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S48 E16 – Antiques Roadshow 🕰️💎
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00:00Today we're in Yorkshire, in the city of Bradford, and our venue is Lister Park and the art gallery Cartwright Hall.
00:12Grand buildings like Cartwright Hall were built on the wealth of the textile industries in the 19th and 20th centuries, weaving materials like wool and silk.
00:22But also, later on, fabrics like this. Resilitex, it's called, and it had a crucial role in the Second World War.
00:33It was used to make decoy equipment, such as these inflatable tanks, in order to fool the enemy.
00:41And our experts will be hoping there are no fakes among the treasures on offer today.
00:46Exciting, isn't it? Every girl loves a tiara.
00:48One of the most bizarre things I've ever seen.
00:51Wow.
00:54I don't think we'll be getting rid of them, though.
00:59Welcome to the Antiques Roadshow.
01:01When I woke up this morning, I did not think I'd be greeted by the Antiques Roadshow.
01:31You're greeted by these two beautiful ventriloquist dummies. Aren't they fantastic? Tell me everything.
01:36OK. So, Dad was a musical ventriloquist, born in 1916. He made his first puppet when he was eight years old, and over the years he's worked with so many famous names.
01:48Morecambe Wise, Norm Wisdom, Tommy Cooper, Ken Dodd.
01:53Wow. OK. So, was your dad just the creator, or was he also a showman himself?
01:57He was a showman. He operated the puppets, but he made them at home, usually on our dining room table, in front of Mum, driving her crazy.
02:05And he'd form them in clay. He'd then put paper mache on them and bake them in the oven.
02:12Absolutely. Amazing. So, did you have an old shed in the back garden that just had bits of pieces of coat hangers?
02:19Yeah, mechanical sets, coat hanger wire, knicker elastic. I think that was my mum's.
02:23And one day I came home from school with a friend, and there's this beautiful smell of baking, and I said to my friend,
02:30Oh, let's have a look in the oven and see what Mum's doing.
02:32And we opened the oven, and there was a head in there.
02:35Amazing. Absolutely amazing.
02:38The mechanics inside of these, and you think of modern-day robots, humanoid robots that are being created now.
02:44She is automated, and she would walk across the stage, stop, turn, lift a hanky to her eye to wipe a tear away,
02:51and she'd end the act next to the old man with his arm around her, to a song of old Dutch.
02:57And this was in the 40s and 50s, was it? He started just before the Second World War, full-time.
03:02Into the 50s, his first TV performance was 1952, and then he got a TV series with Roy Kinnear.
03:08It was huge at that time, in the mid-20th century. Ventriloquist dummies were huge, weren't they?
03:13Absolutely. Are these your favourites out of the collection?
03:15They are, because, you know, the song Male Dutch is a very romantic song about an old couple
03:19who'd been together for 40 years, and they don't seem a day too long.
03:23So I can still hear that to this day, and Dad's no longer with us, I'm afraid.
03:27So that song, when I see these two, is always on my mind.
03:30Amazing. And what do you think of them, though?
03:32Well, it's certainly a different edge to the family.
03:36You can say that.
03:38Well, I suppose I will have to put a value on them.
03:40It's a very difficult thing to value, but I think they were to come on the open market.
03:44I would expect 3,000 to 5,000, I would say.
03:48Yep. Dad would be so, so proud to be here today to see this from up on high.
03:54Yeah. Amazing.
03:55Oh, you're making me emotional. That's lovely.
03:57Well, wonderful day here in Bradford, in the park.
04:09I used to come and play here when I was a child and go in the museum,
04:12so it's really lovely to be here and to be looking at a beautiful diamond necklace
04:17in a box that says Fatterinis. How have you come to get this?
04:22My paternal grandmother was given it on the occasion of her 21st birthday.
04:27Mm-hm. I know nothing about it, but I think that it was because she was the eldest of nine.
04:33Oh, my goodness.
04:34And she did a lot to help with her younger siblings.
04:38Yes, well-deserved by the sounds of things. Absolutely.
04:40It really is, isn't it? And who are the people in the photographs?
04:43Um, well, I've got this one here. This is my grandmother.
04:47Uh-huh. She had no daughters. Mm. So, it was given to my mother,
04:52who wore it on her wedding day. OK.
04:54And I wore it on my wedding day. Oh, how lovely.
04:56And my daughter wore it on her wedding day. Oh, how fabulous.
04:59So, has it been worn outside of weddings or is it just kept for wedding days?
05:02Oh, yes. I've bought the night away in it. Oh, brilliant!
05:06LAUGHTER
05:07That's fabulous and that's the way it should be, jewellery's to be worn.
05:11So, Fattorini's, they were founded by Antonio Fattorini, who came over from Italy and settled in Leeds.
05:18They were fabulous jewellers and decided to open up in Harrogate, which isn't that far away.
05:23It was the fashionable town at the time. That was in the 1830s.
05:27In the 1850s, they decided to open a shop in Kirkgate in Bradford,
05:32which, of course, is how we get the connection with the box.
05:35State-wise, we're looking at round about 1900.
05:39It's got these lovely scrolls and pretty little diamonds
05:44which are sparkling away all the way around.
05:47And they're picking up on the delicate Edwardian style of jewellery,
05:51which is sometimes referred to as the garland style of jewellery.
05:54And a little bit of Art Nouveau movement to it as well,
05:59which is really absolutely wonderful.
06:01There are clips either side. There are, that's right.
06:04And I didn't know if that was so that you could make it into a tiara.
06:08Well, you're absolutely spot on.
06:10Oh, right. Which is exciting, isn't it?
06:12Every girl loves a tiara.
06:14So, yes, we've got these little clips here just at the sides.
06:17And it would have just sat nice and elegantly on the top of the head,
06:22sparkled away as the sunshine shone through.
06:24So it really is lovely.
06:26And, of course, this was the period for tiaras
06:28with lace-fronted dresses in the early part of the 1900s,
06:32the elegance of the Edwardian period.
06:34Have you got the fitting for the tiara anywhere?
06:38No. No. Sadly, no. What a shame.
06:41As a necklace at auction, this period is doing very well at the moment.
06:45And an auction estimate would be between £2,000 and £3,000.
