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00:00This week's roadshow comes from Lister Park in the Yorkshire city of Bradford.
00:05Our visit here today coincides with Bradford being chosen as city of culture and across
00:102025 all sorts of venues are celebrating every kind of art. It started with a grand opening
00:18ceremony and events have continued throughout the year celebrating the best of Bradford.
00:25Many of them are taking place at Cartwright Hall, our venue for today.
00:31It has wonderful exhibitions inside and fascinating pieces outside, like this one.
00:39Normally there's a classical bronze statue here on display, but artist Osman Yusuf Zader has wrapped
00:46it in this blue fiberglass to symbolize the migrant experience of wrapping up your possessions
00:51and life ready for a new start.
00:55Today though, it's all about unwrapping, and our experts are busy unpacking treasures
01:01brought to their tables.
01:03Good luck, perseverance, and wisdom. So which relates to you?
01:07Oh gosh, I'm just the jack of all trades.
01:12Should we ruin the hands?
01:14What will for a wish?
01:15Cutting wedding cakes has ruined more sword blades than warfare.
01:20Champagne tonight.
01:20Welcome to the Antiques Roadshow.
01:25You've brought a bit of a doodle to my table here.
01:50But on closer inspection, it's quite an interesting doodle.
01:56This face looks a bit familiar.
01:58John Lennon.
01:59Yeah, well...
01:59Bit of a hero of mine.
02:00The Beatles are the best group in the world.
02:02They're not doing too bad, have they?
02:03Yeah.
02:03Where's you?
02:04We bought it in holiday about 18 years ago when we were in Las Vegas at the Caesar's Palace.
02:09Original John Lennon drawing in a blue pen, handwritten and signed.
02:13I'd be getting into jazz, man.
02:15I've been trying to avoid it all my life.
02:17With love, John Lennon.
02:19And it's initial JL79.
02:21Does he do a lot of sketches like that?
02:23Oh yeah.
02:23He was a serial sketcher.
02:25He was sketching from when he was a little boy.
02:27He was sketching right up until his death.
02:29He just couldn't stop sketching.
02:30So, um, do you pay a lot for him?
02:33Well, I'm a bit reluctant to tell you because then the wife will find out.
02:37Go on, just between me and you.
02:39I have two thousand pounds.
02:41Two grand?
02:42Ah!
02:46You need to get your hearing tested.
02:48I didn't say that.
02:50Well, do you know what?
02:52It might have been a bit of money at the time.
02:53And you probably might have been paying about the odds, but they're not going down in price.
02:57And I could clearly see this if this was a proper authentication five grounds.
03:03Really?
03:03Yes.
03:04I'll tell the wife that one then.
03:06Yeah, yeah.
03:12This is a beautiful vase.
03:14I'm almost lost for words for it because it is just glowing.
03:18Isn't it?
03:19I mean, it just, and especially in today's sunlight, it is absolutely glorious.
03:24How did it end up here today?
03:26It was a mistake.
03:28I was at an antique fair and I bought it.
03:30I thought it was one thing.
03:32Right.
03:33And it wasn't.
03:33What did you think it was?
03:34I thought it was Royal Lancaster.
03:36I can see why.
03:37So the luster, the sort of stylized design.
03:41I then decided it was fake copy.
03:44And it went under the kitchen sink for two years.
03:47Went under the kitchen sink?
03:48Yes.
03:49Did you have a leak or something?
03:51No, it just happened to be rattling around.
03:53And I happened to be looking on the internet one night and out pops that vase.
03:57And it was like, hang on a minute, that's the vase that's under the sink.
04:00So what did the internet say it was?
04:02The internet said it was Zolny Pech.
04:04Right.
04:05Which I believe is Hungarian.
04:06It is Zolny from Pech in Hungary.
04:10And it is the most brilliant example of their work.
04:15At the turn of the 19th to the 20th century, they developed what were called eosenglazes.
04:21So these, this lovely sort of ruby luster, this sort of gold luster.
04:26But these were incredibly difficult to fire in the kiln.
04:28And when you turn it round, here we've got the rising sun.
04:31We have this path with these geese.
04:35It is a work of art.
04:36This is as good as any painting.
04:39In fact, it's harder to paint in ceramics like this.
04:43Anyone can take a bit of oil to canvas and call themselves Leonardo da Vinci.
04:47But to paint on something like this, because you are painting your work of art and it's going into the kiln.
04:53And when you look inside, you can see how these runs, this is what happens to the kiln.
04:57It almost melts it to the point of destruction.
05:01And then you either get magic or failure.
05:03But you have got magic.
05:05And this is the most beautiful vase.
05:07Zolny is red hot right now.
05:11Hungarian people are buying it back.
05:13Can you remember what you paid for it?
05:14I paid £20.
05:16You can add a few notes to that.
05:19Your £20 mistake vase, if that was going to auction, I would estimate that £5,000 to £8,000.
05:25And I expect it to make towards the upper end, if not a little more.
05:32I don't know what to say.
05:34I am genuinely flabbergasted.
05:36Thank you, it was a mistake.
05:38That's not a bad return, is it?
05:40Champagne tonight.
05:40I really like this.
05:51And I'm really curious as to know what made you bring that to the roadshow.
05:55Well, I'm fascinated by the Wild West.
05:59So when I see something like this, which I think came from America, I like it.
06:05What makes you think it came from America?
06:07I don't know.
06:08I just do.
06:09Because it does.
06:10Oh, does it?
06:10OK.
06:12It's a powder horn.
06:13Yes.
06:13You know, for carrying the powder that you...
06:15Put in the musket.
06:16Exactly.
06:17And it's cow horn.
06:19This is a fabulous thing.
06:21I think it's stunning.
06:22Yes, yeah.
06:22And it's the sense of design.
06:24Yeah.
06:24And the way it's executed.
06:26I've never seen such high relief on an American powder horn.
06:31Where did you buy it?
06:33Skipped an auction market.
06:34It was just on a stall.
06:35Was it a lot of money?
06:38Well, I paid £90, I think.
06:40It was enough.
06:41It was, yeah.
06:42But it's important to me because I like it.
06:45This is an amazing example.
06:47I've never seen one with relevant points filled in with colour.
06:52I don't know whether it's wax or a kind of lacquer.
06:55And this would have been colourful.
06:57It would have been garish.
06:58Yes.
06:59Originally.
06:59You know, this would have been bright green, like emerald green.
07:03And in the end there, we've got a picture of a woman.
07:09Oh, I didn't know that.
07:11In a big hat.
07:12There's her face.
07:13There's her shoulders.
07:15Yes.
