0:00:32 > 0:00:34This week's Roadshow
0:00:34 > 0:00:40finds itself in a place with Celtic and Norse origins,
0:00:40 > 0:00:44which was for 250 years the northern outpost of the Roman Empire,
0:00:44 > 0:00:48before becoming fiercely Scottish and then, finally, English.
0:00:50 > 0:00:53Where am I? Well, that's a question I might well be asking MYSELF soon,
0:00:53 > 0:00:59because we're going on a pub crawl of Cumbria's finest, indeed only, city, Carlisle -
0:00:59 > 0:01:01strictly in the interests of historical research,
0:01:01 > 0:01:05because what happened here in the early part of the 20th century
0:01:05 > 0:01:08changed British drinking and social habits for ever.
0:01:10 > 0:01:14In January 1916, with the country reeling from the impact of war,
0:01:14 > 0:01:18Lloyd George took the extraordinary decision
0:01:18 > 0:01:23to close down almost half the pubs in the Carlisle area, as well as three of the four breweries.
0:01:23 > 0:01:26The rest were brought under state control.
0:01:26 > 0:01:28National security was at stake,
0:01:28 > 0:01:32because of the riotous behaviour of thousands of migrants who came to build and work
0:01:32 > 0:01:35in the largest ammunition factory in the British Empire.
0:01:35 > 0:01:38It was hard and thirsty work
0:01:38 > 0:01:44and at night the workers poured into the pubs of Carlisle with plenty of money and nothing else to do.
0:01:44 > 0:01:47They poured out again blind drunk and caused havoc in the streets.
0:01:47 > 0:01:51All this was seen as a serious threat to the war effort,
0:01:51 > 0:01:55but the nationalisation of the liquor trade soon had the desired effect.
0:01:55 > 0:01:58The government drastically reduced opening hours
0:01:58 > 0:02:01and diluted beer and spirits.
0:02:01 > 0:02:08They commissioned Harry Redfern to redesign Carlisle's state-owned pubs - his fine buildings survive.
0:02:08 > 0:02:12Redfern's establishments were more spacious, more appealing,
0:02:12 > 0:02:19and built to cater for a broader clientele than the dingy "men only" drinking shops which existed before.
0:02:19 > 0:02:22He designed rooms where food could be served
0:02:22 > 0:02:28and introduced leisure areas, all of which meant less concentration on the alcohol.
0:02:28 > 0:02:31It was the start of something big.
0:02:31 > 0:02:36Architects and town planners came to Carlisle to witness the revolution.
0:02:36 > 0:02:39Redfern's model pubs were reproduced throughout Britain.
0:02:39 > 0:02:43By the time the liquor trade in Carlisle
0:02:43 > 0:02:46was finally de-nationalised in 1971,
0:02:46 > 0:02:49the old-style taverns had vanished for ever.
0:02:51 > 0:02:54And now it's opening time at the Sands Leisure Centre
0:02:54 > 0:02:57for another session of the Antiques Roadshow.
0:02:57 > 0:03:02Time, gentlemen - and ladies - please. Can we have your treasures?
0:03:02 > 0:03:06I thought, "Ah, that's a Doulton plaque!" -
0:03:06 > 0:03:10these were made at the start of the 20th century,
0:03:10 > 0:03:13a mixture of transfer printing and hand colouring.
0:03:14 > 0:03:18And then I turned it over and looked at the back.
0:03:19 > 0:03:22And we've got a label -
0:03:22 > 0:03:24always a good sign
0:03:24 > 0:03:28when you've got a framer or gilder's label.
0:03:28 > 0:03:34But it says, "Carvers and gilders, picture makers and restorers, England,
0:03:34 > 0:03:40"bevelled glass and old frames re..." - what does that say?
0:03:40 > 0:03:43- Regilded.- Regilded.
0:03:43 > 0:03:46But where's the maker? Where's the shop's name?
0:03:46 > 0:03:50- It says nothing.- No. - So we started to peel back here
0:03:50 > 0:03:54- and there we suddenly get the original colour of the paper.- Yeah.
0:03:54 > 0:04:00Now, old paper does fade, but it don't go down that much.
0:04:01 > 0:04:07- I think the frames have been... - It looks as if it's been sprayed... - Artificially aged, without a doubt.
0:04:07 > 0:04:10And what we've got inside...
0:04:10 > 0:04:16- absolutely white, pristine piece of earthenware with no Doulton maker's mark on it.- Rubbish.
0:04:16 > 0:04:22Well... Now, OK, you say "rubbish". Where did you buy it?
0:04:22 > 0:04:26- In the local auction rooms. - And did you like it?- I loved it.
