Antiques Roadshow 2024 - Cromford Mills, Derbyshire 1
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CreativityTranscript
00:00Today, the Antiques Roadshow is at Cromford Mills in Derbyshire, constructed in 1771 and
00:14now ranked as a World Heritage Site.
00:17That means it sits alongside some of the great names in history, like the Pyramids of Giza,
00:22the Great Wall of China and Stonehenge.
00:25And that's because in this quiet valley is where the factory system was born.
00:30It kick-started the industrial revolution that has changed the way things are made all
00:35around the world ever since.
00:38Thankfully, the wet conditions that for over 250 years have helped to power this historic
00:44watermill don't seem to have dampened the spirits of our visitors.
00:49How many pints can you get in this?
00:51I haven't tried.
00:52No!
00:53It's very heavy.
00:54Very heavy.
00:55Help me, quick!
00:56Help me!
00:57Really horrible, isn't it?
00:59It gives you the creeps.
01:00Yes!
01:01How do they make it look like platinum?
01:03Because it is platinum.
01:04Oh, right!
01:08Welcome to the Antiques Roadshow here at Cromford Mill.
01:25On a rainy day, you could not have brought me a better collection of jewellery.
01:30My goodness, my heart jumped when I saw these pieces.
01:34Please tell me, how did you get these?
01:36I started it off with this one, which I bought about 35 years ago.
01:41And I just thought it was diamantes and posh costume jewellery.
01:44And how much did you pay for it?
01:45I paid about £200 for that one.
01:47And I noticed that it was quite expensive.
01:51And how much did you pay for it?
01:52I paid about £200 for that one.
01:54And I noticed there was a name inside,
01:56but I couldn't find anything out about the name,
01:59because in those days there was no internet.
02:02The person that we are talking about today is George Weill,
02:06who was born in Vienna in 1938.
02:09And he was mainly a sculptor rather than a jeweller,
02:12so he's always said he's a sculptor first and then a jeweller later.
02:17But you can see these fantastic, impactful pieces.
02:21Yeah, well, they're just so unusual.
02:23So these were sort of 60s, 70s pieces.
02:26This was all about impact.
02:28They had uncut stones with cut stones.
02:31And it was about the shape, the asymmetric modernist style.
02:36And it wasn't about the intrinsic worth.
02:38Yes, but also quite wearable.
02:40I think it's fantastic that they speak to you.
02:43They're so against the grain
02:45of what people normally would feel comfortable in wearing.
02:48Yes, they're not like a solitaire diamond.
02:50No. They do make a statement.
02:52Now, I do wonder about this, what it is actually made from.
02:55How do they make it look like platinum?
02:57Because it is platinum.
02:59Oh, right!
03:01Because it is 18-carat gold and platinum!
03:04Oh, right! Oh, right!
03:06And they are diamonds too, just in case you were wondering.
03:09Oh, right! I didn't know that at all.
03:13Oh, my goodness me!
03:15Well, it's mainly 18-carat gold
03:17and the diamonds are set in platinum collets.
03:20George Vial has got his plaque with his sort of signature
03:23on the back of each of them, actually.
03:26So this ring goes together with the bracelet and the brooch here.
03:30How much did you pay for them?
03:32Ooh, £1,500.
03:34£1,500? Yeah, something like that, yeah.
03:37Did you? Quite a lot.
03:39Quite a lot? Yeah.
03:42I think today, there would be about £15,000.
03:45Oh, never!
03:47Sorry, I nearly swore.
03:51Really?
03:53My goodness me.
03:55You've got this brooch here. Yeah.
03:58That's going to be about £5,000 to £7,000.
04:01Never. And this one with the rock crystal,
04:0418-carat gold and diamonds, £3,000 to £5,000.
04:07I just can't believe this.
04:10And your lovely ring here is £2,500.
04:13Really? Yeah. Oh, my goodness me.
04:15I mean, collectively, you've got £25,000.
04:18Crumbs.
04:20Crumbs.
04:22You've done so well.
04:24It really has brightened up my day.
04:26Oh, it's good. Thank you so, so much.
04:33Exactly!
04:35I had no idea that they'd gone up in value so much.
04:39And it all could stem from one tiny little ring I bought
04:4330, 40 years ago.
04:45Quite an adventure.
04:55I love music, of course. I love playing the guitar.
04:58I've always loved listening to music.
05:00And I sometimes think I was born in the wrong era, in a way.
05:04You were born in a great era for music.
05:06Growing up in the 60s,
05:08it was just all around me,
05:10the Mersey Beats, the Beatles, the Stones.
05:12It was just a great era.
05:14So, what we have here are a set of autographs
05:17that you collected when you were young.
05:19I was. And they're the Rolling Stones.
05:21OK, tell me how you acquired them.
05:24My friend and I used to go to all the pop shows
05:27at the Derby Gaumont. Right, OK.
05:29And prior to the show,
05:32we used to hang around the stage door
05:34and the cafe that was opposite.
05:36Right, OK. And we went to this show.
05:38It was Bo Diddley and the Everly Brothers.
05:40What year was this? 1963.
05:421963. I was born in 64, actually!
05:45Oh, you missed a very good year!
05:47So, yes.
05:49So, we went. It was October, I think, in 63.
05:52And we were just hanging around
05:54looking for Bo Diddley and the Everly Brothers.
05:56And we went into the cafe
05:58and the Stones were sitting there having a coffee
06:01as all the stars did prior to the show.
06:03My friend and I went and said,
06:05could we have your autograph?
06:07And they smiled and Mick Jagger said,
06:09I don't suppose you know who we are, do you?
06:12I can't remember what I said!
06:15Well, that's interesting that they should even ask that question
06:18because in 63, they were low down on the bill.
06:21I think it was something like they'd closed the first half
06:23or something like that.
06:25But you knew where to find them. Over the road in the cafe.
06:27Oh, yes! Many a happy hour in the cafe!
06:31Did you get the Stones to buy you a cup of coffee as well?
06:33No, no. I don't think I ever actually bought anything.
06:36So, in terms of the amounts of gigs you went to
06:39and the amount of autographs you collected,
06:41would you say this was one of your best sets?
06:43Definitely the best set, yes.
06:45And perhaps the set with the best memories too?
06:47Oh, definitely, because they became so famous.
06:50I reckon that your little forward incursion into the cafe
06:54and just having that little bit of nouse
06:56to go and ask them for their signatures
06:58was a very, very smart move
07:01to see what you have now is an early set
07:03of Rolling Stone signatures
07:05that I think are worth £2,000 to £3,000.
07:07Oh, God!
07:09Gosh, it was a very good day, wasn't it?
07:12Thank you ever so much.
07:20We think it's some sort of plaque.
07:22You found it together, didn't you?
07:25You throw a magnet into some water
07:27and see if it can do anything better.
07:31I was about to put it in our cart
07:33to take it away and put it in a big recycling bin,
07:35weren't we, but you convinced me
07:37that there was something on it.