06:50If we had had the tiara fitting,
06:54I probably would have been straight in there at £5,000 to £7,000.
06:58Wow. OK.
06:59It makes such a difference to have that.
07:00Yes.
07:02I knew absolutely nothing about it.
07:04It's a shame I don't have the tiara fitting,
07:06but I love it anyway,
07:08and I shall continue to enjoy wearing it.
07:27So I was immediately drawn to this watercolour of boats
07:30because the artist has used such confident brushwork
07:34to bring out the mosses of the ships,
07:36or the boats, the little sailing boats in the background.
07:39He's used watercolour on paper,
07:41and I can see that it's signed George Horton,
07:44who has spent a lot of his life in South Shields.
07:46Now, how did this come to be yours?
07:48Well, George Horton is a great, great uncle of mine,
07:52whom I never knew,
07:53and I discovered him through doing family history quite a while ago,
07:57and he turns out to be an artist.
07:59So we looked him up and tried to find something.
08:03I bought it, and I didn't know where it was painted.
08:06I didn't know much about him,
08:08but a cousin of mine who lives in Canada came to see me,
08:11and he immediately recognised it as a Dutch boat
08:13as though it's painted in Holland.
08:15I think, actually, George Horton's quite inspiring
08:17because his family didn't really support him as an artist,
08:21and as the story goes,
08:23he taught himself how to paint by going to his local library
08:27and copying reproductions of the old masters,
08:31and it was only on his honeymoon, which was to Holland,
08:34that he became completely inspired by the tradition
08:36of Dutch landscape painting,
08:38and therefore became inspired to paint boats such as these.
08:43From a distance, this looks like quite a rainy day.
08:46He's used a palette of browns and greys to describe the background.
08:51The water is a bit sludgy.
08:53It's not sunny. There's no beautiful reflection.
08:56But then, to make it more dynamic, he's bringing out the colour.
09:02And I think that could be some sails that are wrapped up.
09:05It could be cargo, but most importantly, it really draws you in.
09:09I love it.
09:10And it's also quite bold for the time period that he was painting in.
09:13I mean, he was painting in the early 20th century.
09:15Yes.
09:16At a time where this kind of impressionistic style
09:18had only really quite recently come to Britain.
09:22Yes, yes.
09:23What do you like about it?
09:24Oh, well, I love it, first of all,
09:26because I know he was a relative of mine, which is brilliant.
09:28And like you say, that colour just pulls you into the centre of it, doesn't it?
09:32And it just lightens everything.
09:34And is the rest of your family artistic?
09:36No, not at all.
09:38Certainly not me.
09:39So the Horton jeans?
09:41Yes.
09:42No, they haven't come through to me.
09:43Sorry.
09:44No, no.
09:45Well, it's the sort of thing that were it to come to auction today,
09:48I would probably put an estimate in the region of £400 to £600.
09:51Right.
09:52Yes.
09:53The money pride isn't important.
09:55It's just that I've got a painting that belonged to a relative of mine,
09:58which is absolutely wonderful.
10:00Let's find the next Horton in the family.
10:02It won't be me.
10:03Who might be a good artist.
10:04Sorry, it won't be me.
10:05It won't be me.
10:12Well, I think everybody knows who these four are.
10:15It's a great, great photograph of them,
10:17and with all these lovely signatures below.
10:20How did you come by it?
10:22So this came to me via my dad, via his brother,
10:25who got it via George Harrison's dad.
10:28Oh, really?
10:29I was in a pub drinking in Skipton,
10:32but my dad's brother didn't like the Beatles.
10:36Like Cliff Richard.
10:38LAUGHTER
10:40But my dad's brother did say,
10:42well, look, my brother absolutely adores the Beatles.
10:44So...
10:45And then a few years ago, my dad said,
10:47you can have it now,
10:48cos you're the biggest Beatles fan.
10:50And when the children were younger,
10:51they always used to ask, who is it in the picture?
10:53So we'd say it's something called John Paul George and Ringo in the picture.
10:56LAUGHTER
10:58And then you would say, well...
10:59It'd be good, yeah.
11:00It'd be good.
11:01Fantastic.
11:02So, well, I think it's a great photograph,
11:04and the story gives it providence as well.
11:06But you have to remember that there are a lot of these photographs
11:10with facsimile, you know, signatures,
11:13and they're out there everywhere, you know?
11:16But this particular one is a genuine one.
11:19Aw.
11:20These are genuine signatures.
11:22Wow.
11:23That means that this, if it went into auction,
11:26and I'm going to be very conservative,
11:28this is worth between £3,000 and £5,000.
11:32Wow.
11:34Wow.
11:35That's amazing.
11:36This is a very interesting cowhorn.
11:57What do you think it was for?
11:59Well, blowing, making a tuna, of course.
12:02No, no, it's for holding gunpowder.
12:04Gunpowder.
12:05Gunpowder.
12:06It's a powder horn.
12:07We didn't know that, did we?
12:08No.
12:09Where did you get it?
12:10Well, it was my grandfather's,
12:12and then when he passed away, it went down to my father,
12:16and now he passed away a few years ago.
12:19I'm sorry.
12:20So it's now mine.
12:21So you've known it all your childhood?
12:23I remember it at my grandparents' house.
12:26You do?
12:27Yes.
12:28When I first saw it, I thought it was North American.
12:30Yes.
12:31Settlers.
12:32We wondered about it being American.
12:33Is that what you think it is?
12:34Yeah, yeah.
12:35Then I got confused with the design here.
12:37This is very geometric and not American at all.
12:40Yeah.
12:41And it reminds me of the work of a designer called Bugatti,
12:44which it isn't.
12:45I mean, it almost makes me wonder where he got his ideas.
12:48I mean, he might have seen something like this.
12:50Yeah.
12:51And then I looked at this more closely.
12:52This is cowhorn, and these are cows, or they're steer.
12:56Yeah.
12:57And then there's what looked like haystacks on it.
12:59Well, I look at it closely.
13:01And the haystacks aren't haystacks round here.
13:05No.
13:06So?
13:07They're Zulu dwellings.
13:09Oh.
13:10Of course.
13:11Of course.
13:12We did.
