?
44:54Yeah.
44:54Yeah.
44:54It was black, so 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.
45:03It's a little cigarette case.
45:05Oh, no.
45:06So that's what the elasticated band is for.
45:08Yeah.
45:08Now, I know it doesn't look like you could fit cigarettes in there, but that's what cigarettes
45:12were like when this was made, which was about 1910.
45:15Now, did you notice also on the side here, that is a sapphire push thumbpiece.
45:23Oh, no, I didn't know.
45:24Yeah, so that is quality.
45:26It's superb detail.
45:27The way that's all painted, it's enamel painted, all hand done.
45:30It's either Austrian or German, probably.
45:33Right.
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.
45:44Lovely.
45:46Beautiful thing.
45:47I 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
46:19using the first introduction of the Velochrome film.
46:22This is my granny here.
46:25They were engaged and went on holiday to Brad Ahead on the Isle of Man.
46:29He entered it in the competition and it won, the final was in Geneva.
46:35And Eastman Kodak was a really famous company that was...
46:37A big company at the time.
46:38Founded by George Eastman in 1888.
46:40He made photography available to the masses.
46:44These vest pocket, in inverted commas, folding bellows cameras,
46:49made it affordable and they made it portable.
46:52And your great-grandfather was obviously one of those people.
46:56There he is.
46:57Takes your grandmother out.
46:58Indeed.
46:58Takes this wonderful photograph of her,
47:01enters 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.
47:15And the family were very, very excited.
47:16Well, it would have been huge excitement all over because he would have been pretty famous,
47:20in fact, because that would have been obviously published in, you know,
47:23the 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,
47:33which, of course, is representative of photography by the lens in 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.
47:44And it's a bit of an odd one, really.
47:46I'm kind of minded to give it a global valuation.
47:49But then individually looking at some of the pieces,
47:51it's a kind of different thing in my head, so to speak.
47:54So this beautiful Art Deco trophy is wonderful.
47:59And it's worth £2,000 or £3,000.
48:01Okay, yeah.
48:02Which is pretty amazing.
48:03The camera, to be honest with you,
48:06if that were completely disconnected from this story
48:08and were just a Kodak pocket vest camera,
48:11it's worth £50 to £100.
48:12Right.
48:13Because they made so many of them.
48:15Yes, yeah.
48:15The image itself, stunning image.
48:18I really, really love this.
48:19But in reality, it's worth a few hundred pounds.
48:23We've got a couple of medallions that were awarded to him also.
48:26We've got a bronze one here.
48:29But this one, did you see that I nipped off just before we started filming?
48:32You did, I did, yes.
48:33Well, I nipped off to weigh this medal.
48:35Okay.
48:35Because I don't know whether you know,
48:36but this is an 18-carat gold medal.
48:38Oh, gosh.
48:39Right.
48:40And its 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.
48:50So, I think that what you have here,
48:53one of my favourite stories of the day,
48:55at £12,000 to £18,000.
48:57That's very good, isn't it?
48:58Yeah.
48:58Thank you so much for coming today.
49:00That's a pleasure.
49:01We've always been proud of him.
49:07I 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,
49:16because he was just a normal guy working as a draftsman,
49:18and he tapped into the talents that he had.
49:33The sun is shining,
49:35two beautiful jewels sparkling away.
49:36How did you get them?
49:38Well, these belong to my grandmother,
49:40who was born in 1900 in Donegal,
49:43in very rural Ireland.
49:46And I always remembered this watch on my grandmother's wrist
49:49as 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
49:57to study as a young woman.
49:59And at the age of 25, in 1925,
50:03she travelled from Ireland to New York.
50:06Gosh.
50:06Where she would have travelled on her own.
50:08She would have sailed as a 25-year-old woman.
50:11And to know that she was such a confident lady,
50:14it's no wonder that she chose some really pretty pieces of jewellery,
50:17more than likely in New York,
50:19because the style of both of the pieces is very American.
50:22They have a lovely way of producing
50:25what we could call this sort of filigree-pierced metalwork
50:29in this bracelet in particular.
50:32There's another mark that denotes that it's not a European piece
50:35because it's marked 10K, which is for 10-carat white gold,
50:39which, again, is something very typical of American jewellery at the time.