07:39May I take it?
07:41It's very heavy.
07:43Do you want me to take it back?
07:45Help me, quick!
07:47Oh, dear.
07:49Right, let's have a look.
07:51I think this man owns Sir Francis Drake
07:53and Sir Francis Drake sailed around the world.
07:56It's Deckerton Carstein.
07:59It has a value,
08:01and I think Daddy should give £50 each
08:03to go into your savings.
08:05And this is the plaque
08:07which you filmed.
08:09Wow!
08:11£50 each.
08:13Do you want to carry it?
08:15Two hands.
08:19What we have here is a really rather lovely
08:21shop mannequin from the 1920s.
08:23What can you tell me about her?
08:25I was a theatre designer
08:28making costumes, period costumes,
08:30so we always used to put corsets
08:32on the actresses to make them stand properly.
08:34And we bought bones
08:36and other accoutrements
08:38in a little shop in Derby,
08:40a corset shop,
08:42and that's where she stood.
08:44And when the shop closed down,
08:46she became for sale.
08:48She'd cost £17.06 when they bought her,
08:50so this is years after decimalisation,
08:52so I paid £87.50.
08:54£87.50?
08:57I think you had a little bit of a bargain there.
08:59Does she have a name?
09:01My little granddaughter calls her Mrs Elbow.
09:03That's because of the pose of her arm.
09:05Now, she was a naked one
09:07when you brought her in,
09:09but obviously we've covered her up
09:11to stop her blushing for her modesty.
09:13My mum usually covers her up when she visits.
09:15Oh, does she?
09:17Obviously, she is a mannequin
09:19for Liberty Corsets.
09:21Dating from about the 1920s,
09:23Liberty Corsets, that was their brand name,
09:26originally was called Symington
09:28and they were based in Leicestershire.
09:30They actually started in the 1850s
09:32making corsetry for ladies.
09:34They're probably better known
09:36from around 1908.
09:38They actually invented the Liberty Bodice,
09:40which is obviously where the name comes from.
09:42This was seen as an alternative
09:44for ladies,
09:46and it's often associated
09:48with the emancipation of women
09:50that they no longer had to wear
09:52these very tight corsets
09:54and fancy little bodices
09:56which you'd wear over a vest.
09:58But this is the sort of thing
10:00that they would have had advertising
10:02in ladies' clothing shop.
10:04Is this one of the corsets
10:06that you would have made?
10:08Yes, it is.
10:10Nowadays, you get nylon bones,
10:12but we used to use steel bones
10:14from the shop originally.
10:16So you made them traditionally.
10:18I think your £87.50 was very well spent.
10:20She has obviously had a little bit of a repaint,
10:23but this mannequin,
10:25generally speaking,
10:27they're more tabletop size.
10:29To see one that's actually human size
10:31is brilliant,
10:33and I absolutely love her.
10:35At auction, she would probably
10:37make someone in the region
10:39of £300 to £400.
10:41Thank you for showing her to us.
10:43You're welcome.
10:45I think she's caused a few eyebrows
10:47to rise, hasn't she,
10:49through the crowds.
10:51I suppose so.
11:07The name Picasso is a name that
11:09makes anybody's heart in this industry
11:11skip a beat,
11:13and today it's my turn because I'm stood here
11:15with the most fabulous Picasso plaque.
11:17Where does it come from?
11:19We went on fantastic
11:21camping holidays with our parents
11:23all over Europe when we were teenagers,
11:25and we went down
11:27as far as south of France,
11:29and my mother, being an artist,
11:31was really keen to go to Picasso's studio,
11:33and so we were lucky enough
11:35to see the ceramics there.
11:37And when you went into the pottery
11:39in the firm of Maduro,
11:41do you remember seeing these for sale?
11:43I remember them being out on a very long bench
11:45in the hot sunlight, yes.
11:47What an experience for you to have.
11:49Well, this relationship
11:51with Picasso and ceramics
11:53is the most magical one.
11:55It all came about in 1946.
11:57Picasso heads down
11:59to the south of France,
12:01ends up in Valois,
12:03and he is intrigued
12:05by the firm Maduro.
12:07Georges and Cézanne Ramé,
12:09he's so intrigued by them, he goes to speak to them
12:11and says, I'd like to have a go.
12:13I don't understand it, I want to try it.
12:15And he was so thrilled by it
12:17that he basically said, I want to do more
12:19and more, and so the relationship
12:21began. Now, the one you have
12:23here dates to 1956,
12:25and these creations
12:27fall into two very distinct
12:29categories. There are the
12:31originals, and there is a
12:33body of work that is
12:35by his own hand.
12:37And then, which yours falls
12:39into, if we look to the reverse,
12:41we have the
12:43mark here that indicates that this
12:45is an impression off the
12:47original.
12:49Basically, limited editions.
12:51Yours, specifically,
12:53was created in an
12:55edition of 450.
12:57I would say at auction today,
12:59you're looking probably in the region of
13:01£4,000 to £6,000 today.
13:03Wow, goodness.
13:05That's amazing.
13:07I had no idea what was paid for it,
13:09and nowhere near that, I would imagine.
13:11It was a very, very shrewd investment.
13:13Mum owned a Picasso.
13:15Now you own a
13:17Picasso. It's unbelievable.
13:19I wish I owned a Picasso.
13:21Thank you so much for bringing it. Thank you.
13:27In the antiques world, there's very little
13:29more intriguing than finding a box
13:31of things, more or less, in their
13:33original wrapping. I inherited this
13:35from my grandad, and there's stuff that must have
13:37been in that box for 50 years and more.
13:39Cracking looking, 1960s,
13:41highly stylish coffee set.
13:43Nice sugar bowl, gilded
13:45inside, and a
13:47cream jug. There we are, also gilded
13:49inside. Oh, wow.
13:51Ta-da!
13:53A candlestick with Celtic-looking
13:55decoration on it. It stayed almost
13:57perfectly clean because no air has got
13:59to it in the 50 years it's been wrapped up,
14:01so it's never had the opportunity. It's saved a lot of cleaning, hasn't it?
14:03Yeah, yes, it certainly has.
14:05Would you like to see something else?
14:07Yeah, let's go for it now.
14:09Does that say serve rings?
14:11Should we assume that they're serviette rings?
14:13Never been used, but those are rather
14:15stylish-looking serviette rings. They are nice.
14:17Oh, come on, please, I've got those now.
14:19There we are. Where did your
14:21grandfather find these things? He
14:23bought the company that made
14:25them. Ah. We lived
14:27in a council house, but we drank out of
14:29silver tankards because they didn't
14:31break if you dropped them.
14:34These silver napkin rings, they're
14:36somewhere between £50 and £80 each.
14:38Oh, wow. You know, you've got six of those.
14:40These lovely five-inch Celtic
14:42design candlesticks,
14:44£180 to £250.