07:15And it's set in under the transparent horn.
07:18Wow.
07:19And you've never seen that before.
07:20No.
07:20No.
07:21And I just wondered if it's a kind of pin-up that the hunter carried this pin-up.
07:28Because it looks like a printed image.
07:30I mean, one can't tell and you'll never take it out.
07:32You can't.
07:33No.
07:34This is very curious.
07:35I've never seen that.
07:37Really?
07:37Gosh.
07:38Fabulous thing.
07:40Value.
07:40I think it would be estimated at 1,500 to 2,000.
07:50Good heavens.
07:51It's one of the best I've ever seen.
07:53Really?
07:53Yeah.
07:54I'm absolutely thrilled.
08:03Well, I'm looking at two beautifully painted playing cards from Iran.
08:12How come you own these quite rare little playing cards?
08:16Yeah, I'm from Iran.
08:18And these are like a collection of my family.
08:21It's from Qajar dynasty.
08:22So that would pitch these over 150 years old.
08:26The game of Ghanifa did die out in Iran.
08:30Yes, it did.
08:30Really, at the end of the 19th century.
08:33So they're actually lacquered card.
08:36These were all hand done.
08:38And each suit had a particular colour.
08:41And this is actually a seated bowman.
08:45But on this side, this beautiful young woman,
08:49she's got a wine glass in her right hand and a bottle in the other.
08:53She's having a good time.
08:55Yes.
08:57Now on the value front, 40, 50 pounds each.
09:00OK.
09:01I'm just going to keep them to have peace of my country with me all the time.
09:05Fantastic.
09:06Do you know, I don't know whether I was more enamoured of Milo the Jack Russell or your chair when you first arrived.
09:26I think it was the dog.
09:27I think it was the dog.
09:28I'm a Jack Russell man.
09:29I've always had Jack Russells.
09:30But obviously your chair is centre stage as well as Milo.
09:34And I have to say, as soon as I saw it, I was kind of, whoa, that looks very interesting.
09:40And what did I do?
09:41I asked you if we could turn it upside down and have a look at it.
09:44Because often they have a stamp on the bottom of them.
09:46It had a stamp, Morant.
09:49So that to me means an awful lot, but means an awful lot to you too, doesn't it?
09:54Because your name is Morant.
09:56Yes.
09:56Tell me all about it.
09:58I was tracing my family ancestry and I found that George Morant started a furniture business back in the late 1700s.
10:08Yep.
10:09And this is one of his chairs.
10:12You have a credible family history right back to George.
10:15My great, great, great, great grandfather.
10:19That's pretty amazing.
10:20Yeah.
10:21So, how did you find it?
10:23Back in 2020, I put Morant furniture into an online auction site and this came up.
10:32Right.
10:33Along with quite a few other items.
10:35The other items were like in the thousands of pounds.
10:38Yeah.
10:39And this was there for £36.
10:42You bought this for £36?
10:44Plus £50 delivery.
10:45It cost more to deliver it than you actually paid for the chair.
10:48Right.
10:49OK.
10:50The name Morant in the history of furniture is very, very important.
10:55We're talking about someone, in effect, who was almost kind of like a latter-day Chippendale in a way.
11:00These were not just people who made furniture.
11:03They were interior designers.
11:05And interior designers and suppliers of furniture to royalty and the aristocracy.
11:10So, quite an incredible pedigree and history.
11:13Now, looking at this chair, it's not in A1 condition.
11:17I mean, that kind of doesn't matter.
11:19It's mahogany.
11:20It looks to me to be sort of William IV in style.
11:24It also has a design registration kite mark on the side there, which I haven't deciphered as yet, but I think you had a go at it, didn't you?
11:32I believe it's 1843.
11:34OK.
11:34So, that makes it Victorian, not William IV.
11:37So, we've got that kind of crossover, kind of slightly Gothic-y, Macanthus-y look, that crossover period.
11:42I'll be honest with you, in 36 years of being in this business, it's the first Marant chair I've ever touched.
11:50Wow.
11:51So, to me, it's quite exciting in a way.
11:55I'm going to talk about value.
11:57I can't believe you paid £36 for it.
12:01I think it's worth £3,000 to £5,000.
12:05Really?
12:07Really.
12:09I'm amazed.
12:11Is that in the condition it's in?
12:13Yeah, that's in the condition that it's in.
12:15It's getting repaired.
12:17In the meantime, wherever you've got it parked in the house, I'm sure Milo will enjoy sitting on it in the meantime.
12:23I don't know if you'll be sitting on it any more, Milo.
12:32I mean, I thought it might have been £100, if that, but £3,000 to £5,000, stunning.
12:41Well, we've got two rather lovely, delicate rings here.
12:56How did you come across them?
12:57That one was left to us by her great-great-auntie.
13:02OK.
13:03She used to collect antiques and jewellery.
13:05Yeah.
13:05And this one we found in, like, a Brickaback junk shop.
13:08Really?
13:09Gosh.
13:09Yeah, we spent, what was it, £20?
13:11Yeah.
13:12Don't tell your dad.
13:14Brilliant.
13:15Really, really pretty.
13:16Have you got a favourite?
13:17Er, that one.
13:19Mine too.
13:20Yeah, it's gorgeous, isn't it?
13:22Well, they're both actually what we call mourning rings, and one of them is slightly older than the other.
13:29This one is what we call a Stuart crystal mourning ring, and it dates from the mid to latter part of the 17th century.
13:36And then this one is a crystal mourning ring, and on the band, on the inside, there's a date of 1781.
13:45Now, mourning rings during this period were seen as really important remembrance for loved ones,
13:52and embracing that, rather than necessarily being completely sad about the person that's died.
13:58It was very much about remembering them as a person, which is good, isn't it?
14:02But this one here, which is the older ring, also has some gold inside the Stuart crystal,
14:09which has dislodged, unfortunately, and it would have actually had initials spelt out, which is a real shame.
14:15And this one here, with all of the stones, actually has quite a lot of wear on the surface,
14:20but even so, it's a lovely old ring.
14:24Now, mourning jewellery is highly collectible now.
14:26People absolutely love it, particularly when it's a lot older.
14:30Are you a fan of jewellery as a whole?
14:33Um, yeah.
14:34Yes, yeah, and how about you?
14:36Uh, not so much as this one.
14:38Well, it's lovely.
14:40And obviously a bit of a sleuth, you know, going out and finding all these beautiful pieces in bric-a-brac shops.
14:45It's fantastic.
14:46So, as far as value is concerned, the one that we have here, which you found in the bric-a-brac store, paid £20.