13:13Yes.
13:14So this is South African design.
13:16Yes.
13:17I lived in Cape Town for 20 years and came back five years ago.
13:20So how bizarre that we've got something in the family that.
13:23Exactly.
13:24And that's what it is.
13:25And 19th century.
13:27It's the end of the 19th century, I think.
13:30The Zulu were herders by nature.
13:33Cows are their wealth.
13:35But these are Westerners herding the cattle.
13:39Yeah.
13:40Not the indigenous people.
13:42But it really is a real pictorial dream.
13:46Mum really loved it.
13:48And she had a relative who was quite involved with antiques.
13:53And he often said, oh, if you don't want it, I'd like it.
13:56I bet he would.
13:57I would too.
13:58But she wouldn't part with it, obviously.
14:00People collect them.
14:01And I think they would pay something like between 800 and 1,200 pounds for this.
14:09Wow.
14:10That's what I think.
14:12It's charming.
14:18We are beginning to lose the soldiers and sailors and airmen and nurses who were actually there during the Second World War.
14:28So every time I come across a person who was there at the time, the story always fascinates me.
14:35So who was this man?
14:37This is Sergeant Eric Light.
14:39He's my granddad and my Auntie Andrea's father.
14:43And 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.
14:53He returned on two home leaves.
14:55The first one to see my dad being born and the second where he wrote in his diary that he was visiting Cartwright Hall and Lister Park.
15:04Where we are.
15:05Where we are today.
15:06Can you read that for us?
15:07I can, yeah.
15:08So this is Sunday, the 11th of November, 1945.
15:12He writes, spent the afternoon at Cartwright Hall and Lister Park and the next day he left from Bradford train station on the journey back to Naples.
15:21You know, by his medals, I can, I can tell that what you're saying is, is what he did.
15:25We have a 1939 45 defence medal.
15:28He has an Africa star with the first army bar, which means that he was part of the invasion of Africa from the, the Western side going towards Tunisia.
15:39Then he moves to Italy, as you say, the 1939 45 star and the 1939 45 war medal.
15:49Did he talk about this stuff? Do you know?
15:51He loved Italy.
15:52He loved the language.
15:53He learned Italian.
15:54So he spoke about his time in Italy.
15:56He didn't particularly talk about the, the events or the fires that he dealt with, but it was a wordsmith.
16:02He, he enjoyed telling stories.
16:04He's a good artist as well, isn't he?
16:06He, he was an artist from the beginning and he documented quite a lot of his journeys, but this is where he, he was billeted for two years.
16:14This is Jean d'Arc in North Africa, a tent with his uniform there and his bed.
16:20We're, we're still all, all the family have artwork around the house that is done.
16:25It is these archives, which are so important to tell the story of just ordinary people, just like me and you.
16:32Yeah.
16:33Yeah.
16:34But they stood up when the time came.
16:36Yeah.
16:37They went and did it.
16:38Yeah.
16:39It's been a real honour to meet him today.
16:40Yeah.
16:41I know you've got lots more stuff and for your, for your whole collection, you're looking at somewhere in around about 500 pounds.
16:46Okay.
16:47Thank you so much for bringing it along.
16:48Thank you.
16:49It's a privilege for us to talk about him.
16:50Thank you.
17:00In 2025, Bradford is celebrating its status as city of culture with exhibitions and events across the city.
17:08But over a century ago, Lister Park was at the centre of another cultural event, the Bradford Great Exhibition.
17:17At the time, the land was owned by Samuel Lister, whose family made their fortune from weaving wool and silk, earning some of the biggest mills of the day.
17:26Now he was a wealthy industrialist and he wanted to give something back.
17:29So in 1898, he agreed to fund the building of a new museum and art gallery set in huge green parkland for the public to enjoy.
17:44And a few years later, in 1904, Cartwright Hall, with its galleries filled with artwork from around the world, opened its doors to the people of Bradford.
17:59As part of the opening, a great exhibition was held as well, spread all across Lister Park.
18:05Its aim was to celebrate Cartwright Hall, but also to showcase Bradford's trade and industry.
18:10It had all sorts of different attractions aimed at drawing in visitors from all over the world.
18:16Musicians and exhibitors came from all over the country.
18:20There were sports events, a fairground, even a huge water shoot, as well as mock naval battles on the lake.
18:31The exhibition here in Bradford was a huge success.
18:34Between May and October 1904, nearly two and a half million people came, putting Cartwright Hall well and truly on the map.
18:42Well, this bird has come and landed on our table. Tell us, what do you think it is?
19:00Honestly, I've got no idea. Inherited it off my late father.
19:04My dad was a bit of a collector slash holder, probably more than a holder.
19:09You used to do car boot sales a lot and that sort of thing.
19:13Did you have a name for it at home?
19:14I've called it Lydia.
19:16Lydia?
19:17Yeah, because it's got a lid on it, so it's just Lydia lid.
19:20It clicked that way.
19:22Lydia bird.
19:23Yeah.
19:24Wonderful.
19:25Well, it's an incense burner, hence we have the lid on the top and also the wings you'll see are pierced and engraved,
19:32so that's to allow the fragrance to waft out.
19:36Now, it comes from a north-eastern area of modern-day Iran, so Persia, called Kurasan.
19:43And it was a metal-working area specialising in intricate work, just like this.
19:48So this decoration on the bird, it's all hand engraved, beautifully worked.
19:53And birds occupy quite a preeminent position in Islamic decoration.
19:59It symbolises the freedom of the spirit, and they're also looked on as good luck or good fortune pieces.
20:04Right.
20:05So hopefully that might be true today.
20:07Yeah, yeah.
20:08Yeah.
20:09This is copying a style from much earlier.
20:12There are similar birds to your birds in the Metropolitan Museum in New York, in the Louvre in Paris.
20:19Wow.
20:20But they are much earlier ones.
20:22They are from the 12th, 13th century.
20:24Yeah.
20:25Which I think dates from late 19th stroke early 20th century.
20:28So it's more a kind of touristy piece.
20:30Yeah.
20:31So what's it worth?
20:32We don't know what was paid for it.
20:33No idea.
20:34It's hopefully brought you some good fortune.