14:46Wow. The coffee set's
14:48lovely. That's £1,200 to £1,400.
14:50Oh, my goodness. Yeah. All this
14:52silverware adds up to a certain amount of money.
14:54I haven't been through the entire box, but
14:56you're looking at £3,000 to £4,000
14:58worth of things.
15:00Wow. Quite a
15:02box of goodies you've got there.
15:08When I knew I was coming to
15:10the lovely Derbyshire Dales,
15:12what's going to be on my wish list?
15:14It's got to be Derby porcelain,
15:16and you've not let me down, have you?
15:18No, I haven't. I watched you actually
15:20carry it in. You weren't holding it,
15:22you were caressing it. You really were.
15:24Yeah, it's my baby.
15:26Well, give me a little bit of the background.
15:28Just fill me in. I've been looking for
15:30Derby on for quite some time in the
15:32Crown Derby range.
15:34They're very rare. I only know of one other,
15:36and that's on an interpretation board
15:38in Derby, and it's a plate.
15:40That came up on
15:42a well-known online auction
15:44as a buy it now. It was bought
15:46from California. California?
15:48Yeah. And when it
15:50arrived, what were your first thoughts?
15:52It was twice as big as I thought it was, because I
15:54haven't seen the dimensions. Really? It is a whopper,
15:56isn't it? Yeah. Let's first of all
15:58do a quick turnover, shall we?
16:00And it says, Derby porcelain. The name
16:02is Bloor, for Robert Bloor.
16:04So we're talking sort of 1820
16:06to 1840, or thereabouts.
16:08Great man. His porcelain
16:10does come in for a certain amount of criticism
16:12because it comes in various qualities,
16:14but I tell you, this is blue chip.
16:16Yeah, it really is blue chip.
16:18And the condition is just
16:20fabulous. The gilding,
16:22it's almost as though it came out of the
16:24kiln yesterday. It's beautiful, isn't it?
16:26They're often referred to as porter mugs.
16:28I wouldn't call it a tanker. How many
16:30pints can you get in this? I haven't tried.
16:32No! No, no,
16:34it sits in the cabinet.
16:36You've never used it? Very carefully, no.
16:38It's like having
16:40an Aston Martin and you don't take
16:42it out for a spin. I mean, that demands
16:44to be drank out of. And I think
16:46the fact that you've repatriated
16:48it, you know, it's to be
16:50commended. Let's get
16:52down to brass tacks, shall we?
16:54If I saw that
16:56in a shop and I could buy it
16:58for, let's say, £800,
17:00I would.
17:02Really? I would. So,
17:04can you tell me what you'd pay for it?
17:06It was just under £200.
17:08No. But, being
17:10the online auction site, it cost me
17:12nearly another £200 to get onto this country.
17:14But I must admit, I'd like
17:16to see that pot every day, but I'd be using it
17:18on special occasions
17:20by myself in a
17:22quiet room.
17:24It will
17:26go back on display. It gives me pleasure looking
17:28at it every time I look.
17:30My daughter says she wants it. We'll see.
17:40It's hard to imagine it now,
17:42but this peaceful, verdant
17:44valley once bore witness to a revolution
17:46that would spread across the world
17:48and affect the working lives of billions.
17:53In the early 1700s,
17:55the race was on to try and find a way of
17:57spinning enough cotton to
17:59supply the growing demand
18:01for cotton cloth. At the time,
18:03cotton was spun on hand-operated
18:05spinning wheels like this one in the home.
18:07It was a very skilled but very
18:09slow process, and despite
18:11lots of clever ideas, no-one
18:13had found a way of spinning
18:15enough cotton of good enough quality.
18:19Enter Richard Arkwright,
18:21born in Western Lancashire in 1732.
18:23A barber and wig maker by trade,
18:25his first venture was inventing
18:27a waterproof dye for wigs.
18:29As he travelled the country, he noticed
18:31the increased demand for cotton
18:33and the huge potential for a machine
18:35that could quickly and reliably
18:37spin raw cotton into thread.
18:41Richard Arkwright might have been an ambitious businessman,
18:43but he was no trained engineer
18:45or mechanic, so he teamed up with
18:47skilled craftsmen to create this machine
18:49known as a water frame.
18:51And this was the big
18:53breakthrough. And it worked
18:55with the cotton
18:57coming through these three rollers
18:59and these were the key.
19:01They were weighted, they turned at different
19:03speeds and they had different coverings.
19:05And this made the yarn finer and
19:07finer until it was twisted
19:09onto a bobbin here.
19:11This had never been done before.
19:13This could never be done by hand.
19:15While competitors continued
19:17to try and make similar machines,
19:19it was Arkwright who found people
19:21with the engineering skills
19:23to bring his vision to reality.
19:25He took advantage
19:27of the abundant local waters
19:29to drive the huge machines
19:31that spun the cotton arriving in Britain
19:33from enslaved plantations in the Americas.
19:35Arkwright quickly
19:37expanded his business,
19:39building other mills around the country
19:41to get ahead of any rivals.
19:43And on top of that,
19:45he made a fortune by patenting
19:47his water frame and licensing
19:49it to other industrialists building
19:51their own factories.
19:53Arkwright had started a revolution
19:55that swept across the world.
19:57In 1786,
19:5915 years after
20:01Cromford opened, he was knighted
20:03Sir Richard Arkwright.
20:05He built a palatial home
20:07just across the river.
20:09And when he died in 1792,
20:11he was buried here in the chapel
20:13that he'd planned close to his first mill.
20:15In just 20 years,
20:17he'd gone from a humble
20:19wig maker to one of the wealthiest
20:21men in England.
20:29It's sort of like,
20:31of that era of the Brothers Grimm,
20:33those fairy stories which aren't really
20:35stories for children, they're a bit frightening.
20:37You know, he's got some character to it.
20:39Tell me about it. Not a great deal,
20:41if I'm honest. He's always
20:43been in my grandparents'
20:45family and now lives with us.
20:47In the garden? No, no, I don't think
20:49he's ever been in the garden, to be honest.
20:51He sits by our fireplace
20:53and, yeah,
20:55he's just there.
20:57He's just grinning at you. Yes.
20:59We tend to think of gnomes as being quite cute,
21:01don't we? But, you know, it makes you wonder
21:03whether he might be contemplating giving up to no good.
21:05Yeah, quite likely.
21:07If he could speak to us,
21:09he would be doing so in a German
21:11accent.
21:13And date-wise, I think he's pretty early.
21:15He's going to be late 19th, early
21:1720th century. Yeah. It's made
21:19from ceramic, probably a terracotta.
21:21Yeah, he's got some issues with his paintwork there
21:23and a few splodges of other paint.
21:25Well, we blame my husband for that one.
21:27Are you doing some decorating?
21:29Bad.
21:31Our fireplace is that colour.
21:33Oh, we all know.
21:35Well, I think despite
21:37all his faults, I can see him
21:39making between £300 and £500.