14:56How does £400 to £600 at auction sound?
15:03You're not selling it, though, are you?
15:05No.
15:06I think if it hadn't been as worn on the top, we would have been looking at nearest £600 to £800 as an auction estimate,
15:15with the potential to get a little bit higher if we get the, you'd have got the bidding frenzy going.
15:20The one that belonged to your great, great...
15:23Ante.
15:23Ante.
15:24That one's lovely, and these are highly collectible.
15:27It's a shame we've got that little bit of damage in there, but nevertheless, auction estimates we'd be looking at between £800 and £1,200.
15:37Wow.
15:37Wow.
15:39Fabulous.
15:40In 2025, the nation's spotlight has been turned on Bradford as City of Culture.
15:52It's a prestigious prize, awarded every four years to a city to celebrate its arts, culture and heritage.
16:00And there are events all across Bradford, attracting people from the city and beyond.
16:05It's inspired a rich diversity of artistic expression, from performance, sculpture, such as Saad Qureshi's Tower of Now,
16:19a tribute to the rich variety of life in Bradford.
16:22Another project for 2025 is a collaboration between local artist Razwan Al-Hak and our venue, Cartwright Hall,
16:32exploring the ancient tradition of Islamic calligraphy.
16:37Razwan, you're an artist who specialises in Islamic calligraphy as an art form,
16:43and it has a long and honourable tradition, doesn't it?
16:46It certainly does.
16:46Because if you look at this one, which is 18th century, and you can see that it's a horse, but it's also Arabic calligraphy.
16:54Arabic has this wonderful plastic quality, so it's writing, but it's also art, you know, and it's flowing.
17:01You can use letters in a variety of different ways.
17:05And these are your tools, the tools of your trade.
17:08So tell me about your two inks.
17:10So this ink over here, it's been made from the ground from Bradford City Football Club,
17:17and there's a special mushroom here, it's a shaggy ink cap mushroom, and it gives you a dye.
17:22So I added that, and it's made of beautiful ink.
17:25And the red one?
17:26Bradford is known for its curry houses.
17:28So here we took some turmeric and also some chilli powder, and I mixed them together, but they will fade.
17:37So I added some red oxides from the river here, the River Beck.
17:41Now this is fascinating, because this is a piece you did in conjunction with a boxing gym.
17:46I wanted to do something different.
17:48So what we did was we took a group of boxers down to the British Library, and then they looked at some really old texts.
17:56So they chose some texts, and we brought all the texts here.
17:59And now you've created this fantastic dynamic figure with this punch and then this swoosh of red here.
18:05Yeah, so with this figure, you see some Arabic writing, but you also see letters that spring out.
18:11So this dot represents over a thousand years ago.
18:14And this nookta is from a script that was developed in Persia about 400 years ago.
18:22Representation in Islamic art is not the same as in the Western tradition at all.
18:26It's not, it's not.
18:28So whenever I'm doing a calligraphy for a mosque or a holy place, then I won't have a drawing of a figure.
18:35We will just have calligraphy.
18:37Boxing and calligraphy don't, on the face of it, sound like two things that go together.
18:41What made you put those together?
18:42In calligraphy, there's an enormous amount of discipline that you have to do.
18:46So you have to practice daily, same with boxing.
18:50And also you have times where you go into the zone, and in the moment you forget everything.
18:57And the same happens in boxing as well.
19:00Very interesting to hear about this.
19:02A venerable tradition.
19:04Thank you so much for explaining it to me.
19:12I think it's fairly well known that I'm very fond of swords.
19:25This is the 1821, 45 pattern.
19:30But it seems to be put through a boil wash.
19:32It's a lot smaller than it should be.
19:34Why have you got a miniature sword?
19:36This was presented to my great-great-grandfather in 1856.
19:42Right.
19:43At that time, he was six years old, and he was the mascot of the North Gloucestershire Militia,
19:49which I believe is a voluntary regiment.
19:52And at that time, in April 1856, the regiment was in Aldershot being presented to Queen Victoria.
19:59And Queen Victoria took special notice of him and asked him what he would like as a gift because she took a liking to him.
20:06And he suggested he'd like a horse.
20:10So that's a fairly punchy call, isn't it?
20:11Because I don't think she thought that was a very good idea.
20:14So she suggested making him a sword, a special sword, just for him.
20:17And she presented some money and commissioned this sword.
20:21So it's much smaller so that it would fit.
20:23And yes, there's this sword belt, which is absolutely teeny-weeny.
20:27Oh, yes.
20:28I wore it myself once or twice when I was six or seven years old, and it was tight on me even then.
20:33Fabulous.
20:34It's the 1821-45 pattern with the little folding guard on it.
20:41The folding guard was to ensure when you wore it, it sat flat and didn't wear a hell in your uniform.
20:49You ever wondered about that?
20:50I have often wondered about that.
20:52I wonder what it is and why it's there.
20:54It says proved.
20:55Oh, I've never noticed that before.
20:57Right.
20:59When a sword's made, it's put in a striking block and it has to flex.
21:05Oh, wow.
21:06I've never tried that.
21:08And once you've done both that, you then check the blade for straightness.
21:13And in this case, it is dead straight.
21:16It then becomes a proved blade.
21:19Shows the quality of the sword.
21:20Is it steel?
21:21It's steel.
21:22Oh, yeah.
21:22Very good steel.
21:23These are known as the gothic-hilted swords.
21:26Right.
21:26They are probably one of the most elegant of the swords.
21:30As a fighting weapon, it's about as much good as a short stick.
21:35Because the guard is weak.
21:37But as I said, elegant, elegant weapons.
21:40Just what every six-year-old needs.
21:41Indeed.
21:42The perfect birthday present.
21:43And it's still very sharp, I notice.
21:45Oh, it would have been.
21:46Has it ever been used for cutting wedding cakes?
21:48Yes, at all-family weddings.
21:50Stop it.
21:51Oh, no.
21:53Cutting wedding cakes has ruined more sword blades than warfare.
21:57Oh.
21:58You are putting...
21:59They're mostly made out of fruits, OK.
22:00So you've got acids in them.
22:02If you really feel that you must, and I really advise against it, they must be cleaned assiduously afterwards.
22:09So, have you considered what it's worth?
22:12A few years ago, I remember popping to an antiques fair in Sheffield, where I'm based.
22:17And a local expert there, on my description, suggested that if I took it round to his shop the next week, he'd give me £200 or £300 for it.
22:24So I was quite pleased at that.
22:25Very generous.
22:26Not.
22:27Oh.
22:28Full-size sword of that pattern is £400 to £600.