0:04:26 > 0:04:31- I like the blue and white. - And what did you pay for it?- £43.
0:04:31 > 0:04:33£43 is absolutely fine.
0:04:33 > 0:04:38One has to be careful, because these appear all over the country.
0:04:38 > 0:04:42We see them on every Roadshow - somebody's got a similar one.
0:04:42 > 0:04:46But if you paid £43 for it - it's a decorative object, you like it,
0:04:46 > 0:04:50hang it on the wall, no problem, but it isn't Doulton.
0:04:50 > 0:04:54- Oh, well... It nearly fooled you, didn't it?- It did - nearly did, yes.
0:04:55 > 0:04:58Are they yours or...?
0:04:58 > 0:05:03No, they were left to my sister from a friend in the family and...
0:05:03 > 0:05:05And is this a passion of yours?
0:05:05 > 0:05:09No, we... None of the family smoke at all, so...
0:05:10 > 0:05:14Well, if we think about the history of tobacco,
0:05:14 > 0:05:18it wasn't just men who started to use it, it was men, women and children
0:05:18 > 0:05:23and they called it tobacco drinking, which is extraordinary, isn't it?
0:05:23 > 0:05:26And it wasn't just in England that the pipes were being made.
0:05:26 > 0:05:31We've got several examples here, in fact, of, um...French pipes
0:05:31 > 0:05:35and the typical French pipe was known as a Jacob.
0:05:35 > 0:05:39- And here you can see there's the letter JA...- Yes.
0:05:39 > 0:05:43..COB on here, and these were known as Jacob pipes.
0:05:43 > 0:05:48And they very often had a wooden stem that was slotted in.
0:05:48 > 0:05:52This one, as you can see, has been painted, which is quite fun,
0:05:52 > 0:05:55but there's also something written
0:05:55 > 0:06:00across the top of his turban, and it says "je suis le vrai Jacob",
0:06:01 > 0:06:06which is, "I am the real, the true Jacob",
0:06:06 > 0:06:10because the pipes were so popular, loads of people started to copy them.
0:06:10 > 0:06:13And here's another Jacob pipe.
0:06:13 > 0:06:16This one is in very bright condition because it hasn't been smoked.
0:06:16 > 0:06:19As they get smoked, so the tars...
0:06:19 > 0:06:23- They change colours. - And this one caught my eye, too.
0:06:23 > 0:06:28This relates to the storming of Sebastopol, in the Crimean War.
0:06:28 > 0:06:35So that... I mean, Sebastopol was relieved, I think, in 1855 or - yes, about 1855,
0:06:35 > 0:06:38- so we can date that one quite precisely.- Right!
0:06:38 > 0:06:41- You're getting interested in pipes now!- Yes.
0:06:41 > 0:06:46Do you think you might start collecting? The more you look at them, the more you see.
0:06:46 > 0:06:49This is quite an interesting one.
0:06:49 > 0:06:53- This is by a company called John Pollock of Manchester.- Oh, right.
0:06:53 > 0:07:00They started in the middle of the 19th century and I think they only went out of business in the 1990s.
0:07:02 > 0:07:06The company had a very long and illustrious history of pipe making.
0:07:06 > 0:07:08And the DD
0:07:08 > 0:07:11stands for Dirty Dick,
0:07:11 > 0:07:14whoever Dirty Dick was. That's a Dirty Dick pipe.
0:07:16 > 0:07:21These are all basically 19th century, apart from those earlier ones,
0:07:21 > 0:07:24and the ones that are moulded here,
0:07:24 > 0:07:28they have a value, depending on the subject,
0:07:28 > 0:07:31of between £50, £60, perhaps £80.
0:07:31 > 0:07:35Very few of them would be over the £100 mark.
0:07:35 > 0:07:38But this particular one is the cream of the collection.
0:07:38 > 0:07:44It's a little monkey and he's dressed in what looks like a bellboy outfit.
0:07:44 > 0:07:49And he was probably made in the late 19th century,
0:07:49 > 0:07:53- made of salt-glazed - you knew that...- Yes.- ..salt-glazed ceramic,
0:07:53 > 0:07:59probably from Chesterfield, where there were four or five factories producing this salt-glazed ware.
0:07:59 > 0:08:03And, although it's a pipe, it's almost immaterial
0:08:03 > 0:08:07because whenever a salt-glazed miniature comes up for sale,
0:08:07 > 0:08:11there's an enormous amount of interest in it and it would be worth
0:08:11 > 0:08:15- something between about £400-£600. - Good heavens! Thanking you.