21:41He's great.
21:43I don't expect that.
21:45Well, he's going to go back to the fireplace.
21:47Please don't do any more decorating.
21:49No.
21:55So, of all the
21:57paintings that I was not expecting to see
21:59here at Cornfield Mill in Derbyshire,
22:01it's a painting by
22:03an artist from the Democratic Republic of Congo,
22:05Pilipili Mulungwe.
22:07So, what is the story here?
22:09I bought this painting with a job lot
22:11of other paintings and prints.
22:13I didn't want half of them
22:15and I was going to take them to a charity
22:17shop and I had this one in my arms
22:19and then I noticed that it had got
22:21a signature and I could tell that
22:23it was a real painting.
22:25I tried to do some research about it
22:27and it's been on my wall
22:29ever since. It's a lovely picture,
22:31what drew you to it?
22:33I think you love it or you hate it
22:35but it's really lovely and colourful
22:37and I love the little antler
22:39and I can appreciate how it's painted.
22:41I paint myself and I just
22:43really love it.
22:45So, as we can see, it's signed on the bottom right, Pilipili
22:47and he came from a very
22:49working class family. He trained
22:51as a plumber and a builder
22:53and then he
22:55fell under the guidance of a French
22:57artist. He went to a
22:59drawing school set up by him. He won a prize
23:01and
23:03thereafter he managed to develop
23:05this style of painting that was
23:07uniquely his own and you see a lot of this
23:09very delicate, vertical
23:11colouring in his pictures.
23:13This is on canvas, watercolours
23:15and oils but they're often very
23:17flat in perspective. The animals, which
23:19are one of his main features of his
23:21work, are often shown on the same picture
23:23plane as grass and sometimes
23:25forest-type backgrounds but it's a really
23:27interesting picture and he was actually very popular.
23:29I mean, his work was collected by the Belgian
23:31royal family and he also became very
23:33popular in Europe because of the connection, of course,
23:35with Congo and Belgium. So, he's actually
23:37a very known and respected artist
23:39so it was quite a good discovery on your part.
23:41Good job I didn't give it away.
23:43You didn't give it away.
23:45So, what did you pay for the job lot of
23:47pictures and items you bought?
23:49I think I paid about £18 for it.
23:51£18? It was only about
23:53six years ago. Really?
23:55Yeah, there was a print I wanted in this bundle
23:57of paintings and, as I say, I gave
23:59some to a local charity
24:01shop on the way home because I didn't want
24:03them all. But you kept this one, crucially.
24:05Well, I did, yeah.
24:07Okay, so, well, was it £18
24:09well spent? Well, actually,
24:11I think if this were to come up
24:13for sale now, I would
24:15expect to see it sell for a figure in the region
24:17of £3,000 to £5,000.
24:19No.
24:21No.
24:23No.
24:25No.
24:29Okay.
24:31Thank you, Lawrence.
24:33You have a good eye.
24:35I like it more now.
24:47What's interesting about it, when you first see it,
24:49it's either a hip flask that's been made too small
24:51so you can't fit anything in it, or it's
24:53a pocket watch. Well, it's a bit of a
24:55mystery, really. Yeah. It was my
24:57granddad's, and he worked in the
24:59steelworks in Sheffield, and he made
25:01barrels for battleship
25:03guns and things like that, so
25:05they were all sort of fairly
25:07secret and things. Was it the First World War?
25:09Yeah. And this was given to
25:11him, but it's a camera.
25:13It's not a pocket watch. So you can open it
25:15up here.
25:17Oh, wow, so you fill
25:19back on the little spool. And then
25:21the lens pops off there.
25:23It's ingenious, isn't it? I think
25:25they were made sort of from 1905.
25:27It's actually in pretty good
25:29overall condition for being 120 years
25:31old, roughly. You've got the maker's mark
25:33obviously a ticker here.
25:35This is what people would deem as a
25:37spy camera. I mean, really, they made them as
25:39a novelty camera, but if your dad
25:41had it, was he a spy?
25:43And it wasn't for novelty. He was a secret
25:45agent.
25:47I have seen these go to auction.
25:49They go for in the region of 200 to 400.
25:51But I imagine you would never sell it.
25:53No, never. No.
25:55It's worth a lot more than the financial gain
25:57from it, 100%. Thank you for bringing
25:59it in. Thank you for telling me about it.
26:01I really appreciate it. I almost don't want to give it
26:03you back, I don't know how much, but there you go.
26:07Occasionally on the roadshow
26:09we come across items associated
26:11with notorious figures in history.
26:13To some, the Australian
26:15outlaw Ned Kelly remains an
26:17anti-establishment folk hero.
26:19To others, a violent
26:21bush ranger responsible for the deaths
26:23of three policemen.
26:25Hilary Kaye has discovered a curious
26:27fragment connected to Ned Kelly's
26:29final showdown in 1880.
26:33A small scrap
26:35of red fabric.
26:37It tells a bit of a story, doesn't it?
26:39Yes, it does. And it takes us away
26:41from damp Derbyshire
26:43to the middle of
26:45the state of Victoria in Australia
26:47to a town called Glenrowan.
26:49A town I visited.
26:51So tell me what
26:53this has got to do with Ned Kelly.
26:55My great-grandfather
26:57was the governor of New South Wales
26:59in 1880
27:01and his great friend was called
27:03Frederick Standish
27:05who was a chief commissioner of police
27:07and for some reason gave
27:09this tiny bit of red petticoat
27:11to my great-grandfather.
27:13Why does a man give a bit of petticoat
27:15to his great friend?
27:17I can't wait to hear!
27:19In Glenrowan, apparently,
27:21the townspeople
27:23were all herded into the inn there.
27:25Ned Kelly put them there
27:27because the train was coming
27:29with a whole lot of police on board
27:31and he'd already done something
27:33to the line. Sabotaged it.
27:35And he was going to ambush the train.
27:37But then I heard
27:39that the schoolmaster,
27:41somebody called Thomas Curnow,
27:43his sister was wearing this
27:45woollen scarf.
27:47He thought, if I can use that
27:49as a signal, perhaps I can warn
27:51the train and there won't be this catastrophe.
27:53And so that's what he did.
27:55He borrowed the scarf,
27:57ran up to the train track
27:59with a light behind the
28:01scarf
28:03and stopped the train.
28:05I mean, he saved them all,
28:07frankly, from being either killed
28:09in a train crash or being shot by
28:11Kelly and his gang.
28:13So that is much more likely to be
28:15a scarf than a petticoat.
28:17I'm really sorry to destroy the story
28:19of men exchanging squares of petticoat.
28:21I think a petticoat would have been
28:23actually exciting.
28:25It was a scarf and Thomas Curnow
28:27was this absolute hero.
28:29It's a fabulous story to think
28:31that one is actually holding
28:33something that was there
28:35at the Glenrowan Inn
28:37shootout.