22:34As they get smaller, they get more valuable.
22:37Oh.
22:37And also, you've got the little story, which is etched here on the chape.
22:43I would put that at a conservative £800 to £1,000.
22:48That's very nice.
22:49Those are terribly elegant swords.
22:51A miniature one.
22:53And with the Victoria Connect, it's fabulous.
22:56I'm very glad to know some more about it, personally.
22:59I think, because it's such an important family heirloom, it makes you feel more connected to the item, knowing where it came from and its importance.
23:05Yeah, it makes me like it even more, actually.
23:08So this is an Ossie Clark dress, who was probably the preeminent designer of the 1970s.
23:32Were you a great follower of fashion?
23:35Not especially.
23:36I did have a Saturday job in a boutique in Bradford.
23:39Bought this one from a different boutique, I have to say.
23:43But it was just, it was such a bargain.
23:45It was in the sale.
23:46I was still at school.
23:47I didn't have much money, just my Saturday job money.
23:50And I thought, I have to have that dress.
23:52And because it's the only special dress I've ever had, that's why I've still got it now.
23:57Well, it's absolutely fabulous to see it.
24:00Ossie Clark, he was from Lancashire.
24:02Went to Manchester School of Art.
24:04And when he left Manchester School of Art, he went on to the Royal College, where he was quickly spotted.
24:09And he was introduced to a monk called Alice Pollock, who had a boutique called Quorum.
24:14And she brought him in to do lots of designs for her.
24:18And quickly became incredibly successful, but not monetarily.
24:23Because even though he was a brilliant pattern cutter, he gave away so many clothes to pop stars of the day.
24:28People like Mick Jagger and his girlfriends and lots of film stars.
24:32So everybody wanted an Ossie Clark dress.
24:35Basically, they weren't terribly good at business.
24:37So after a few years, they parted ways.
24:40And their dress were bought up by a company called Radley.
24:43And this dress is actually Ossie Clark for Radley dress.
24:46So it's slightly later in date.
24:48It would be the very early 1970s?
24:50Yes.
24:51Would that be the sort of date that you purchased it?
24:53Yes.
24:53So how did this make you feel wearing this in the 1970s as a very young girl, obviously?
24:58Really special.
24:59You can see how beautifully it hangs.
25:02It felt...
25:03I felt a million dollars wearing it.
25:05Yeah.
25:05No, it's lovely.
25:06And it's very typical, his style.
25:08Little sort of puff sleeves, very tight bodice, low cut, you know, long flowing dress with the frill on the hem.
25:15And he was very influenced by dance and people like the dancer Nijinsky.
25:20Sort of very free flowing dresses.
25:23Almost 1940s in his inspiration, but very much in a 1970s style.
25:28And a lot of these designs were...
25:31The patterns were by his then wife, Celia Birtwell.
25:34Yes.
25:35And it's the pieces with the Celia Birtwell prints that are particularly desirable.
25:39If you were to sell it at auction, you're probably looking at around £400 to £600, possibly upwards of that.
25:46And retail, I regularly see them in excess of £1,000.
25:49Goodness.
25:50Because they are really desirable pieces.
25:54That's amazing.
26:02We think we know what they are.
26:04We think they're some sort of sari plinching block, but they were abandoned in my mum and dad's garden.
26:09So they woke up in the morning and there were suddenly two beautiful wooden boxes with 20 of these inside.
26:14Really?
26:15How long ago was this?
26:1630 years.
26:17OK.
26:18But it's a shame, you know.
26:19You're absolutely right in your assumption of what they are.
26:21Yeah.
26:22There were lots of these.
26:23I mean, literally millions.
26:25I mean, this is a pattern that would have been put not necessarily always on a sari.
26:29It could have been on other things as well.
26:30It could have been these curtains, you know, shawls.
26:33Yeah, I mean, are they hand-carved?
26:34Yeah, all hand-done.
26:36It's a lot of work, isn't it?
26:36It's a lot of work gone into this.
26:39This looks like a 19th century one, right?
26:40OK.
26:41Yeah, this does look like a late 19th century one.
26:43But one of these would be between £30 and £50 each one, right?
26:48You know, I really like these.
26:50I love seeing things that come from India.
26:51So thank you for bringing that in.
26:53Thank you very much.
26:58Is this yours?
27:00It's my mother's.
27:01My grandmother gave it as a gift to my mother.
27:03OK.
27:04My mother used it for when me and my sister were kids and played games.
27:08She'd play, pretend we went to the shop or a cafe.
27:11And we did the same thing.
27:12We drank orange squash from it.
27:13There you go.
27:14And children do.
27:15But, I mean, yours is a bit more fancy than mine.
27:18So let's look at it.
27:19I mean, this has got, what's it say?
27:22Bondware, fine China, foreign.
27:25Now, this will either be Japanese or German.
27:31And just after the war, when people wouldn't want to buy Japanese or German goods,
27:36they put foreign on it.
27:37Right.
27:38So it's not saying it's German or it's Japanese.
27:40Right.
27:40This is probably German China made in the French style.
27:44And this is gold luster.
27:45It's a gold gold.
27:47Should we root my hands?
27:49What will help for a wish?
27:51This might buy you chips up in Bradford.
27:53OK.
27:53It's tens of pounds, I'm afraid.
27:55OK.
27:55OK.
27:56But price is memories.
27:57Memories.
27:58Yeah, exactly.
27:59That's great.
27:59Let's drink to granny.
28:00Cheers.
28:01Cheers.
28:01Cheers.
28:02Cheers.
28:02Cheers.
28:02Cheers.
28:02Cheers.
28:02Cheers.
28:02Cheers.
28:03Cheers.
28:04Cheers.
28:04Cheers.
28:05Cheers.
28:06Cheers.
28:07Well, I've seen you winding towards me with this gigantic sculpture, and I nearly fell
28:16off my chair.
28:17There's only one person that this could be, and that is a person who I once met, Arthur
28:21Dooley, from my hometown of Liverpool, a welder in the shipyards.
28:26He was a real firebrand character, a Catholic communist sculptor.
28:32How do you know this piece?
28:34I've had it all my life.
28:36My mum used to sit me on the radiator and make me polish it from about the age of three.
28:42Pretty emotional about this piece.
28:44Yes.
28:45My dad collected art and sculpture, and we've been left with some very nice things.
28:50This one, of course, has the memories from polishing.
28:53But, unfortunately, my dad died when I was only five years old, so it really is a heart
29:01piece.
29:01So this is a memory of your father, as well as being a beautiful sculpture.
29:05What do you like about it?