50:43In the centre here,
50:45you've got a lovely little diamond sparkling away.
50:48And 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
51:02because to cut stones this size and of that shape
51:06would 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,
51:17that is a level of sophistication, I have to say,
51:20to be wearing a beautiful cocktail watch, as we can see here.
51:23She ended up also a pig farmer's wife.
51:26Oh, did she?
51:26I'm guessing she didn't wear those slopping out the pigs.
51:30Now, we have a watch which we would class as a costume watch
51:35because it's actually a metal that has been rhodium-plated,
51:39so it's not a precious metal strap.
51:42And also, the green stones here, these are actually glass.
51:45So that fits in, again, with this whole idea of costume dress jewellery,
51:50which, again, was rising in popularity in the 1920s.
51:54I mean, even Chanel would mix up her costume jewellery
51:57and her precious gem jewellery and try and trick her friends
52:01and say which do you think's 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 reasonable value,
52:11maybe £50, £60.
52:13And then with the bracelet, because it is that 10-carat gold
52:16as opposed to 14, 15 or 18, that keeps the value down.
52:20At auction, I'd expect that to fetch between £500 and £700.
52:24So, collectively, in the region of £600 for the two pieces,
52:29but as we have seen,
52:31it is the story that counts in the elegance of your grandmother.
52:35That's right. Thank you very much indeed.
52:36My pleasure. Thank you.
52:44Two Indian albums dated around the start of the 1800s,
52:50so 1810 to 1820 are many of them.
52:53How 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 £5 for the pair.
53:07OK, so we have two albums,
53:10and the school of painting is called Company School,
53:14meaning East India Company.
53:16Started in 1600 and went on well into the late 1800s.
53:22Because, let's face it, they were there to extract money and resources from India.
53:28There are some small mercies and human stories that come out of it.
53:33So you have this beautiful new school of painting,
53:36which is a mix of Indian and European,
53:39and you see some beautiful examples in these albums.
53:44This one.
53:46It shows Indian life.
53:48You see the tradesmen working away in the background.
53:52Maybe a subject matter that was avoided
53:54in traditional Indian miniature painting,
53:57or Mughal miniature painting.
53:59You see some real Indian life,
54:01which is what the Europeans were interested in.
54:03So this book was made for the Europeans?
54:07Exactly.
54:08That's so interesting.
54:10These are the Polaroids of early India.
54:13And the centre of this picture
54:14is the abhorrent act of Sati.
54:19And Sati is when the husband dies,
54:23the woman put herself on the funeral pyre
54:26and commits suicide.
54:28It was banned by the Mughal emperors
54:31and later made illegal by the British
54:34in the mid-1800s.
54:36So this painting here,
54:38it's great that we've got such an early date,
54:411780.
54:43And this album is just stuffed with wonderful examples
54:49of this mix of Indian and European work.
54:54A seapoy, so a local soldier.
54:58Isn't that beautiful?
55:00Extraordinary.
55:01It's very European.
55:03It'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 seapoy, for example.
55:16On its own, £1,000.
55:18Oh.
55:20Wow.
55:20Wait, each page?
55:22Each page.
55:23That's just the seapoy.
55:24That's extraordinary.
55:25Oh, my God.
55:26That's your starting point.
55:28The Satie Burning, £6,000 to £8,000.
55:32For the book or each?
55:34For that page.
55:36That's the Satie Burning, £6,000 to £8,000.
55:40So to try and put an overall figure on both albums,
55:45minimum £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.
56:05Startling.
56:05Yeah.
56:06Really extraordinary.
56:08Really nice to know more information about it.
56:11I'll 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
56:37after-dinner or parlour game
56:39if we passed around the guests.
56:41And the reason is, because, look,
56:42under her skirts
56:44are all these little fortunes
56:48written on pieces of paper.
56:49And I've been allowed to open one,
56:51which I should do very carefully, look.
56:55There you are.
56:56And in it,
56:57it says,
57:00What you wish for, you shall obtain.
57:02Isn't she amazing?
57:06From the Antiques Roadshow here at Cartwright Hall,
57:08bye-bye.
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