28:39It was really Ned Kelly's last stand.
28:41It's the picture we all bear in mind
28:43of him emerging
28:45in his homemade armour.
28:47And I've been, in fact, to the
28:49State Library in Victoria and seen
28:51his armour.
28:53It resonates.
28:55It feels kind of plutonium
28:57powered when you look at it.
28:59But there is still this sprinkle
29:01of fairy dust over anything
29:03that relates to Ned Kelly.
29:05I mean, I would put it at around
29:07perhaps £1,000 to £1,500.
29:09Really?
29:11I do think it's worth it.
29:13It's that tiny little scrap.
29:15Exactly. It's a real
29:17icon of Australian history.
29:19Thank you so much.
29:21It's been fun.
29:23Music
29:31Two beautiful,
29:33rich gold pieces
29:35of jewellery here, which are
29:37absolutely stunning.
29:39Tell me how they came into your possession.
29:41This one was given to me
29:43by my mother-in-law.
29:45It was given to her by her mother-in-law
29:47and her mother-in-law.
29:49So it's passed on to three generations.
29:51How lovely. And this one?
29:53This one was given to me by my mum,
29:55to her by her mum
29:57and her mum.
29:59My parents are from India.
30:01My husband here is from Tanzania,
30:03East Africa.
30:05And in our culture,
30:07it is passing on
30:09generation to generation as well.
30:11How lovely.
30:13The importance of giving family jewellery
30:15is just something beyond
30:17expectations, isn't it really?
30:19Let's start with this one.
30:21This is so beautiful and intricate.
30:23You've got wonderful
30:25piercing work all the way through
30:27the mount on either side,
30:29set with white sapphires
30:31and spinels, which are the red
30:33stones, and then these lovely
30:35opal drops at the bottom,
30:37which bring a superb delicacy
30:39to what is quite a structured
30:41piece of jewellery.
30:43Where would you wear this piece of jewellery?
30:45At weddings and I've been wearing it
30:47in my daughter's wedding,
30:49my son's wedding.
30:51And the name on the front
30:53is Zuleika.
30:55Zuleika is my mother-in-law's name.
30:57How wonderful.
30:59And moving on to this one
31:01that you got from your mum,
31:03which again is a really lovely design.
31:05As far as
31:07carats of gold, we're looking at 24
31:09carats obviously and they really are
31:11just stunning examples of jewellery
31:13and I can see that you are covered in
31:15beautiful gemstones and jewels,
31:17which is wonderful.
31:19Lots of jewellery.
31:21Good.
31:23I love my jewellery.
31:25Well of course we do have
31:27to put a value on pieces of
31:29jewellery for the show obviously.
31:31And there is
31:33a minimum value that these
31:35two pieces combined are worth,
31:37which is based on the weight
31:39of the gold. And at the
31:41moment we're looking at a minimum
31:43of
31:45£9,000.
31:47Mashallah.
31:49There's nine of us.
31:53Now obviously you then add on
31:55the craftsmanship and what they might be worth
31:57over and above that gold
31:59value. If they did come up for
32:01auction, we would be looking at somewhere between
32:03£10,000 and £15,000.
32:05That's a lot.
32:07So with regards to
32:09the future of these pieces of jewellery,
32:11these will pass down
32:13to a future daughter-in-law?
32:15Hopefully. It can be that
32:17or I'll have to decide
32:19that. You will? Yes.
32:21Well there's quite a few people here
32:23who might have a little eye on this
32:25I think.
32:27I've got my granddaughter whose name is Zuleika.
32:29Oh fantastic.
32:31I don't know what I'll do.
32:33Hopefully. Especially when she watches the
32:35programme.
32:38Obviously it's a
32:40sentimental value for me
32:42so selling is out of the
32:44question.
32:46I'll keep it for myself.
32:52So you've brought in
32:54a really rather battered and
32:56worn stone face.
32:58Why?
33:00This face
33:02actually belongs to my neighbour Squiddy.
33:0440 years ago he
33:06swapped a bag of coal
33:08for this head from a lady who
33:10lives near Bakewell Church.
33:12And the story he got from her
33:14that it was the face of a
33:16condemned man who was
33:18buried outside of
33:20consecrated ground.
33:22Hence this screaming profile.
33:24It is really horrible isn't it?
33:26It's really not very nice.
33:28It gives you the creeps.
33:30But actually as I stood in the queue
33:32a lady who lives up at Bonsell
33:34who has lots of mines up there
33:36she wondered if it was a
33:38condemned mine.
33:40Because apparently they used to put faces
33:42on tops of mines that were
33:44condemned.
33:46So don't know.
33:48For me when I'm looking at this
33:50the first thing I think of is the wear.
33:52That's been around for a good long time.
33:54I was thinking it could be late medieval
33:56any time up to sort of
33:581500 or so.
34:00So it's a really old thing.
34:02But I think the other side of it is
34:04it's got a fantastic sculptural appeal.
34:06So if that was displayed on a plinth
34:08perhaps beautifully spotlit
34:10scary to you.
34:12You're not liking this idea are you?
34:14I don't think Squid will.
34:16So Squid swapped a bag of coal
34:18for this.
34:20Absolutely.
34:22If it's late medieval
34:24anything from 300 pounds.
34:26Wow.
34:28That's kind of a big deal.
34:30Wow, OK.
34:32Right, he's coming back home with me then.
34:34No, he only lives down the road.
34:46They're really
34:48lovely brush pots. Do you use them?
34:50I do. I bought them to just put my paint brushes
34:52in and things like that you know.
34:54I think that's great.
34:56These are the kind of things you would see on a scholar's desk.
34:58Oh, right.
35:00They're really typically Chinese
35:02and actually if you look
35:04at the carving itself
35:06there is a Chinese theme here
35:08which is the seven sages of the bamboo grove.
35:10They're famous in Chinese art.
35:12Are they?
35:14They are historians, writers who lived in the 3rd century.
35:16The quality of the carving as well
35:18shows that they are Qing Dynasty
35:20pieces, probably 19th century.
35:22How much did you pay for them?
35:24£40 each, so £80 for the two.
35:26I think they would probably sell
35:28between £1,000 and £2,000.
35:30Bargain!
35:32Well done you!
35:36You've brought me a scrapbook
35:38and I have to say I love scrapbooks.
35:40This is a Victorian example, very neat
35:42rather elegant. Tell me, do you know
35:44who compiled this?
35:46It was compiled by my husband's great grandfather
35:48known as GT in the family
35:50so he was George Thomas Wright
35:52and he got a job
35:54for the Great Exhibition
35:56as you do in his early 20s
35:58and he kept stuff.
36:00Right.
36:02He was a hoarder if I'm honest
36:04so he just kept all sorts of things.
36:06So this is him? Yes.
36:08This looks like a young man.
36:10This perhaps is him at about the same time
36:12as he put this together.
36:14Quite a confident, handsome young gentleman.