29:07I love the feel of it, actually.
29:09I get cross with people that put sculpture behind things, and you can't feel them.
29:14It'd be great in front of a mirror, wouldn't it?
29:16So you can see the back of it, as well.
29:18It used to be.
29:19It isn't now, but it used to be.
29:20Here it's signed, Gladiator, by Arthur Dooley.
29:24It's dated AD 71, so the year for that is 1971.
29:29Quite an early work for him.
29:31He was a boxer, and he's been known to get up and have a fight with people in pubs over art.
29:37But his foundry was in Kirby, just outside Liverpool.
29:41He would have made a plaster maquette out of this, and then he would have sent it to that
29:45foundry in Kirby, where they would have made a mould of it, and then he would have polished
29:50it.
29:51He's left this edge here purposely unpolished and a bit rough to complement against the
29:58polished bronze.
30:01See how much it's worth?
30:02I would say that if this went into auction, it's going to have a pre-sale estimate of
30:08£5,000 to £6,000.
30:10OK.
30:11But do you know what?
30:12I think it could go for a little bit more as well.
30:14It's that good.
30:15I love it.
30:17I really do.
30:18Let's say.
30:19I'd fire in the house.
30:21It would be the first thing that I dragged out, other than the dog and my other half.
30:25Yeah.
30:32I was born in 71, my dad bought it, and it all feels like a bit of a connection, shall
30:40we say.
30:52This is a really awesome landscape.
30:56It's unmistakably the hand of Trevor Grimshaw, who became very well known for these very
31:02timeless, smoky industrial landscapes.
31:05But what's so incredible about it is that he usually draws on a tiny scale, whereas this
31:11is absolutely monumental.
31:15Where did you find it?
31:17I managed to buy it from a friend of Trevor called Jimmy, and he was a carpenter.
31:24He did odd jobs for Trevor, and rather than be paid for these jobs, he took pictures
31:30in lieu of payment.
31:31And you managed to buy this from Jimmy?
31:33Yes.
31:34I just happened to be at the right place at the right time.
31:37Simple as that, really.
31:38Well, lucky you, because this is quite an extraordinary feat of drawing.
31:44It's not painted.
31:45It's all in pencil.
31:47He's managed to achieve this really incredibly atmospheric, sort of smoky effect, sort of
31:53mystical, sort of mysterious quality.
31:56You can feel the smog.
31:59And then to contrast that with this bold industrial framework that stretches across the foreground.
32:07He's been a real master at getting every possible tonal difference.
32:12You know, he did go to art school.
32:13He was at Stockport College of Art in the 60s.
32:15And then he went on to develop this incredible style that is absolutely his own.
32:22He's always put in the same category as Lowry, for obvious reasons.
32:26It's an industrial landscape.
32:28And I always think that's a bit unfair, because Grimshaw developed a very different style.
32:35It's actually really hard to value.
32:36I'm not surprised, to be honest.
32:39You don't really see Grimshaw's on this scale.
32:42His little ones come up all the time.
32:43They make a few thousand pounds.
32:44Yeah.
32:45An auction estimate, you'd already put much more than that on this.
32:48Let's say, you know, four to six thousand.
32:51But with an estimate of four to six thousand, I think you would get some crazy competition
32:56for this.
32:56And it would make much, much more than that, because this is a really special thing.
33:01I mean, you could just, I could look at it all day.
33:04Thank you very much.
33:08We like a challenge on the roadshow, and we're drawing inspiration from Bradford's Asian
33:13community, with a selection of mystery items, courtesy of our specialist in Asian arms and
33:19works of art, Ranjeet Singh.
33:22Ranjeet, we're calling them mystery items.
33:24They're frankly terrifying.
33:25I mean, look at them.
33:27They are, but what I want you to do, Fiona, is think outside the box.
33:32OK, all right.
33:33I'm going to give you two options for each object.
33:36All right.
33:37And make sure you're all listening, because you're going to be helping me.
33:40So the one closest to you, is it a device to stop intruders into an Indian fort in the
33:4918th century?
33:50Or is it an expanding cannonball shot from the 18th century?
33:57If it was a device to repel intruders, how would it work?
34:02One of the balls would be inserted into a little bracket on top of the entry to the fort, and when
34:11the door would be opened, and then intruders...
34:14Exactly.
34:15Yeah.
34:15Drop down.
34:16Or a cannonball that would kind of shoot out of a cannon and then expand.
34:21Exactly.
34:22As it went.
34:22Right, OK.
34:28Now, do not tell me this is a fancy rolling pin.
34:30I'm not buying it.
34:32No, no rolling pin.
34:34But is it an object for an Indian wrestler, Berlwan, or a strongman, to strengthen his muscles?
34:43Or is it used by Indian washerwomen when they're washing their clothes on the riverside?
34:51What, so, to beat the clothes?
34:53And if you're using this to strengthen your muscles, it's not very heavy, so how would
35:00you use it to strengthen your muscles?
35:02So nowadays, modern weights, you do get different weights.
35:07So perhaps this is for a beginner, or maybe it's more for endurance than strength.
35:12OK.
35:15But there is some damage to this part.
35:20So is it used for beating clothes in a barrel, maybe?
35:25Oh, I see.
35:26What about that scary-looking thing down there?
35:29I mean, it's not that sharp, actually, if at all.
35:33OK.
35:34Is it a South Indian hunting boomerang, or is it...
35:38A South Indian ceremonial ricicle for the Maharaja to have the first harvest?
35:50Young lady, what do you think?
35:52Can you remember?
35:53Is that to shoot out of a cannon, or to drop, to hurt an intruder?
36:00I would probably go to drop from the ceiling.
36:03Drop from the ceiling, and at the end?
36:06Boomerang.
36:07A boomerang.
36:08Ooh.
36:09Right.
36:10That one's to do with rice, the first crop.
36:13You sound very sure about that.
36:15Sure, yeah.
36:15I think that's for testing your strength.
36:21Is that how you do your weights, like that?
36:23No.
36:25A peg washing.
36:28Peg washing, yes.
36:30So we've got all options now.
36:32So I'm going to go for the cannon.
36:34I'm going for the cannon.
36:35I'm going for a washing implement, sort of pound the washing and wring it out.
36:39And that, if it's not very sharp, it's either because it's old and it's got blunt, or it's because it's ceremonial.
36:46So let's go for ceremonial.
36:49OK.
36:49This is, in fact, an 18th century tribal hunting boomerang.
36:57It's quite similar to an Australian boomerang, except it doesn't come back.
37:02All right.
37:03I knew I'd get you with this one, because I believe there is a European tradition of beating clothes.