0:08:15 > 0:08:17OK.
0:08:17 > 0:08:20- Pretty, aren't they?- Very delicate.
0:08:20 > 0:08:23I've been frightened to wear it - I don't know how strong it is.
0:08:23 > 0:08:28- It IS very delicate, because it's made from mesh work...- Yes.
0:08:28 > 0:08:32..and tiny little panels and sections and little itsy-bitsy flowers.
0:08:32 > 0:08:36- It isn't what I would call robust. - No, I didn't think it was!
0:08:36 > 0:08:42- It's made of white gold.- Oh, is it? - Yeah. And if we have a look here,
0:08:42 > 0:08:46there's a little sort of maker's stamp there.
0:08:47 > 0:08:50And a little stamp for white gold.
0:08:50 > 0:08:54Usually, when you get little carved flower sections,
0:08:54 > 0:08:58they come from somewhere like Germany or possibly Austria.
0:08:58 > 0:09:00I think that's where it came from.
0:09:00 > 0:09:03- Oh, it's not English, then? - I don't think so, no.
0:09:03 > 0:09:10- The little stamp on the back there suggests it's probably Austrian, Vienna maybe.- Oh, that's interesting.
0:09:11 > 0:09:14There's a little carved flower head in the middle
0:09:14 > 0:09:19- with a carnelian.- Yes, but I didn't know what the others were.
0:09:19 > 0:09:24- Lapis lazuli.- Ah!- The mixture of the blue against the brown works well.
0:09:24 > 0:09:27And tiny diamonds in between
0:09:27 > 0:09:30in these twin, lozenge-like settings.
0:09:30 > 0:09:34- It's very fussy. - Mm, it is.- But it works very well.
0:09:35 > 0:09:40And then the additional facility of being able to... Look.
0:09:40 > 0:09:43Oh, how clever.
0:09:43 > 0:09:50So if you've got a slightly larger wrist you can adapt it, rather like a wristwatch strap, I suppose.
0:09:50 > 0:09:52Yes, it's a bit like a watch strap.
0:09:52 > 0:09:55Now, tell me a bit more about this one.
0:09:55 > 0:10:00I inherited that from my favourite aunt - I think it was her mother's.
0:10:00 > 0:10:04- I think this is made in around about 1900-1902.- Right.
0:10:04 > 0:10:09Lovely diamonds set throughout and mounted up in silver settings.
0:10:09 > 0:10:14And then in typically... You see, you have a diamond three-stone loop.
0:10:14 > 0:10:17- Does that come off?- Yes. - How do you do it?
0:10:17 > 0:10:20You simply pull that...
0:10:20 > 0:10:21like that.
0:10:21 > 0:10:24Then, at the bottom of this
0:10:24 > 0:10:28fully flexible, swag-like drop,
0:10:28 > 0:10:31you have a beautiful, smooth,
0:10:31 > 0:10:34teardrop-shaped natural pearl.
0:10:34 > 0:10:38So it's a really nice piece, it's well made,
0:10:38 > 0:10:42and whoever mounted the diamonds has found a good quality pearl
0:10:42 > 0:10:45that balances up the frame.
0:10:45 > 0:10:48Different periods, different styles,
0:10:48 > 0:10:51but both in their own way very commercial.
0:10:51 > 0:10:56I think that the Continental mesh work bracelet
0:10:56 > 0:10:58ought to make £800
0:10:58 > 0:11:04- and I think insurance - probably around £1,500 for it.- Right.
0:11:04 > 0:11:11But because this is so jam-packed with diamonds, it has this lovely pearl and is in such good condition,
0:11:11 > 0:11:17- in auction, that would probably make around £2,500.- Oh, my goodness.
0:11:17 > 0:11:22- Which of you was responsible for putting this together?- I am, really.
0:11:22 > 0:11:27- And what inspired you to go in for this?- Just the colour of it.
0:11:27 > 0:11:32Everybody refers to it as cranberry and that's a sort of fictional word,
0:11:32 > 0:11:38because generally a lot of it is actually - and has been for many centuries -
0:11:38 > 0:11:41called ruby glass.
0:11:41 > 0:11:46The Germans discovered how to make this in the late 17th century.
0:11:46 > 0:11:49That one is very nice, of course,
0:11:49 > 0:11:54because it's got the spiral in it, and it gives a variation of colour.
0:11:54 > 0:11:58I can remember when they were £10 or £15
0:11:58 > 0:12:02but I suppose they're now up to £70-100 each one.
0:12:02 > 0:12:04Now this says...
0:12:04 > 0:12:07Is that £15 or £75?