36:16Yes.
36:18Got some presence about him, hasn't he?
36:20We're going to have a look through this one
36:22and it's really full.
36:24Sometimes they're not as full as this
36:26and this is full of snippets of letters
36:28these are some tickets
36:30for the exhibition of cartoons
36:32in Westminster Hall 1843
36:34but then it goes on
36:36into more general autograph material
36:38so these are lots of cut signatures
36:40which was the fashion at the time.
36:42You might receive a letter from someone famous
36:44the letter was not so interesting
36:46as the signature and you'd snip the signature off
36:48which is tragic because now
36:50people are interested in the letter itself.
36:52So some of them I recognise the names of
36:54others not but I have to say
36:56the one that stood out for me
36:58was this letter here
37:00which is signed by Charles Dickens.
37:02Great novelist, great signature
37:04but how wonderful we've got a letter
37:06so it's from Tavistock House,
37:08Dickens' house in London.
37:10It's dated 1854 and it says
37:12Many thanks for your kind note
37:14Mrs Dickens and our two girls
37:16leap at your prospect
37:18and therefore if you can find room
37:20to make the three happy
37:22they will punctually observe
37:24the instructions you send them
37:26so he's obviously sent the Dickens family
37:28an invitation
37:30to come to an exhibition
37:32and Dickens is not going himself
37:34but he's very happy that his wife
37:36and his daughters will be attending.
37:38It's a good letter
37:40and he was obviously used to meeting
37:42quite notable and important people
37:44and corresponding with them
37:46and so even though we don't know a lot about him
37:48I sense he fits in quite interestingly
37:50into the cultural life of Victorian Britain.
37:52Very much so.
37:54Of course I don't know if this letter's published
37:56it's quite likely that it's
37:58not known in any other form
38:00because it's been in our attic.
38:02How long do you think it's been in the attic for?
38:04Since he finished the scrapbook.
38:06Right, well I have to say
38:08it's in extremely good condition.
38:10Most of the scrapbooks I see are just that
38:12they're in scraps but this really isn't
38:14it's a really elegant one.
38:16It's crammed full of interest
38:18but of course it does have a value.
38:20A Dickens letter, letters by other famous people
38:22those tickets I think are probably
38:24valuable in their own right
38:26so altogether this is very speculative
38:28but I think we're looking at between two and three thousand pounds
38:30and with research it could be considerably more.
38:32I think it would be lovely
38:34to try and really unpick
38:36who this very interesting person was.
38:40My pleasure.
38:44When Richard Arkwright
38:46cracked the problem of spinning yarn
38:48by machine with his water frame
38:50he used the help of a skilled watchmaker
38:52a man called John Kay
38:54and perhaps the enormous
38:56cogs and wheels
38:58and water wheel of a huge factory
39:00like this are not that different
39:02from the tiny mechanism
39:04of a cloth or a watch.
39:08In a quiet workshop
39:10at Cromford Mills
39:12there's one man
39:14keeping alive the traditional skills
39:16and engineering know-how that helped give rise
39:18to the industrial revolution.
39:20Horologist
39:22Adrian Overton has been lovingly
39:24restoring old timepieces
39:26for over 30 years
39:28and today he's got two stunning
39:30examples to show me.
39:32Adrian, first of all tell me how you got into all this.
39:34I was always
39:36always taking things to pieces
39:38it didn't matter if I didn't know how
39:40to put it back together again
39:42it was just that enthusiasm for figuring out how things work
39:44and then it went from there.
39:46So tell me about some of the pieces you're working on.
39:48The first one, this one's a really early
39:50English lantern clock
39:52English clock making started
39:54around the mid-1600s
39:56this one dates from around
39:581654
40:00it was actually made before the pendulum clock
40:02was invented
40:04at some point in the early 1700s
40:06it was then converted for a pendulum
40:08so the timekeeping was a lot better.
40:10And what about that one over there, it's got a wonderful face.
40:12Yes, that was actually
40:14it came from Carnaval Palace in Portugal
40:16it's got 23 bells
40:1823?
40:20It's quite rare in the fact that most clocks
40:22they tell the time and they strike the hour
40:24or they do the quarter of an hour
40:26and this one has a fourth task
40:28which is actually play seven tunes as well.
40:30Can we hear one? Yes, yes.
40:32This one
40:34although it's called a
40:36Portuguese hymn, we would know it as
40:38Come All Ye Faithful.
40:40Oh yes!
40:42That's such a lovely sound.
40:44It is, it's lovely, yeah.
40:46The bells have been tuned really well
40:48Mr French, there was a partnership
40:50it was John and William French
40:52they were operating from about 1845
40:54and this one
40:56would have been a commissioned piece
40:58and would have been very, very expensive.
41:00So lovely.
41:02We get clocks valued on the road trip all the time
41:04so I might as well ask you
41:06as a specialist, what are these worth?
41:08Although this is the oldest clock, it's not the most expensive.
41:10These lantern clocks
41:12the early ones, value around
41:14retail £8,000 to £10,000
41:16which is a lot of money for a 400 year old clock.
41:18What about that one over there?
41:20Now this one is a one off
41:22with the four trains, the 23 bells
41:24the Carnaval Palace provenance
41:26£60,000.
41:28Wow!
41:30And there aren't many people like you around, are there?
41:32No, there's not, every year
41:34there are more and more of us that are retiring
41:36or leaving the profession
41:38and we need some young people to come through and take the helm
41:40because it's a really rewarding
41:42job to do.
41:44Well hopefully, some young people watching
41:46will be inspired by you Adrian.
41:48This is just a brilliant collection
41:50a great little hidey hole of clocks.
41:52It is, it's a proper shop.
41:54It is! Thank you so much.
42:02Music
42:10Oh my goodness!
42:12What's this?
42:14Yes, it's the
42:16Antiques Roadshow from 1995.
42:18Man...
42:20Do you know what it was?
42:22A golf bag.
42:24But a golf bag with a difference, isn't it?
42:26Because it's actually, if you take the top off here
42:28it's a biscuit tin.
42:30Mansfield Leisure Centre.
42:32You see, that's in the good old days
42:34when we filmed indoors.
42:36Absolutely, yes.
42:38Why haven't we learned from that?
42:40So what was your relation?
42:42Were you anything to do with it?
42:44Yeah, I was the venue manager at the time.
42:46And were we well behaved?
42:48We were very well behaved.
42:50It's taken me a trip down memory lane.
42:52Thank you very much for bringing that in.
42:54With no let up in the rain
42:56Lisa Lloyd has nipped inside
42:58to take a peek at something sweet
43:00and very rare.
43:02So we have here
43:04an Edward and Alexandra
43:06Coronation Cadbury's chocolate tin.
43:08What can you tell me about it?
43:10Well, this was given to me by my father
43:12when they were clearing the house out.
43:14But it belonged to his father
43:16and obviously it was a souvenir
43:18of the 1902 Coronation.