20:36Yeah.
20:37And if this turned up on the market today, you'd be looking at between £600 and £1,000.
20:44Wow.
20:45Really?
20:46Really?
20:47You're joking?
20:48No, I'm not joking.
20:53I'm pleased about that.
20:54To be honest, I wasn't expecting it to be worth anything.
20:57I just thought, you know, it's a big metal bird.
20:59And, you know, it's quite pretty, you know.
21:01It won't be going anywhere.
21:02It's going to stay with me and the family for a bit.
21:04But, yeah, I don't think I'm certainly not ready to part with it anyway, so.
21:16So I'm looking at a small doll under this dome.
21:20But what interests me is this tray of wonderful objects that she's holding and showing to the viewer.
21:28Did you buy her?
21:29No, she was left to me by my great aunt.
21:32It was made by her grandmother.
21:35That puts us back into the 19th century?
21:37The 1890s, I think.
21:39I would put her.
21:40So she's been a family companion, really?
21:41Yes.
21:42Yes, I've known her all my life.
21:44And presumably...
21:45Yes.
21:46You have too?
21:47Yes, yes.
21:48She's always been outside my bedroom.
21:49And if my parents went out, I would sneakily lift off the dome and touch.
21:54Sorry.
21:55Touch!
21:56Touch!
21:57The scissors were my favourite.
21:59So let's talk about peddler dolls generally.
22:02I mean, in the 18th and 19th centuries, shops were a long way away.
22:07And you would have travelling salesmen, often ladies, who had a big array of those things that made a lady's life at home just a bit more enjoyable.
22:19Yeah.
22:20And so when you look into this tray, you've got pins and needles and buttons.
22:25There's a tennis racket.
22:26There are skittles.
22:27There's a little doll.
22:28There are scissors.
22:29Your favourite, you said.
22:31You may have borrowed them, but you put them back again.
22:33Oh, yes.
22:34The older peddler dolls, often their heads were made from apples, dried apples.
22:43And so you get this very kind of wizened-looking face.
22:48But she's got a wax head, it looks like, and she looks as if she's got human hair on there, not mohair.
22:55The doll market really has had massive peaks and then a bit of a slide.
23:01So I'm happy to put a valuation on it of between £1,000 and £1,200, which I think is right for now.
23:08Yeah.
23:09But who knows, in the fullness of time, we could see another peak developing.
23:12Yeah.
23:13But fabulous object.
23:14Great to hear that it's a family thing.
23:16Good.
23:17And thank you for bringing it in.
23:18Little go to my daughter and granddaughter.
23:20Lucky you.
23:21Maybe great-granddaughter one day.
23:23No pressure.
23:32Our ceramics expert, Stephen Moore, has discovered an item linked to the Black Dyke Band.
23:37Yorkshire's Celebrated Brass Ensemble, established in 1855.
23:42With an impressive 170-year legacy, the band is playing a leading role in Bradford's 2025 City of Culture celebrations.
23:51And it all started in the hills around the city.
23:55If we were to head out of Bradford towards Halifax, up the hill, we would end up at Queensbury, wouldn't we?
24:05Yes.
24:06And what would we find there?
24:07Queensbury and the Black Dyke Mills.
24:09And you worked at the Black Dyke Mills?
24:11Yes, I did.
24:12From 1958 to 1993.
24:14What did they make at the mill?
24:16Mohair cloth for the Japanese businessman.
24:19Okay.
24:20£4,000 a suit.
24:21Quite high-end stuff, yeah.
24:22Yes.
24:23And were you a member of the famous band?
24:25I was from 58 to 73.
24:27Hence the Skelecter of Black Dyke.
24:28And there's memorabilia.
24:29So tell me how they came to your possession.
24:31The gentleman, Phineas Bower there, was the original owner of the jug.
24:36Right.
24:37He then passed it on to his son, Fred, who then passed it on to his daughter, Gladys Bower.
24:42Right.
24:43But she had no family.
24:44And I was an apprentice at the mill at the time.
24:46And the lady there, she asked, would somebody like the jug and the medal?
24:51Right.
24:52And I said, yes, please.
24:53I mean, this joke records that between 1856 and 1882, the band won £2,011, nine shillings
25:03and nothing.
25:04Yeah.
25:05That's a lot of money then, isn't it?
25:06I mean, that's it.
25:07And then this is the same.
25:08This is a record history of the band.
25:11Yes.
25:12And the band won thousands.
25:13I mean, all these on here.
25:14Oh, yes.
25:15There's one that got seven guineas for being disqualified.
25:17Yeah.
25:18That was a good gig, wasn't it?
25:20But I mean, we have to put that in the context of the period.
25:23I mean, this joke dates to the 1880s.
25:27That was a huge amount of money.
25:29Yeah.
25:30What happened to the band prize money?
25:31Well, it was divided amongst the band members.
25:33You see, it was worthwhile being in the band.
25:35It was because I earned £3, two and six a week.
25:38And we did two concerts on Saturday and Sunday.
25:41And the week after, I got £3 in me.
25:44So I had two weeks wages for about 30 weeks each year.
25:49Well, there we are.
25:50Well, I think this little collection, a little booklet on the history of the band and the jug.
25:55This is nine carat gold.
25:56Let's not deny that.
25:58We're looking at between £8 and £1,200.
26:01I didn't think it was that much.
26:04The medal alone is £500.
26:05Wow.
26:06Keep it safe.
26:07Keep it safe.
26:08The wonderful Liberty table, turn of the century.
26:20And it's just superb.
26:22And what's beautiful about this is all the hand carved detail on there is just wonderful.
26:26Super stylish and super usable as well.
26:30Was this table in the family?
26:31It was my grandma's and I've got no idea where it came from.
26:35I can't imagine that she could afford to go to Liberty's and buy it, to be quite honest.
26:39But she used to go to a lot of auctions.
26:41I always loved it as a little child.
26:43I'm growing up everything.
26:44And then when we lost her, that was the one thing that I wanted from her house.
26:49Good choice.
26:50It's a lovely table.
26:51Very in vogue.
26:52Easily £300 to £500.
26:54Fabulous.
26:55It really is.
26:56It's a lovely table.