37:11Yeah.
37:12But it is an 18th or 19th century exercise club.
37:18So how would you use it?
37:20There are techniques to use it.
37:23Let's see them.
37:26Are you going to make me do this on TV?
37:29Do we want him to do this?
37:31Yeah, all right.
37:32Come on.
37:32OK.
37:33I'm no expert.
37:35People, the trick is to get it upright and to balance the weight there.
37:40And so you start there and you swing it like that.
37:46And the light weight is because you are working the ligaments, working the joints, working the endurance,
37:56getting yourself fit and strong and maybe warmed up for something a little bit heavier.
38:00Very impressive, Ranjit.
38:01So you've got two wrong so far.
38:10Yes, I know.
38:11You don't need to remind me.
38:13That is an 18th century expanding cannonball shot from India.
38:22So if you notice, one ball is slightly bigger than the other.
38:25So that means when it's folded up and put in the cannon and shot, the different weights make the concertina expand and then you get the circular motion, say no more.
38:38Oh, you know, it's going to do some damage.
38:40Yes, it is.
38:41And they are quite sharp.
38:42Yeah.
38:44Wow.
38:45God, how fascinating was that?
38:46Oh, my goodness.
38:48Really interesting.
38:48Thank you so much.
38:49God, can I give it a go?
38:51No, that's all right.
38:51My wife.
38:53Okay.
38:53Watch out, everybody.
38:54Oh, I see what you mean.
39:00Every once in a while, I see something that I absolutely want to own.
39:16And this is one of those things.
39:17I love these guys.
39:19I love the object.
39:20Tell me what you know about it.
39:21Well, I really, I know nothing except I bought it on online auction with my daughter in mind.
39:28She's studying marine biology and she loves the octopuses.
39:32So octopuses in Japan mean good luck.
39:35They mean perseverance and they mean wisdom.
39:38So which one of those three relates to you?
39:41Oh, gosh, I'm just the jack of all trades.
39:44You don't know.
39:45I'd say perseverance.
39:46It's a difficult field to get into and I'm really excited that I'm doing it.
39:49So, you know.
39:51This guy must be perseverance.
39:53Yeah, yeah, he's getting in there.
39:54He's getting in there.
39:55But wisdom as well.
39:57Why, yes, very wise.
39:58Absolutely.
39:59And that sort of aquatic theme continues throughout.
40:03I mean, we've got this amazing decoration on the front.
40:05We've got these lovely, look at these kind of crashing waves, which goes all the way around the outside of this, what is called a moon flask.
40:14And then on the back, we've got these lovely kind of aquatic plants as well.
40:18So it is an aquatic feast.
40:21There we are.
40:22So Japanese.
40:23This may well have been one of a pair.
40:25So, if I'm lucky enough, I could find the other one.
40:29If I get there before you do, I can get it.
40:32And I come around to the sort of shape of it.
40:34So this was made, I think, in about sort of 1870.
40:38Really?
40:38I do, yeah.
40:39I do.
40:39Sort of 1870, 1880.
40:41Right in the middle of what they would call that sort of aesthetic Japanism movement here and elsewhere in Europe.
40:48I mean, the quality of it.
40:49The one thing I will say is I'm amazed it's not signed.
40:53If I'd done this, I'd want to sign it because I'd want everybody to know I made it.
40:57But having said all of that, I will say that actually Japanese porcelain is a little out of fashion.
41:03And I think that's sad, really.
41:06And Lisa Lloyd is waiting in the wings.
41:08So you've brought in three playbills.
41:12Why specifically the Alhambra?
41:14I came to university 35 years ago and within two days I'd got a job at Screams.
41:18And it was just a joyous place to be.
41:21And I became enchanted with the place.
41:23And on the walls of the corridors, they've got some of these posters up.
41:26And I thought, one day I'll own one.
41:28And 35 years later, I own three.
41:30So it shows the rarity of them, really.
41:32Yeah.
41:32But, you know, they are rare items because they're just throwaway items.
41:36You know, they're printed on the thinnest paper.
41:38So I guess perhaps these were saved maybe by somebody who was one of the acts
41:43and thought that they would just keep it as a memento.
41:46But the Alhambra really is a local landmark, isn't it?
41:50One that was built in 1914.
41:52It must have been a magnificent site.
41:54Yes.
41:55And it's really prominent in the city centre.
41:57There's a lot of development gone around there, but the Alhambra's still there.
42:00Yeah, the rooms are still really visible, aren't they?
42:02It's such an iconic theatre.
42:03I just love the social history that's in the stories that must be in these playbills.
42:09Well, I think, you know, we think some of these names, there's one or two that I recognise here.
42:12For the later one, that's 1958.
42:14So Jimmy James and this one, Jimmy Jewell, they were huge stars at the time
42:19because this really was the heyday of variety performances.
42:23So which is the earliest one you've got?
42:25Presumably this is the earliest.
42:26Yeah, this is the earliest.
42:27So this is 1926.
42:29I actually got this from a bookshop in Melbourne, in Australia.
42:32In Australia?
42:33Albert Whelan was a big Australian star, so I imagine it found its way back with him
42:38or somebody that he knew.
42:40Yes, as you can see, it's Albert Whelan, the Australian.
42:42Roy Rivers, musical unicyclist.
42:44He was still performing into his 80s.
42:46A musical unicyclist.
42:47Yeah, I mean, he was huge in the States.
42:49He went on to have a big career in the States.
42:51So you find out some things, and then other names are just lost to time.
42:56Yes.
42:56By the 1960s, with television, really, it was kind of very much in decline.
43:01Yeah, it was.
43:02A lot of the acts had dropped away.
43:04Variety was dead, really.
43:07They're really interesting social documents, aren't they?
43:10And, you know, I'm really delighted that you've brought them along today.
43:14You do see playbills come up for sale, and I would guess you're probably looking at maybe
43:18£100 to £200 each for them, that sort of price.
43:21And, you know, in the Bradford Year of Culture, it's really nice to have a little piece of Bradford
43:26history.
43:27So thank you very much.
43:28No, you're very welcome.
43:36Well, this is something I didn't think I'd be valuing today.
43:38A lovely little 1970s Lego set.
43:41Whose is it?
43:42It's our mum's.
43:44It's your mum's?
43:45Yeah.
43:45And where did your mum find it?
43:47At a car boot.
43:47At a car boot.
43:48At a car boot.
43:49And how much did your mum pay for it?
43:50£3.
43:51£3.
43:52Brilliant.
43:53So who's the big Lego collector?
43:54Me.
43:55Yeah.