0:12:07 > 0:12:10It's actually £75. £75.
0:12:10 > 0:12:14- And where do you think that comes from?- I don't know.
0:12:14 > 0:12:19Well, I'm not sure whether it comes from Bristol or from Sunderland.
0:12:19 > 0:12:23In both areas, they made glass of this colour.
0:12:23 > 0:12:26- But I think that's a full price. - Yes. I think so.
0:12:26 > 0:12:32- I thought they might have seen you coming, but I don't think that's possible.- No, no.
0:12:34 > 0:12:36And, technically, this is wonderful.
0:12:36 > 0:12:40You've got a layer of clear glass in the middle
0:12:40 > 0:12:44and then white inside and red on the outside,
0:12:44 > 0:12:48which by the time you've overlaid it on the white, looks like pink.
0:12:48 > 0:12:52Again, probably from the Stourbridge area
0:12:52 > 0:12:56and dating from 1880, 1890.
0:12:56 > 0:12:59That's a very unusual piece.
0:12:59 > 0:13:05- I hope you'll go on and find lots more.- Yes. Thank you very much.
0:13:05 > 0:13:09This is a fabulous model of the Royal George. Who made it?
0:13:09 > 0:13:16Well, as far as I can gather, my great-great-grandfather, that was my grandfather's grandad.
0:13:16 > 0:13:18- Your great-great-great-grandfather? - Uh-huh.
0:13:18 > 0:13:22- And was he a sailor? - No, he was a coal miner.
0:13:22 > 0:13:26We were a coal-mining family. Nothing to do with ships.
0:13:26 > 0:13:29My grandfather was pretty good with his hands, with wood,
0:13:29 > 0:13:33so probably he inherited it from his father and his grandfather.
0:13:33 > 0:13:37Not only is it extraordinarily rare to get an original photograph with the maker,
0:13:37 > 0:13:42but look - the stand alone is beautifully constructed, isn't it?
0:13:42 > 0:13:46- It's been re-rigged as well. - And polished.
0:13:46 > 0:13:51- And I love the figurehead nearer you. - It's beautiful.
0:13:51 > 0:13:56The standing rigging was to hold the mast up and the running rigging was for putting the sails up and down.
0:13:56 > 0:14:00The rigging was supposed to be on the lines of 1790-1810, I believe.
0:14:00 > 0:14:05There were many boats named the Royal George during the Georgian period.
0:14:05 > 0:14:08They were ships of the line.
0:14:08 > 0:14:14This is quite small in comparison to some of the actual models called the Royal George,
0:14:14 > 0:14:21but even so, exceptionally fine, and the photograph adds so much to its desirability to a collector.
0:14:23 > 0:14:30It's not worth a great deal because it has been restored, but certainly, at auction, about £1,000 to £1,500.
0:14:32 > 0:14:37It was a present from my brother. He was in Germany doing his national service.
0:14:37 > 0:14:40Well, these cameras were made in Germany
0:14:40 > 0:14:44in the 1950s and '60s - the time your brother was out there -
0:14:44 > 0:14:47- so he would have probably bought it new.- Oh, yes.
0:14:47 > 0:14:53It's a Petie camera and this model is known as the Vanity model, for obvious reasons -
0:14:53 > 0:14:56it's not just a camera,
0:14:56 > 0:14:59it's a powder compact and vanity case.
0:14:59 > 0:15:03And then, on the top, this one pulls out and it's for lipstick.
0:15:03 > 0:15:07And the camera comes out of the top, like that.
0:15:07 > 0:15:09Was it difficult putting the film in?
0:15:09 > 0:15:14- Was it fiddly?- Not really.- And what sort of photographs did it take?
0:15:14 > 0:15:21- Um, about two inches square!- So you almost needed a magnifying glass to look at them!
0:15:23 > 0:15:26- Any idea as to its value?- No.
0:15:26 > 0:15:32- No.- It's just it was precious to me because it was a present.- Mm.
0:15:32 > 0:15:35Well, it's not particularly old - about 50-60 years old -
0:15:35 > 0:15:40but if this came up at auction you'd probably get perhaps £400-600 for it.
0:15:40 > 0:15:43Oh, very good.
0:15:44 > 0:15:49- It's for a cheese?- It's a sort of gondola-shaped cheese coaster.
0:15:49 > 0:15:54It's printed with THE classic, early-19C blue-and-white design -
0:15:54 > 0:15:56the willow pattern.
0:15:56 > 0:16:01Staffordshire potters produced willow patterns on all shapes and sizes.
0:16:01 > 0:16:03This is a particularly eccentric one.