27:03Here we have a little, I think I know what that is.
27:06A very beautiful little singing bird music box.
27:11I can see that the lid needs a little bit of tweaking because it doesn't quite pop back down,
27:20but that's something that can be remedied.
27:22Tell me what you know about it.
27:23I know the manufacturer is Swiss, I think.
27:25Yes.
27:26I looked them up on the bottom.
27:27It says, Sainte Croix, made in Switzerland.
27:30Now, they are a very old traditional music box maker.
27:34This one was probably made in the 1960s.
27:37Well, OK.
27:38It's made in exactly the same tradition as those early antique boxes.
27:42Right.
27:43But it's faux tortoiseshell finish on it.
27:45It's not real tortoiseshell.
27:47It's a nice thing.
27:48Do you really like this?
27:49Yeah, I really like it.
27:50Watching it dance and sing.
27:53Yeah.
27:54It's quite mesmerising, isn't it?
27:55Yeah.
27:56Yeah.
27:57Where did you buy it?
27:58My antiques dealer.
27:59Right, OK.
28:00Because we thought it was a bit interesting.
28:01Do you mind me asking what you paid for it?
28:02I can't remember.
28:03What did you pay for it?
28:04I think it was £1,500 or something.
28:06£1,500?
28:07I think that was kind of about the money, to be honest with you.
28:09Yeah.
28:10Yeah.
28:26A nice ladies gold fob watch.
28:28Who did it belong to?
28:30It belonged to my grandmother, Isabella.
28:32OK.
28:33And do you ever recall her wearing it?
28:36Well, I was only four at the time when she died, so no, I'm afraid not.
28:41OK, well, let's have a look.
28:44It's one of these English watches that you just have a little nib there in the six o'clock
28:49position.
28:50You push that in and then you withdraw the movement, OK?
28:53Uh-huh.
28:54And there it is.
28:55It's signed Dent.
28:56Yeah.
28:57Watchmaker to the Queen.
28:58Now, of course, that was Queen Victoria.
29:00Yes.
29:01A good maker, but you've got a full set of London hallmarks for 1871.
29:09OK.
29:10I'm delighted to see this long chain.
29:14And, of course, it would have been worn on a long chain around her neck, popped into a
29:20pocket somewhere.
29:22Hallmark nine carat.
29:24So many of these were cut into small places to make bracelets or necklaces.
29:30So to see an original long chain is really rather nice.
29:33It's very natural.
29:34Even better would have been 18 carat gold, of course, but it's still very nice.
29:38Has anybody wear it anymore or not?
29:40No, sadly not.
29:42It's been in a draw for years.
29:44So, money.
29:45Yes.
29:46The watch, 18 carat gold, by Dent, in pretty good condition, eight, nine hundred pounds
29:55for the watch.
29:56And the chain, because it's original and because it's long and it hasn't been cut down at all,
30:01a similar price on the chain as well.
30:03Goodness me.
30:04Goodness me.
30:05Don't leave it in the draw.
30:06Get somebody to wear it.
30:07Don't you think?
30:08I will.
30:09You will.
30:10My daughter, perhaps.
30:11She'll probably sell it.
30:12She'll never know.
30:13This is a rather beautiful hand-worked textile, which is actually an altar frontal.
30:41Can you tell me about it?
30:42So, this was designed by Louisa Pestle, who was a Bradfordian woman, born in 1870 and
30:47a bit of a pioneer.
30:49She trained at the National Art Training School in London under Lewis Forman Day.
30:53Obviously a very well-known arts and crafts designer.
30:55That's right.
30:56Yeah.
30:57And she then went to Greece to be a designer at the Royal Hellenic School of Needlework and Lace.
31:02She travelled all over Egypt, India.
31:04She made notes of all the textile designs, the motifs, the patterns.
31:09So, she was one of those group of pioneering Victorian ladies.
31:13That really was something.
31:14There would have been very few women that were in a position to be able to have done that.
31:18There'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.
31:25And she just looks amazing.
31:26I mean, we can only imagine what that would be like.
31:29And it's corseted as well.
31:30Yeah.
31:31When 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 shock soldiers.
31:39She worked with them as a form of occupational therapy, really, in doing embroidery work and other things.
31:46And they worked on this, the shell shock soldiers, to her design.
31:50So, this idea of, you know, occupational therapy, the hand and the mind being occupied, that it was really, really good for them.
31:56The repetitive nature of it is very kind of soothing, really, for people suffering from, you know, post-traumatic stress.
32:03It'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.
32:12And because we've got this sort of meandering design, and then these sort of, these little flower heads.
32:17And this is all worked in cross-stitch.
32:19If you look at the stitches, they don't really appear to have been done by different people, so perhaps she was a very exacting sort of mistress.
32:26I imagine she was, because she was an expert in her field.
32:30It's an absolute pleasure to see it.
32:32We need to mention price.
32:34Generally speaking, you can buy auto frontals from this sort of period, when they do come up at auction.
32:39It would probably only be something like £300 to £400.
32:41But, obviously, its home is Bradford, and it's still in Bradford, and that's where it's going to remain.
32:46I mean, to us it's priceless, so thank you very much.
32:48Exactly.
32:49Thank you.
32:50You've brought me here a brooch and a ring.
33:03I'm going to start with the brooch first, and it's lovely to see the three leaf clover design here.
33:09How did you find this?
33:10It belonged to my grandmother.
33:12My father gave it to me about 15 years ago.
33:15Because I kept wearing it, he said, rather than storing it all the time, he gave it to me.
33:20But you were borrowing it, you were allowed to wear it on...
33:23Yeah, high days and holidays.
33:24High days and holidays.
33:25That's quite a substantial jewel.
33:27It is.
33:28My granny was very, very proud of it, and was also worried about losing it, so she carried it in her handbag every single day of her life.
33:36Really?
33:37Yes.
33:38Everything?
33:39On the bus.
33:40No.
33:41When she went shopping.
33:42Everywhere.
33:43Oh my goodness.
33:46Yeah.
33:47Well, this is dated about 1880.
33:49Right.
33:50And it is silver and gold.
33:53There's no maker's mark, and that's quite usual for jewels of this period, but it looks English to me.