43:20We can see on the front it's got E and A
43:22and then portraits of Edward VII
43:24and Queen Alexandra.
43:26And then it says June 1902.
43:28But of course
43:30he wasn't crowned in June 1902.
43:32Right.
43:34Because what actually happened was
43:36just a few days before he went down with appendicitis.
43:38So the Coronation had to be cancelled.
43:40And he wasn't actually crowned
43:42until August.
43:44So if you ever find any Coronation things
43:46with August 1902 on them
43:48they are really, really rare things
43:50because of course these things are all made in advance.
43:52Now this little Cadbury's tin
43:54contained chocolate
43:56and it's the sort of thing that would have been given away
43:58to school children at the time.
44:00And we see lots and lots and lots of them.
44:02But this one is particularly special, isn't it?
44:04Yes.
44:06And why is it special?
44:08Well, that's because this chocolate is still in there.
44:10So it's got all its original packaging
44:12and the foil and the chocolate inside.
44:14Was this such a special thing
44:16that your grandfather,
44:18he didn't actually eat the chocolate?
44:20That's the question.
44:22It was so precious to him
44:24that he thought he'd just keep it.
44:26But that's what makes it a real rarity
44:28is the fact it's actually complete with its contents.
44:30They're really common
44:32and you can pick them up for
44:34£15, £20, £25.
44:36So what do you think the difference would be
44:38to this than the fact that it's got its contents?
44:40I have no idea.
44:42So do you think maybe £100 to £200
44:44might be a good guess?
44:46Probably, yes.
44:48Well, you may be surprised to know
44:50that this was actually sold with the chocolate
44:52in 2023
44:54at auction for £1,000.
44:56Wow.
44:58Wow.
45:00And that's the first for me to ever see one of these,
45:02so thank you very much.
45:06It was a pleasure.
45:08Just eight years after these bars of chocolate were issued,
45:10Edward VII was dead
45:12and a new king, George V,
45:14was ruling a country on the brink of World War I.
45:20Lord Kitchener, the Secretary of State for War,
45:22was convinced that huge manpower
45:24would be key to defeating Germany.
45:28So he set about forming
45:30the largest volunteer army Britain had ever seen,
45:36giving new recruits the chance to serve
45:38alongside their friends and neighbours
45:40in what would become known as
45:42the Pals Battalions.
45:44And a rare first-hand account
45:46of the brutal conflict
45:48the Pals faced in the trenches
45:50has caught the attention of Mark Smith.
45:54These guys who joined up
45:56in these Pals Battalions,
45:58their really big battle was going to be
46:00the Battle of the Somme,
46:02this offensive that was going to happen.
46:04And on that day,
46:06they thought they were going to win,
46:08and it didn't happen.
46:10And in that first hour,
46:12nearly 20,000 men were killed
46:14and some 42,000 were wounded.
46:16Who was this man?
46:18This is
46:20Frank Meakin.
46:22He's Nick's grandfather,
46:24and he signed up
46:26with his pals, because he was
46:28a member of the Sheffield City Pals Battalion,
46:30and went off
46:32on an adventure.
46:34When the whistle blew, they went over.
46:36And the one thing that we never get back
46:38is what happened
46:40to someone once the whistle blew.
46:42But your ancestor
46:44wrote a diary.
46:46Now, I genuinely can't read this,
46:48because the writing is...
46:50But I understand that you can.
46:52So just give us an extract of that morning.
46:54This is him in that attack.
46:56And so he's in the front line,
46:58and he's going to follow
47:00at 7.25.
47:04I found Captain Colley
47:06in the front bay,
47:08and asked him the correct time.
47:10He pulled out his watch,
47:12but he could scarcely hold it,
47:14so shattered were his nerves.
47:16But the poor fellow
47:18followed us all the same,
47:22and was killed
47:24before he got very far.
47:28Now, he goes on
47:30through the whole day in that diary,
47:32doesn't he? Yes.
47:34And he tells what it's like.
47:36How many of them went over the top that morning?
47:38According to Frank, 650
47:40went over,
47:42and the count the following morning
47:44was 47. So,
47:4647 out of 650.
47:48Wow. I mean, that's everybody gone,
47:50hasn't it, really? That's everybody gone.
47:52When your time's up,
47:54your time's up.
47:56And his time wasn't up that day,
47:58because he had to tell us
48:00what happened to those lads,
48:02and many like it. That's an incredible
48:04document. You must be very proud of him.
48:06I'm enormously proud of him.
48:08I read in the diary about stumbling
48:10and how those stumbles saved his life
48:12many times on that day,
48:14and if it weren't for those stumbles,
48:16none of my family would exist,
48:18so I feel enormously proud of him.
48:20Just moments of a second. Yes.
48:22I'm not going to value this,
48:24because you can't put a value
48:26on 20,000 lads who were killed
48:28on one day, and this
48:30is the witness, this little
48:32diary. Thank you so much
48:34for bringing this in. Thank you. It's been a real
48:36pleasure to meet this man and see this diary.
48:38Thank you so much.
48:48Now, what have we got here?
48:50I acquired a whole dinner service,
48:52and for my bonus,
48:54his tablespoons came
48:56with the crest of Sir Richard Arkwright
48:58on them. The Richard Arkwright,
49:00who built all this, and the mill down the road.
49:02The heart of the Industrial Revolution.
49:04Exactly right, yeah, and that's
49:06Arkwright's crest. Well, I never...
49:08That couldn't be more local in terms of local history,
49:10could it? No. Well, they've been made
49:12in 1787 by an
49:14interesting man, in fact. They've been made by a fellow called
49:16Richard Crosley, a specialist
49:18spoon maker. He made the odd fork.
49:20I've done a fork at home by
49:22Richard Crosley, but they're really quite scarce.
49:24Nearly all his output for his
49:26entire working life were spoons,
49:28and he died an extremely wealthy
49:30man. These days,
49:32a good set of spoons like that's about
49:34£60-70 each,
49:36possibly a little bit more, but I think,
49:38given their Arkwright connection, I just think those
49:40are probably worth sort of £600-800.
49:42What a lovely bonus.
49:49Oh my goodness, this is about
49:51as different as you can get from
49:53today's electronic computer
49:55games and entertainment games. So is
49:57this something that you have at home to sort of,
49:59you know, while away, bored evenings
50:01in the rain?
50:03Yeah, it's something that I've always enjoyed
50:05restoring and trying to get
50:07them to work again. It's the mechanics
50:09that really intrigue me more
50:11than anything. Hang on a moment. Hang on, back up.
50:13So you said them, they. There's more than
50:15this one? Oh, there is. There's about
50:1735 others that
50:19I've actually got at home.