43:55You?
43:56For me, it's pure nostalgia.
43:58And that's with everything with collecting.
44:00You have your tin plate trains, and people grew up around them.
44:02And Lego was something that I absolutely loved as a kid.
44:05This particular set is around 1970s, 1974, I think this one was produced.
44:10And some of the earlier Lego, like the Lego systems, is really, really finding its feet
44:14in the market now.
44:15And there's huge collectors for it worldwide as well.
44:18So the fact that you're finding this at a car boot is brilliant.
44:21Yeah.
44:21Do you actually follow the instructions?
44:22Because when I was a kid, I got the instructions and then just threw them away.
44:26If it's a set, yes.
44:28But my patience very much dwindles.
44:29So I usually just, like, make my...
44:31We have, like, a lot of spares and I just make my own things out of that.
44:33I can relate to that.
44:34That's exactly what I did.
44:35So all my sets were incomplete.
44:37A bit like this one.
44:38So this one is actually missing.
44:39Probably missing the bench.
44:40Just need two, two by four, of the same age.
44:44You're also missing the instructions as well.
44:47So the instructions with Lego sets add quite a lot of value to them.
44:49Probably 20% of the value.
44:50We do have the whole box, though.
44:51You do have the box.
44:52And to be fair, considering this is 50 years old or so, it's in pretty good condition as
44:56well.
44:57But yes, you are missing the bench, but you have got the most important bit of figures.
45:00The money maker.
45:01The money maker, exactly.
45:02Exactly.
45:03And wow, it's brilliant.
45:05Ten times what you paid, you'll probably get, £30 to £50.
45:08Oh, that's lovely.
45:09And I think if you could find these blocks and you could find the instructions, £50 to £80.
45:14Do I feel like the aged pieces, or can I just literally get some out there, like I'll draw
45:18like when I get home?
45:19No, it's got to be the aged pieces.
45:21I think you two are fantastic.
45:22And well done on your £3 investment as well.
45:24Wonderful.
45:25I saw this glittering in the sunshine, and it's a wonderful little thing.
45:39Obviously, it's marked Dunhill, so it looks like a cigarette lighter, doesn't it?
45:42Yeah.
45:43Where did you get it from?
45:44I don't know.
45:45My husband died recently, and I was clearing his desk, and this just popped up.
45:50Oh, I'm really sorry to hear that, but did you think he was maybe a secret smoker?
45:55No, he was a secret hoarder.
45:57A secret hoarder.
45:59Well, one thing I can say is he hoarded something really, really good here, because this isn't
46:04a cigarette lighter at all, is it?
46:06No.
46:06Well, it's a ladies compact.
46:09So, the obvious one is if we open the front hatch here, we have powder inside with a little
46:14mirror.
46:16There we go.
46:17Pull this section out here, we have a lipstick.
46:22If we pull this out here, a mascara.
46:26And if we flip open what would have been the whip cover, we have a perfume holder or bottle,
46:31which is made of aluminium to stop the perfume degrading the metal.
46:37On the bottom is a little number, a design registration number for 1928.
46:42Is it gold-plated or is it just...
46:44It's actually gilded brass.
46:47Do you know, it's quite a valuable little item.
46:48I've no idea what it's worth.
46:50£700 to £1,000.
46:56Thank you, Phil.
47:01This is by Archie Rhys Griffiths.
47:12That's right.
47:12He's a pit painter.
47:14So, he started as a coal miner and became an artist in the 1920s.
47:19Yes.
47:20You've never been down a pit?
47:21All you've got is a man's helmet and...
47:23Oh, yes, it's dark.
47:24That dark is like the dark you've never seen above ground, isn't it?
47:28No.
47:28It's astonishingly...
47:29Yes, it is.
47:30Velvety dark.
47:31That's correct.
47:32Somehow, this painting captures the mood.
47:35And these lanterns here, you've got five lanterns,
47:37and they reveal what the title of the picture is,
47:41Hawliers in Difficulty.
47:43Yes.
47:43This cart, which is probably carrying coal,
47:46is on four steel wheels that have fallen off the rails, I think.
47:49And you see this horse here, pulling incredibly hard.
47:53You see the energy there.
47:54And there's another man there,
47:55and he's pushing with his legs from the back.
47:58Yes.
47:58And these two men trying to get the thing back on the rails.
48:01Very, very effective.
48:03It's oil on a piece of old plywood, isn't it?
48:06Yes, yes.
48:07Yeah.
48:07A lot of times, artists, especially poor artists,
48:10would have found anything to paint on,
48:13possibly backs of wardrobes and things like that, perhaps.
48:16Well, as a result, you know, it's suffered a bit
48:18because he hasn't prepared it properly,
48:19and so you see the grain of the wood through it.
48:21Yeah, yeah.
48:21But even so, it's very dirty.
48:24It's probably got sort of coal dust on it or something, I don't know.
48:27Possibly.
48:28Can I show you what it would look like if you cleaned it?
48:30Yes.
48:30All right.
48:33And you can see, really, that the light begins to work.
48:38Now, if this picture was cleaned and varnished,
48:40you'd be able to look into it like a wet stone
48:42and see these colours and subtleties.
48:44Yes.
48:45I was thinking about value, and it's so moody and dramatic.
48:50£2,000 to £3,000.
48:51Oh.
48:53Oh.
48:55Very good.
49:02Fantastic end to a fantastic day,
49:04and I'm sure when it's cleaned up, it's going to be a really great piece,
49:08and the valuation was, well, quite frankly stunning.
49:15You came to my table with a very ordinary black box.
49:26Yes.
49:27Well, when I opened the box,
49:29there was no ordinary jewel inside.
49:32So please tell me, how did you acquire this?
49:35Well, this was my mother's.
49:37I think she bought it in the early 70s.
49:39She wore it out an awful lot
49:42to dinner dances, round table,
49:45this kind of thing with my father, you know.
49:47And Jane saw it a long time ago
49:50and always admired it, didn't you?
49:52Yeah, definitely.
49:53It's so beautiful.
49:54It's so fine.
49:55You're absolutely right.
49:56I mean, we have the name Grima.
49:58Yes.
49:58It filled my heart with joy when I saw it
50:01because I absolutely love Andrew Grima's work.
50:05Yes, so do I.
50:05I mean, he's sort of the godfather of the modernist jewellers.
50:09He transformed jewellery in this country
50:12from the 60s right up until the early 2000s.
50:16Yes.
50:17Do you think your mother went to German Street
50:19to buy from his shop there?
50:21It wouldn't surprise me.
50:22Yes.