0:16:03 > 0:16:08When it came to putting a print like that on the inside of a curved shape,
0:16:08 > 0:16:16they would take an existing print that may not have been intended for this particular artefact -
0:16:16 > 0:16:21the print has been stretched so that they could re-adapt an existing print
0:16:21 > 0:16:25onto a new shape. It's a jolly nice thing.
0:16:25 > 0:16:28Well, this was probably made circa 1810, 1820.
0:16:28 > 0:16:34It's rare and, to a blue-and-white collector, I think probably worth...
0:16:34 > 0:16:39- in the region of £700 to £1,000. - Oh, smashing. Yeah.
0:16:39 > 0:16:44- It's a very, very classy object. - Thank you.
0:16:44 > 0:16:47There's a pub in Carlisle called the Malt Shovel
0:16:47 > 0:16:52and here is the very object - a malt shovel and, presumably, a malt fork.
0:16:52 > 0:16:59- How did you come across these? - I have a pub on the outskirts of Carlisle and, when we bought it,
0:16:59 > 0:17:03the estate manager at the time came across these and gave them to us.
0:17:04 > 0:17:09It was long before your time that Lloyd George nationalised the pubs,
0:17:09 > 0:17:13but do any of your older customers talk about it?
0:17:13 > 0:17:16- One or two of the very older chaps. - What do they say?
0:17:16 > 0:17:19That the beer wasn't all that good!
0:17:21 > 0:17:26My grandfather got it from Robinson in Ilkley and it's been in the family ever since.
0:17:26 > 0:17:30Robinsons - as you know - are a prominent Ilkley maker.
0:17:30 > 0:17:33They specialised in this kind of furniture.
0:17:33 > 0:17:37It is a cross between furniture and engineering, really.
0:17:37 > 0:17:43In Robinson's catalogue, this is an invalid couch - absolutely ingenious.
0:17:43 > 0:17:48The back here raises up. If you could turn that wheel...
0:17:48 > 0:17:50Look at that.
0:17:50 > 0:17:53And what I really like is the gearing
0:17:53 > 0:18:00because it's so nicely geared that you can be lying on this couch and adjust it yourself, can't you?
0:18:00 > 0:18:03And the same thing happens down here - here's the wheel
0:18:03 > 0:18:07and this piece also is raised on the gearing.
0:18:07 > 0:18:11The other ingenious thing is the suspension system -
0:18:11 > 0:18:17this is a continuous coil of wire zigzagging right the way down and it's really rather comfortable.
0:18:17 > 0:18:19Very much so.
0:18:19 > 0:18:26- It looks like it should be plugged into the mains!- It could even be a sun bed, couldn't it?
0:18:26 > 0:18:29Um, presumably you must have a mattress for it?
0:18:29 > 0:18:32Yes. It's the original one.
0:18:32 > 0:18:36It's horse hair, but it is in need of repair.
0:18:37 > 0:18:43- A great thing. Now, have you any idea how much it's worth?- No idea at all. - You've not got it insured?- No.
0:18:43 > 0:18:48Well, if you were to buy one of these - and they'd be difficult to find -
0:18:48 > 0:18:53- you'd need to be paying somewhere around £2,500.- Good grief!
0:18:53 > 0:18:57- Is that more than you thought? - That'll please my wife.
0:18:57 > 0:19:01Well, they were a gift from my father's cousins
0:19:01 > 0:19:05and um, this is for grapes, so they said.
0:19:06 > 0:19:11- Right.- And the spoons... Now, they're made of a special metal, I think.
0:19:11 > 0:19:15- This is the information you were given?- Yes, that's all,
0:19:15 > 0:19:19- but they must be a lot of years old. - That's true.
0:19:19 > 0:19:22Let's have a look at these first.
0:19:22 > 0:19:27- These are NOT for grapes.- Oh. - These are actually for sugar.
0:19:27 > 0:19:30- Oh, yes.- These are sugar nippers
0:19:30 > 0:19:34and when you get into...about 1730, these really start to develop.
0:19:34 > 0:19:36Oh, yes.
0:19:36 > 0:19:41Then these dominate right through until about 1770, when sugar tongs -
0:19:41 > 0:19:45as we tend to think of them - really came into their own.
0:19:45 > 0:19:51They're marked, in fact, just there, just next to the grips.
0:19:51 > 0:19:57It's a partnership, in fact - London goldsmiths called Faux and Love.
0:19:57 > 0:19:59Now, I'm intrigued with these,
0:19:59 > 0:20:04that they suggested that they were some special metal other than silver.
0:20:04 > 0:20:07Because they ARE actually silver.