50:21This was rescued from
50:23an old arcade that was closed
50:25in the 60s, and it had literally been left
50:27in a room for about
50:2935 years,
50:31and it was covered over and nobody
50:33had noticed it until, luckily enough,
50:35I got the opportunity to go
50:37and have a look at it and
50:39buy it. So that's
50:41what I did. You've done a fantastic
50:43job. I mean, this one probably
50:45dates from, I'm guessing, after the Second
50:47World War, so maybe around sort of
50:491950, and there is almost
50:51a sort of jukebox styling
50:53to it as well, but it's sort of nodding
50:55back to the old with, of course, this use of
50:57wood. Now, you've got the Greyhound
50:59Stadium, the name there, and the printed card.
51:01That's in really nice condition, but there is
51:03a little bit of a hole in there,
51:05so visually it looks great. The original
51:07card's up there too, which is fantastic.
51:09Does it work? Yes, it does.
51:11Which colour would you like to bet on?
51:13Oh, I'm guessing white's the hardest.
51:15We'll do white as well,
51:17and we'll do green.
51:19Fingers crossed. So the ones we don't want
51:21are red and black.
51:23Oh. And it's black.
51:25So we've lost.
51:27Oh no! We'll carry on and do...
51:29It's raining as well. Come on,
51:31our luck has to change. We'll do the bottom
51:33three. These are the ones that's more likely
51:35to win. Okay.
51:39Red, so it's won there.
51:41Well, hey, there it is! So it's
51:43paid the two pence out. So I put
51:45one in and I get two out? Yes,
51:47you did. Yeah, so
51:49yes, it works fine, and it's,
51:51no, I'm very pleased with it. So you're obviously
51:53addicted to collecting
51:55these machines with 35
51:57in your collection. Yeah, there is a lot of
51:59variations of those type of machines.
52:01You'll be amazed how many different types
52:03there are. And you want to own
52:05every single one. I would love to own
52:07every one, but I don't think
52:09some people might be a bit
52:11objection about that.
52:13When they get to the lounge, that's when I draw the line a little bit.
52:15That's it. No further than there.
52:17No more. No, that's it. Yeah.
52:19I have to sneak them in. I sneak
52:21them in and build it up that way.
52:23It doesn't go very well under an overcoat, though, does it?
52:25No, it's, no, you walk
52:27different. So we've got Fantastic
52:29Looker. It's visually great. It
52:31works mechanically. I want to know how
52:33much you gambled on this machine.
52:35How much did you pay for it when it was under a sheet?
52:37It was, I paid £25
52:39for it. £25?
52:41We're looking
52:43at about £1,000 today.
52:45Oh, right, right.
52:47Well, that is a nice surprise, then.
52:49So I can get some
52:51board now, then.
53:05So we're in the middle
53:07of Derbyshire, but these
53:09two paintings
53:11really transport us
53:13miles away.
53:15You can see they're both signed
53:17Richard Urich,
53:19who is one of my favourite
53:21artists. So I'm really
53:23excited that these showed up today.
53:25He's quite singular.
53:27He didn't really belong to any other
53:29group of artists, and he had
53:31this sort of vision of the world
53:33that you see in both these pictures.
53:35It's so timeless.
53:37How did you happen to have these?
53:39My great aunt and her husband
53:41I think were early friends and patrons
53:43of Richard's and bought
53:45these quite early on in his career,
53:47I imagine, to support him as an artist.
53:49Richard had quite a
53:51formal training as an artist. He was at Bradford
53:53College of Art, and then he went to the Slade.
53:55And the Slade at that time,
53:57that would have been in the 1920s,
53:59was all about life drawing.
54:01And when he first went, I think Urich wrote to himself
54:03that he actually wasn't that good at life drawing,
54:05but he really, really applied himself.
54:07And he became the most
54:09incredible draftsman. And I think you
54:11really see that in these pictures.
54:13Apparently it was a chance meeting
54:15with another one of my favourite artists, Christopher Wood.
54:17And Kit Wood apparently said to him,
54:19just paint what you love.
54:21And what Urich loved were boats.
54:23And this is the earlier of the two.
54:25This wonderful sort of three-masted
54:27sailing ship.
54:29And when you look closely,
54:31the detail is absolutely
54:33phenomenal.
54:35He spent so much time making sure
54:37that all the rigging, the way the
54:39masts had been put together,
54:41the way that the sails are shaped.
54:43If you look along the foreground,
54:45there's a sort of fishing net pinned
54:47to the quayside.
54:49And then how he's done the title
54:51and the signature as if it's a poster
54:53on the side of that shed.
54:55But what I think is really interesting,
54:57that one's dated 1930,
54:59and this one you can see is dated 1933.
55:01And already in three years,
55:03you can kind of see
55:05his brushwork has slightly loosened.
55:07So this is oil on canvas.
55:09And it's not quite as detailed
55:11as that one.
55:13He's allowed himself to use
55:15sort of slightly broader brushwork.
55:17And the boats are a little bit
55:19more stylised.
55:21And I don't know whether you know,
55:23but this was from his very first
55:25exhibition of oil paintings.
55:27I only discovered that
55:29reading up about him.
55:31And it's very exciting to think that,
55:33you know, they bought it
55:35from the exhibition,
55:37as you would, you know,
55:39a friend who's beginning his art career.
55:41I just love the idea that they invested
55:43what was quite a lot of money, I think.
55:45I believe this one sold for 18 guineas.
55:47Yeah, which at the time...
55:49Which is quite a lot, you know,
55:51to a friend that you think has got a bit of talent.
55:53So you say this sold for 18 guineas.
55:55I think that was 18 guineas,
55:57and I believe this was £5.
55:59£5.
56:01Well, were these to come up at auction today,
56:03I'd probably suggest a valuation
56:05on the boats picture
56:07of £10,000 to £15,000.
56:09But on this one,
56:11I think you could be looking at an estimate of
56:13£15,000 to £20,000.
56:15So for both of them together, you're in and around
56:17£25,000 to £35,000.
56:21I really am genuinely
56:23gobsmacked by that.
56:25I shall treat them with care.
56:27Thank you very much, Frances.
56:29APPLAUSE
56:31MUSIC
56:33My feeling is
56:35I'd quite like them to end up in a gallery
56:37where everyone can enjoy them,
56:39but I might hang on to them for a little while
56:41first.
56:43MUSIC
56:51Our day is almost over here at Cromford Mills,
56:53but before we go,
56:55I just wanted to show you these
56:57beautiful pieces.
56:59They're from a crystal called fluorite,
57:01and it's extracted from just one mine
57:03anywhere in the world,
57:05just up the road from here.
57:07It's called the Blue John mine.
57:09Blue John, thought to come from
57:11blue jaune, blue yellow,
57:13which is what you can see when it's extracted
57:15from the rock. Absolutely beautiful.
57:17I'd never heard of it before.
57:19I asked everyone here. You've all heard of it, haven't you?
57:21Blue John, there you go.
57:23From the Antiques Roadshow here
57:25in gorgeous but slightly
57:27damp Derbyshire. Bye-bye.
57:29MUSIC
57:59MUSIC