50:23It certainly wouldn't surprise me.
50:24She has that kind of style.
50:25It was just big slate slabs in front of the shop
50:29and tiny windows where you had to sort of peer through,
50:32like you were looking through an Aladdin's cave.
50:35Oh, right, yeah.
50:35And his workshop at the time,
50:38they were doing things that no one else was doing.
50:41He would have this wonderful symbiotic relationship
50:43with his craftspeople
50:44and he would give them sort of like make me a leaf brooch
50:49and they're going, well, how am I going to do that?
50:50And he said, well, you're the maker.
50:51Yes.
50:52I'm the designer, you know, so that's your problem.
50:54You've got to solve that.
50:56And this is a beautiful leaf
50:59and it has the one diamond
51:01and that is to represent a dewdrop.
51:04Yes, yeah.
51:05The casting process to make something like this
51:08is incredibly skillful.
51:11And, I mean, to show all the veins like this,
51:15it's so thin and delicate
51:16and the way that he's managed to get,
51:19well, the leaf as if it has fallen on the ground.
51:22Yeah, yeah.
51:23Every single jewel he made was different.
51:26Oh, wow, yeah.
51:28So when you wear this brooch,
51:29you know no one else is going to be wearing it,
51:33but they will all be admiring it.
51:35That's for sure.
51:36Yeah.
51:36And that's why his jewellery is so collected.
51:41So, gosh, I would say that's going to be at least £6,000 to £8,000.
51:47Wow.
51:49I wasn't expecting that.
51:52That's amazing.
51:53I didn't expect that.
51:54But she had a good eye, I have to say, bless her.
51:56Oh, my gosh.
51:57But she bought it herself, or did your father buy it?
51:59No, she bought it herself.
52:00Oh, she bought it herself.
52:01That's even better.
52:03Highly approve of women buying jewellery for themselves.
52:06Yeah.
52:06On the roadshow, we've been fortunate to see many fine works
52:17by the renowned furniture maker Robert Thompson,
52:21crafted in his workshop here in Yorkshire,
52:23and all featuring his trademark signature of a carved mouse.
52:28And there's no shortage of them on Ronnie Archer Morgan's table today.
52:31The pieces you've bought are remarkable.
52:36You've really got an eye for quality.
52:39Every piece you've chosen is precision.
52:43Like this wonderful money box.
52:46The big slice of cheese with a mouse going through
52:49and poking its head out the other side.
52:51Yes.
52:52Look at that.
52:53Yeah.
52:53I mean, look at that.
52:55Isn't that clever?
52:56Yes.
52:57I just love it.
52:58So witty.
52:59Mm-hmm.
52:59Robert Thompson carried on the tradition
53:03that William Morris started in the 19th century
53:07of bringing craft back to production.
53:11These owls, they're extraordinary.
53:14Late 50s into the 60s.
53:17And they've got their breakfast in their mouths.
53:18There they have.
53:20And they're a pair, but they're a flanking pair.
53:23So they face in opposite directions.
53:26I mean, they're just stunning.
53:30So what did you buy first?
53:32I think it was probably the ashtrays.
53:34And then what made you want to go on?
53:37Because we just love wood.
53:39We love anything nice.
53:40We like things that are tactile.
53:41I mean, you've got this wonderful stool here.
53:43Look how that's made.
53:45It's gorgeous.
53:45I mean, that's just a stunning bit of Yorkshire oak,
53:49which is what everything is made from.
53:51Yes.
53:52And the tapering leg there.
53:53I mean, that's not easy to do.
53:55No.
53:56Lovely craftsmanship.
53:58And you've got the little mouse again there.
54:00Yes.
54:01The signature.
54:02I mean, it's not rare, this stuff.
54:05There are a couple of things on this table that are rare,
54:07and it's these.
54:08What did you pay for those?
54:10About £600 each.
54:11About £600.
54:12You were brave.
54:14Well, yes, brave, but we love them.
54:17But I like that, because that's a commitment to what you love.
54:20Yeah.
54:21A pair of those, bookends, £5 to £6, £4 to £5.
54:27These owls are something else.
54:28You paid £600 each?
54:30Yeah.
54:31Yeah.
54:32They'd now make comfortably £6,000 each.
54:36No, why?
54:38Wow.
54:38Wow.
54:39So the whole lot here is between £14,000 and £15,000.
54:46Wow.
54:46Wow.
54:47You are so clever.
54:48Wow.
54:49You've got such a great eye.
54:54Not going anywhere.
54:55We're keeping them.
55:03Whenever the cameras are about to stop rolling at the end of a day...
55:06...craftsmanship.
55:07And you've got the little mouse again there.
55:09Yes.
55:10The signature.
55:11I mean, it's not rare, this stuff.
55:14There are a couple of things on this table that are rare, and it's these.
55:17What did you pay for those?
55:19About £600 each.
55:20About £600.
55:21You were brave.
55:22Well, yes, brave, but we love them.
55:26But I like that, because that's a commitment to what you love.
55:29Yeah.
55:30Isn't it?
55:30I mean, do you like these?
55:32I mean, they're amazing.
55:33Who doesn't?
55:34Yeah.
55:34I mean, it's not that you don't see at Mouseman stuff, it's that you don't see a group of things by Mouseman like these.
55:42They're extraordinary, and I suppose you want me to value them.
55:47A pair of those, bookends, £500 to £600, £400 to £500.
55:54These owls are something else.
55:56You paid £600 each?
55:58Yeah.
55:58They'd now make, comfortably, £6,000 each.
56:03No way.
56:05Wow.
56:05Wow.
56:06So the whole lot here is between £14,000 and £15,000.
56:13Wow.
56:13Wow.
56:14You are so clever.
56:15Wow.
56:16You've got such a great eye.
56:18Not going anywhere.
56:23We're keeping them.
56:30Whenever the cameras are about to stop rolling at the end of a day at the roadshow, I always think that is the moment to have a cup of tea.
56:36Even better, with a biscuit.
56:38And look, this is a special tin to commemorate Bradford City of Culture.
56:44Edible archives.
56:44And inside are the most beautiful biscuits, all telling a different story about the history and the culture of Bradford over the centuries.
56:56And I'm going to pick one.
56:57I think this one.
56:59It says, welcome, in English and in Arabic and in Burmese, a meld of languages to reflect Bradford itself.
57:09Mmm.
57:10Delicious.
57:12From the Auntie Strojo and everybody here.
57:14Bye-bye.
57:15Bye-bye.
57:15So, when you wear this brooch, you know, no matter what you're doing.
57:45No one...
57:46No one...
57:46No one...
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