34:02All set with cushion-shaped diamonds and rose-cut diamonds.
34:07And then you also have this ring, and tell me the story about this ring.
34:12The family legend is that my great-grandfather accepted it in settlement of a gambling debt in Monte Carlo.
34:20In Monte Carlo?
34:21Yes.
34:22Oh my gosh.
34:23I wonder how much the debt was.
34:25It would be interesting, wouldn't it?
34:27It would.
34:28It would be interesting to know, but unfortunately, he spent the family fortune.
34:33Oh, did he?
34:34And by the time my grandfather came back from the First World War, my great-grandfather
34:39passed away, and there was no money left apart from the ring.
34:43Well, it's 18-carat gold, and these are cushion-shaped diamonds.
34:48Again, the diamonds were cut in about 1880.
34:50Right.
34:51And I think they're set in a slightly later mount.
34:55So, I mean, at auction, you'd be looking at about £3,000.
35:01And for this one here, you'd be looking in the region of about £1,500 to £2,000.
35:06Right.
35:07Thank you.
35:08So, what will happen to it now?
35:10I'll continue to wear them and enjoy them.
35:12Oh, that's wonderful.
35:24At a previous roadshow in Yorkshire in 2021, we revealed the Bellevue Studio Archive,
35:30a collection of 17,000 portraits taken by photographer Tony Walker between the 1950s and the 1970s.
35:42Housed in Bradford, the archive is a fascinating record of the migrant communities
35:47who made the city their home after the Second World War, and now available online.
35:52It's become a valuable resource for families to search for long-lost images of their relatives.
35:57I'm sitting here with people who found relatives in the Bellevue archive.
36:04Now, Cynthia, you're here with your mum, Olive, who I hope you don't mind saying,
36:08you're 103, grand old age.
36:12And you were looking in the archive for pictures of yourself, I think.
36:15That's right.
36:16I thought, you know, I'll have to look in the archive to see if they think of me as a baby.
36:21And then found mum.
36:23And then there she is.
36:25What did you think when you saw that?
36:27Oh, it took me back because I remember that jacket she was wearing.
36:31It was an olive green jacket, three quite olive sleeves,
36:34and it just took me back to being 67 years old.
36:37Oh.
36:38And what about you, Olive?
36:40Do you remember this picture being taken?
36:42Yes.
36:43And you look beautiful in this picture.
36:45Yes.
36:46What did you do when you were here, when you first came over?
36:48The first time I come here, I used to work at a school.
36:53To work at a school?
36:54School, yeah.
36:55They were very nice.
36:56Were they?
36:57People with me, you know.
36:59They let me, so I sit to them until I get to come back to Bedford, yeah.
37:05What a wonderful thing to come across it, so unexpectedly.
37:08Yeah.
37:09So you've got this one picture, whereas you, Hamza?
37:12Yep.
37:13So you found all sorts of members of your family.
37:15I found, yep, from my mum's side as well as my dad's side.
37:20Who have we got here?
37:21Who's this one?
37:22That's my father, and that's his two brothers.
37:27That's his brother-in-law, and these are uncles and just general relatives' family.
37:34When you started looking, Hamza, did you have any idea you would find such a treasure trove?
37:39No.
37:40I only discovered that picture, first of all, of my uncle.
37:44And then, the more I went into it, I discovered two or three more pictures.
37:50And then, after a week or two, I found another five pictures.
37:54And then, before I knew it, I'd had 50 plus pictures of my close relatives.
38:00So, boys, this is your...
38:02Grandad.
38:03Grandad.
38:04Yeah.
38:05I think he looks very handsome, don't you?
38:06Yeah.
38:07Yeah, absolutely.
38:08So, what did you think when you saw your dad?
38:11Well, I hadn't seen a picture of him like that.
38:15Yeah.
38:16I was emotional.
38:18Yeah.
38:19Seeing him so young like that.
38:21He came over in 1961.
38:23He was a second year medical student.
38:25He didn't want to come, but Grandma said, go on, go, see what it's like.
38:30So, he came over.
38:32His mum gave him half a dozen boiled eggs to come over with and a fiver in his pocket.
38:39And did he then pursue a medical career?
38:41Er, no.
38:42No, he didn't.
38:43He worked in textiles then after that.
38:45So many did in this part of the world.
38:46That's it.
38:47Because the Asian community came over to do the labour jobs.
38:53Well, it's fascinating to meet you and hear your stories and see these pictures.
38:57And if you're watching at home and think, I mean, who knows, maybe your family's in the Bellevue archive.
39:02Have a look.
39:03There's clearly thousands of pictures to go through from what Hamza says.
39:05But you never know what you'll find.
39:07So, 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.
39:26Are you a collector?
39:27No, not at all.
39:28This was my mother's.
39:31She was very poorly as a small child.
39:34She was confined to bed for months.
39:36She had yellow jaundice, I think.
39:38And her father, my grandfather, bought her this to cheer her up.
39:43I 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 with toast from this little toast rack and even this wonderful warming dish so that your breakfast comes to the table warm.
39:58And you just remove this stopper, fill the base of the dish with hot water and it keeps the breakfast toasty and warm.
40:05Yep.
40:06The service is by Clarice Cliff, an iconic designer in Britain in the 1920s and the 30s.
40:13And 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.
40:23These pieces are a bit later in Clarice Cliff's design career.
40:27Her heyday was really the late 1920s to the mid 1930s.
40:32I would think these are sort of late 1930s in date.
40:35And 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.
40:47I'm sure it's something you would never want to sell, but of course it does have a value.
40:51My 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.
41:04Well, 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.
41:11We've got Mae West's name spelt out in her own hair. Where on earth did this come from?
41:28We're not 100% sure of its original provenance. It was a gift to the family on my dad's side, a wedding gift.
41:37And it's just been sat in my dad's downstairs toilet for about 10 years.
41:41I think as a talking point for parties, that sort of thing.
41:45It is that. I mean, she's one of the legends of film. I mean, in the 1930s, she was the big box office drawer.
41:54And obviously, she's done an official opening.
41:58We have the Rishi Salons for Hair and Beauty Culture were officially opened by Mae West.
42:04And I mean, I don't know much about women's hair, I'll be honest, but it almost looks like little sort of extensions.