0:20:07 > 0:20:11- They are? Oh.- The marks - and this may be what threw them -
0:20:11 > 0:20:16the marks are very difficult to read, and just two.
0:20:16 > 0:20:20Most people expect to see four, or perhaps five, marks
0:20:20 > 0:20:22- on a piece of silver.- Mm-hm.
0:20:22 > 0:20:26But at this period - again, around the 1760s -
0:20:26 > 0:20:33they only put a maker's mark and we've got the maker's mark there.
0:20:33 > 0:20:36That's actually WF - William Fearn -
0:20:36 > 0:20:39a very important spoon maker.
0:20:39 > 0:20:42That's the standard mark next to it.
0:20:42 > 0:20:47We've got the little lion passant. But they're very difficult to read.
0:20:47 > 0:20:51So... These, in this sort of condition,
0:20:51 > 0:20:55I would expect to see them on sale for perhaps £120-150.
0:20:56 > 0:21:00- Really?- That sort of price. And this, a lovely set of six -
0:21:00 > 0:21:04again, one would expect to be paying the best part of £100 for those.
0:21:04 > 0:21:09- If not a bit more.- Uh-huh.- Um, so that's a very nice little group.
0:21:09 > 0:21:13Thank you very much for telling me about them.
0:21:13 > 0:21:17My husband's grandfather started off as a ship's captain in Manchester
0:21:17 > 0:21:22and eventually became a ship owner.
0:21:22 > 0:21:26And when my mother-in-law recently died,
0:21:26 > 0:21:34my husband, who's a keen sailor, said he would like all the boats in the house - there were quite a few.
0:21:34 > 0:21:39The most important aspect of this very decorative object is the ship,
0:21:39 > 0:21:41and it's done in quite good detail.
0:21:41 > 0:21:45What I particularly like, though, is the background,
0:21:45 > 0:21:50with the houses, the palm trees, the church.
0:21:50 > 0:21:55The bottle itself - it's got some marks on the bottom here.
0:21:56 > 0:22:00If we have a look, we can just make out
0:22:00 > 0:22:04- "Co, Limited." - Well, I think it's "& Co, Limited".
0:22:04 > 0:22:09- So that would indicate that it is a British bottle.- Yes.
0:22:09 > 0:22:15It was always a lovely thought that the sailors themselves made this - I don't think actually sailors did.
0:22:15 > 0:22:21Not all of them, by any means, and I think they were often sold as souvenirs
0:22:21 > 0:22:25in ports and harbours all around the world.
0:22:25 > 0:22:30So what we have is a very nice ship in bottle, good size, good condition,
0:22:30 > 0:22:33with this very pretty and evocative background.
0:22:33 > 0:22:38It's an object which collectors would in fact be willing to pay
0:22:38 > 0:22:42probably £300 for, so it's worth looking after.
0:22:43 > 0:22:46- Thank you very much for bringing it. - Thank you.
0:22:46 > 0:22:50I have to admit that this vase is not the sort of thing
0:22:50 > 0:22:53I would love to have at home.
0:22:53 > 0:22:57- No, neither do I. I hate it. - You hate it?- I hate it.
0:22:57 > 0:23:00How did you come by this monstrous object, then?
0:23:00 > 0:23:07Well, we were emptying my mother-in-law's house and she had got it from HER mother.
0:23:07 > 0:23:12My husband said we should keep it, and I said no, but he won.
0:23:13 > 0:23:18- Normally, these come in pairs... You've got a pair?- Yes.
0:23:20 > 0:23:24Now, I have to defend it, because actually this is a masterpiece -
0:23:24 > 0:23:27a sort of technical virtuosity.
0:23:27 > 0:23:30They've done amazing things with this pot.
0:23:30 > 0:23:35It was made in Germany in about 1880 in a place called Mettlach.
0:23:35 > 0:23:37And they specialised
0:23:37 > 0:23:42in producing these vases in a sort of historical style.
0:23:42 > 0:23:47They were trying to make them look sort of Renaissance, but they failed,
0:23:47 > 0:23:53because they put elements together that never happened together before.
0:23:53 > 0:23:56But, as a result, you get incised decoration here
0:23:56 > 0:23:59with inlaid colour,
0:23:59 > 0:24:05and you get rococo decoration done with layers of grey stoneware slip
0:24:05 > 0:24:10and then the handles are done in a sort of maiolica technique,
0:24:10 > 0:24:13all covered with tin glaze.
0:24:13 > 0:24:17This is obviously the heroine offering the hero
0:24:17 > 0:24:20a glass of something
0:24:20 > 0:24:24and on the other side, another scene from German legend,
0:24:24 > 0:24:28a sort of Viking with a winged helmet.