42:10They're beautifully tied. But underneath, and I think this is the name of the hairdresser, but we can't make it out.
42:19Most lovely beauty salon. Every success, something, something, Mae West.
42:26And that almost definitely is her signature.
42:29Brilliant. Yeah.
42:31March the 11th, 1948.
42:34She was ahead of her times. You know, she said what she thought.
42:38Yeah.
42:39And some of the things were quite risque.
42:41She's famous for the line,
42:43Is that a pistol in your pocket? Or are you just pleased to see me?
42:49She said censorship. I like censorship. I've made a fortune from it.
42:55We've got to put a value on this unique thing.
42:59I mean, her signature alone is fairly sought after.
43:04I think if it went in an auction, it would do probably £1,000 to £1,500.
43:10I think it'll hang around in the family though, you know. Yeah, it's so strange.
43:15One of the most bizarre things I've ever seen.
43:18Oh, I've been waiting for one of these to come in for a long time.
43:32Good.
43:33OK, so where did you get it from?
43:35It was in my parents' house for as long as I can remember.
43:39OK.
43:40It's a cinema ticket for a film called There's Is The Glory.
43:43Yeah. For the premiere.
43:44Yeah.
43:45It was made in 1946. It premiered on the 17th of September 1946.
43:50Yeah.
43:51Which is exactly two years after the first day that they dropped by parachute and glider into a place called Arnhem.
43:58Yeah.
43:59Now we would know it as A Bridge Too Far, but the original film was There's Is The Glory.
44:04Yeah.
44:05And these were the original cinema tickets for the premiere.
44:07Yeah.
44:08And they'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 the 17th, 1944.
44:22That has to be the very best cinema ticket in the world.
44:27Do you know what it's worth?
44:28I haven't got a clue.
44:29It's 150 quid.
44:30150 quid's worth for a bit of aluminium.
44:33It's a very special piece of aluminium though.
44:36This is a lovely silver and enamel case and it looks quite classy, doesn't it?
44:49Yeah.
44:50It looks something quite special.
44:51Tell us about the dog.
44:53When we bought it, you couldn't see all the detail on it.
44:56As in it was really tarnished, you mean?
44:58Yeah.
44:59Yeah.
45:00It was black.
45:01So, Mulespin cleaned it up and then it revealed what was on it.
45:05It's a French bulldog.
45:06It's got pointed ears.
45:07That is gorgeous, isn't it?
45:08Yeah.
45:09It's a little cigarette case.
45:10Oh, no.
45:11So that's what the elasticated band is for.
45:13Yeah.
45:14Now 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.
45:21Now, did you notice also on the side here, that is a sapphire push thumbpiece.
45:28Oh, no, I didn't know.
45:29Yeah.
45:30So that is quality.
45:31It's superb detail.
45:32That's all painted.
45:33It's enamel painted, all hand done.
45:35It's either Austrian or German probably.
45:38Right.
45:39Now you're going to have to tell us what you paid for it.
45:42It was £4.
45:43You've done very well.
45:44That now is £400 to £600.
45:48Lovely.
45:50Beautiful thing.
45:53I think this is the most wonderful, enigmatic, beautiful photographic image.
46:11Can you tell me a little bit about it, please?
46:13It's a snapshot that was taken by my grandfather in 1931.
46:17He entered a worldwide competition run by Eastman Kodak to find the world's best snapshot using the first introduction of the Velochrome film.
46:27This is my granny here.
46:30They were engaged and went on holiday to Brad Ahead on the Isle of Man.
46:33He entered it in the competition and the final was in Geneva.
46:39And Eastman Kodak was a really famous company.
46:41A big company at the time.
46:42Founded by George Eastman in 1888.
46:45Yeah.
46:46He made photography available to the masses.
46:49These vest pocket, in inverted commas, folding bellows cameras made it affordable and they made it portable.
46:57And your great grandfather was obviously one of those people.
47:00There he is, takes your grandmother out.
47:03Indeed.
47:04Takes this wonderful photograph of her, enters this competition and won it.
47:09He won the amazing amount of £4,400.
47:12It equates to £235,000.
47:15They got married and he bought his first house, their first house with that.
47:19And the family were very, very excited.
47:21Well, it would have been huge excitement all over because he would have been pretty famous, in fact,
47:25because that would have been obviously published in, you know, the Eastman Kodak magazine thing.
47:30That's right.
47:31Which was a massive worldwide seller of a magazine as well.
47:34On the table here we have this beautiful silver trophy,
47:38which of course is representative of photography by the lens in the top here.
47:44That is stunningly beautiful.
47:46But 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.
47:51I'm kind of minded to give it a global valuation, but then individually looking at some of the pieces,
47:56it's a kind of different thing in my head, so to speak.
47:59So this beautiful Art Deco trophy is wonderful and it's worth £2,000 or £3,000.
48:06Okay, yeah.
48:07Which is pretty amazing.
48:08The camera, to be honest with you, if that were completely disconnected from this story
48:13and were just a Kodak pocket vest camera, it's worth £50 to £100.
48:17Right.
48:18Because they made so many of them.
48:19Yes, yeah.
48:20The image itself, stunning image.
48:22I really, really love this, but in reality it's worth a few hundred pounds.
48:26We've got a couple of medallions that were awarded to him also.
48:31We've got a bronze one here.
48:33But this one, did you see that I nipped off just before we started filming?
48:36You did, I did, yes.
48:37Well, I nipped off to weigh this medal.
48:39Okay.
48:40Because I don't know whether you know, but this is an 18 karat gold medal.
48:43Oh gosh, right.
48:45And it's scrap value alone is £7,000.
48:48That's amazing.
48:49I see why he ran off.
48:51I'm glad you came back.
48:52I did come back with it.
48:54So, I think that what you have here, one of my favourite stories of the day,
49:00at £12,000 to £18,000.
49:02That's very good, isn't it?
49:03Yeah.
49:04Thank you so much for coming today.
49:05That's a pleasure.
49:06Thank you.
49:07Thank you.
49:11We've always been proud of him.
49:13I think that people could look more at what skills and talents they've got.
49:18There's more there outside if they only would try things.
49:21Because he was just a normal guy working as a draftsman.
49:24And he tapped into the talents that he had.
49:39The sun is shining, two beautiful jewels sparkling away.
49:42How did you get them?
49:43Well, these belong to my grandmother who was born in 1900 in Donegal in very rural Ireland.
49:50And I always remembered this watch on my grandmother's wrist as a little child growing up.
49:56I can never remember her with any other type of watch on her wrist.
50:00She went to Trinity College in Dublin to study as a young woman.
50:04At the age of 25, in 1925, she travelled from Ireland to New York.
50:11Gosh.
50:12She would have travelled on her own.
50:13She would have sailed as a 25-year-old woman.
50:15Of course.
50:16And to know that she was such a confident lady, it's no wonder that she chose some really pretty pieces of jewellery.
50:22More than likely in New York, because the style of both of the pieces is very American.
50:28They have a lovely way of producing what we could call this sort of filigree-pierced metalwork in this bracelet in particular.
50:37There'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.
50:48In the centre here, you've got a lovely little diamond sparkling away.
50:52And either side, the two green stones are actually synthetic emeralds.
50:56They're not natural emeralds.
50:58I bet she was drawn to the green for Emerald Isle, of course, no doubt.
51:03And 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.
51:12But all in all, a beautiful, elegant piece of jewellery.
51:16And she sounds as though she was a very elegant lady as well.
51:19Yes.
51:20And 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.
51:28She ended up also a pig farmer's wife.
51:30Oh, did she?
51:31So I'm guessing she didn't wear those slopping out the pigs.
51:34Now, we have a watch which we would class as a costume watch because it's actually a metal that has been rhodium plated.
51:44So it's not a precious metal strap.
51:46And also the green stones here, these are actually glass.
51:50So that fits in again with this whole idea of costume dress jewellery, which again was rising in popularity in the 1920s.
51:59I mean, even Chanel would mix up her costume jewellery and her precious gem jewellery and try and trick her friends and say, which do you think is real and which is fake?
52:08And they often got it wrong.
52:10But that was how good the quality was on both of them.
52:13You know, we're looking at a, you know, a reasonable value, maybe 50, 60 pounds.
52:18And then with the bracelet, because it is that 10 carat gold as opposed to 14, 15 or 18, that keeps the value down.
52:25At auction, I'd expect that to fetch between 500 and 700 pounds.
52:30So collectively in the region of 600 pounds for the two pieces.
52:34But as we have seen, it is the story that counts in the elegance of your grandmother.
52:39That's right. Thank you very much indeed.
52:41My pleasure. Thank you.
52:42Thank you.
52:43Two Indian albums dated around the start of the 1800s.
52:55So 1810 to 1820 are many of them.
52:59How did these come into your possession?
53:01My mother got them in a secondhand market in Dublin.
53:05OK. And do you remember how much she paid for them?
53:08Possibly maybe five pounds for the pair.
53:12OK, so we have two albums.
53:15And the school of painting is called Company School, meaning East India Company.
53:21Started in 1600 and went on well into the late 1800s.
53:27Let's face it, they were there to extract money and resources from India.
53:32There are some small mercies and human stories that come out of it.
53:38So you have this beautiful new school of painting, which is a mix of Indian and European.
53:45And you see some beautiful examples in these albums.
53:50This one.
53:51It shows Indian life.
53:53You see the tradesmen working away in the background, maybe a subject matter that was avoided in traditional Indian miniature painting or Mughal miniature painting.
54:04You see some real Indian life, which is what the Europeans were interested in.
54:08So this book was made for Europeans?
54:11Exactly.
54:12Exactly.
54:13That's so interesting.
54:14These are the Polaroids of early India.
54:17And the center of this picture is the abhorrent act of Sati.
54:23And Sati is when the husband dies, the woman put herself on a funeral pyre and commit suicide.
54:33It was banned by the Mughal emperors and later made illegal by the British in the mid-1800s.
54:40So this painting here, it's great that we've got such an early date, 1780.
54:47And this album is just stuffed with wonderful examples of this mix of Indian and European work.
54:58A tipoy, so a local soldier.
55:01Isn't that beautiful?
55:04Extraordinary.
55:05Extraordinary.
55:06It's very European.
55:08It's like a biblical tale.
55:09It's really startling.
55:10Absolutely.
55:11Well, they are very collectible.
55:14Each piece, a slight variance in quality.
55:18The sepoy, for example, on its own, £1,000.
55:23Oh.
55:24Wow.
55:25Wait, each page?
55:27Each page.
55:28That's just the sepoy.
55:29That's extraordinary.
55:30Oh, my God.
55:31That's your starting point.
55:33The Satie Burning, £6,000 to £8,000.
55:36For the book or each?
55:38For that page.
55:40For that page.
55:41That's The Satie Burning.
55:42Oh, my God.
55:43£6,000 to £8,000.
55:44So to try and put an overall figure on both albums, minimum £22,000.
55:53Wow.
55:54That's amazing.
55:55If you ever decided to sell them.
55:57I don't think we'll be getting rid of them, though.
56:00I think that's so beautiful.
56:02You can't.
56:03It's great to hear.
56:07A lot more than we thought.
56:09Startling.
56:10Yeah.
56:11Really extraordinary.
56:13Really nice to know more information about it.
56:16I have to do some more...
56:17Digging.
56:18Digging, yeah.
56:19Before we go, I just wanted to show you something unusual.
56:32We see lots of dolls on the Antiques Roadshow, but I've never seen one like this.
56:37She dates from the 1860s.
56:38She's a fortune-telling doll.
56:40And she would have been used as a kind of after-dinner or parlour game if we passed around the guests.
56:46And the reason is, because look, under her skirts are all these little fortunes written on pieces of paper.
56:54And I've been allowed to open one, which I should do very carefully.
56:58Look.
57:00There you are.
57:01And in it, it says,
57:05What you wish for, you shall obtain.
57:09Is this your basic?
57:11From the Antiques Roadshow here at Cartwright Hall.
57:13Bye-bye.
57:14.
57:23.
57:28,
57:32?
57:33,
57:36?
57:37?
57:39?
57:42Gracias por ver el video.
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