0:24:28 > 0:24:32I don't know what this chap - oh, it's a chapess, it's a lady.
0:24:32 > 0:24:36- I think it's a lady. - A lady with a horse.
0:24:36 > 0:24:38Oh, I think one has to say
0:24:38 > 0:24:44- that this pot wins en enormous number of prizes for effort.- Right.
0:24:44 > 0:24:48But I would agree with you, at the same time,
0:24:48 > 0:24:54that it isn't everybody's cup of tea, but there are people who like this sort of thing.
0:24:54 > 0:24:56- Really? - And somebody might well pay you
0:24:56 > 0:24:58between £1,000 and £1,500 for the pair.
0:25:02 > 0:25:06Well, I only wanted to... I was proving a point to my husband.
0:25:06 > 0:25:13I said they were worth nothing and if that was the point, they were going in the bin.
0:25:13 > 0:25:18- Well, I wouldn't do that because, of their kind, they're extremely good.- Thank you.
0:25:18 > 0:25:25- A strange round box with skulls on - do you know what it's for?- No idea.
0:25:25 > 0:25:29Well, it's a simple snuff box. It looks as though it's been carved.
0:25:29 > 0:25:35But in fact it couldn't have been carved with that much detail -
0:25:35 > 0:25:38you can just see these numbers on the skulls, and the little circles.
0:25:38 > 0:25:41- It's actually been moulded.- Ah.
0:25:41 > 0:25:43Rather like an early form of plastic,
0:25:43 > 0:25:48- but plastic wasn't around in the 1850s or 1860s when this was made.- I see.
0:25:48 > 0:25:50So the actual technique interests me,
0:25:50 > 0:25:55but also what interests me is it says along here,
0:25:55 > 0:25:58"the cranium du Docteur Gall".
0:25:58 > 0:26:01Dr Gall was the person in the late 18th century who came up with the idea of phrenology,
0:26:01 > 0:26:07- that your characteristics were to be found by prodding around on your skull.- Yes.
0:26:07 > 0:26:13- Various parts of your skull related to parts of your personality.- I see.
0:26:13 > 0:26:15- Where did you get it from? - Well, my father left it to me
0:26:15 > 0:26:20and he got it from his great-aunt...
0:26:20 > 0:26:23roughly 50 years ago.
0:26:25 > 0:26:28- See, the lining here is tortoiseshell.- Mm.
0:26:28 > 0:26:31And, again, back on the outside,
0:26:31 > 0:26:35three images of the skull and the various numbers.
0:26:35 > 0:26:38And then if you look at the bottom of the case,
0:26:38 > 0:26:42here are the numbers with the various characteristics.
0:26:42 > 0:26:46So if you look at number 24 it says "l'amour",
0:26:46 > 0:26:49so that's where all your love tendencies came.
0:26:49 > 0:26:55- You could actually see where that was on your skull.- Oh, I see. I had absolutely no idea at all.
0:26:55 > 0:26:59I think he was born around 1750 and died around about 1828,
0:26:59 > 0:27:04- but phrenology items were made up to the end of the 19th century.- Yes.
0:27:04 > 0:27:07This has a dual interest.
0:27:07 > 0:27:13- Not only would a snuff box collector like it, but also somebody interested in phrenology.- Yes, I see.
0:27:13 > 0:27:15A lot of doctors collect phrenology.
0:27:15 > 0:27:20- I would see this at auction somewhere in the region of £600-800.- Oh.
0:27:20 > 0:27:22It's a very nice piece.
0:27:24 > 0:27:28There's a wrist watch - let's have a look.
0:27:28 > 0:27:34You have to look very carefully at old wrist watches to make sure the movement
0:27:34 > 0:27:38isn't by someone like Rolex, which will push the value right up.
0:27:38 > 0:27:43If not, sadly, they're worth very little. ..What else have we got?
0:27:44 > 0:27:46A thimble there... What's this?
0:27:51 > 0:27:53Where did you get this?
0:27:53 > 0:27:59It's just as I inherited the box, just a mixture of bits and pieces.
0:27:59 > 0:28:05- I didn't think it had any value... - Did you think the mount might have been gold?- No, no.
0:28:05 > 0:28:12- It is.- Is it?- And did you think the stones might have been...? You thought they were paste.- Paste, yes.
0:28:12 > 0:28:14They're real stones.
0:28:14 > 0:28:18All these are real gems - topaz here at the bottom, wings here.
0:28:18 > 0:28:22They're all foiled to enhance their colour
0:28:22 > 0:28:27and they did this quite frequently round about the late Regency period,
0:28:27 > 0:28:32- so it probably goes back to round about late Regency times.- Amazing.
0:28:32 > 0:28:36- 1825, maybe, at the very latest. - Really?- Yes.
0:28:36 > 0:28:42- That one, in the box of costume pieces, is worth about £400-500. - £400-500?- Mm.
0:28:42 > 0:28:48- It's been in that box for the last two years.- Is it going to keep on living in there?- No.
0:28:49 > 0:28:53Well, there she is, churning away at her butter,
0:28:53 > 0:28:57as she's done year after year, poor thing. Now, is she yours?
0:28:57 > 0:29:01It belonged to my husband's grandmother.
0:29:01 > 0:29:05- Oh, right.- Who died about 20 years ago. She was a lovely little lady.
0:29:05 > 0:29:08She had some treasures and this was one of them.
0:29:08 > 0:29:12- And this was something that you knew as a child?- Yes.
0:29:13 > 0:29:17This used to stand on the dresser in the kitchen.
0:29:17 > 0:29:20And when I went to dinner with her,
0:29:20 > 0:29:26- I asked for it to be brought down. - And you'd be allowed to wind the handle.
0:29:26 > 0:29:31Here we've got a little china doll, glazed china doll,
0:29:31 > 0:29:35dressed in this printed cotton which looks as if it's probably faded a bit
0:29:35 > 0:29:39but the kitchen itself is made out of paper and cardboard
0:29:39 > 0:29:43with these rather sweet little accessories
0:29:43 > 0:29:45which are labelled "dairy" and so on.
0:29:45 > 0:29:48And the little doll herself would probably date
0:29:48 > 0:29:55- from the 1860s, 1870s - she COULD be as early as that.- Oh, right.
0:29:55 > 0:29:59It doesn't mean to say that this was made at the time,
0:29:59 > 0:30:05but I don't see any reason why it couldn't have been made in perhaps the 1870s or 1880s.
0:30:05 > 0:30:09So it's a lovely evocative scene of a time gone by.
0:30:09 > 0:30:14I would have thought, in auction, we'd be talking about £300.
0:30:14 > 0:30:17It's a lovely object and one which...
0:30:17 > 0:30:21- Well, you obviously do treasure it. - I love it.
0:30:21 > 0:30:26- 1774.- Mm.- That was before they were nationalised.- Yes. Yes it was.
0:30:26 > 0:30:31- And was it any different running it one way or the other? - I wasn't in it before, so...
0:30:31 > 0:30:36There was a lot of rules under the state management system.
0:30:36 > 0:30:43One man could not buy another man a drink, women were not allowed in pubs, and lots of rules like that.
0:30:43 > 0:30:48- No treating?- No treating - wouldn't go down too well these days.
0:30:48 > 0:30:52These things aren't always considered to be that politically correct now.
0:30:52 > 0:30:56But it does have a value
0:30:56 > 0:31:00- and I suspect at auction it would make about £300 or £400.- Not bad.
0:31:00 > 0:31:04- These are all empties, aren't they? - Yes.
0:31:04 > 0:31:09Now, we have full bottles. What's the story of these?
0:31:09 > 0:31:14Well, these are produced by Carlisle & District State Control - that one's got the address
0:31:14 > 0:31:1819 Castle St, Carlisle, which is about 800 metres away from here.
0:31:18 > 0:31:22It was Demerara rum produced by the State Control,
0:31:22 > 0:31:27which came about in about 1917, I think, and then was disbanded
0:31:27 > 0:31:29in about 1970.
0:31:29 > 0:31:32I believe it was one of the few nationalised industries
0:31:32 > 0:31:36that made a regular profit, about £500,000 each year.
0:31:36 > 0:31:41That one, and the bottle of whisky, belonged to me mum. She worked for Carlisle State Control.
0:31:41 > 0:31:46I presume your mother would have tasted the contents - was it good stuff?
0:31:46 > 0:31:51She was a teetotaller, actually. She didn't like drink at all.
0:31:51 > 0:31:56She sold many bottles and pints of it, but she would never drink.
0:31:57 > 0:32:00I was related to a Small...
0:32:01 > 0:32:07It's inscribed "James Small At Ye" - there we have the sign of the ship -
0:32:07 > 0:32:09"bound for" - this is the interesting bit -
0:32:09 > 0:32:12"bound for Virginia."
0:32:13 > 0:32:16- "At St Neots."- Yes.
0:32:17 > 0:32:19And then the date, 1730.
0:32:19 > 0:32:23There is a curious thing straight away.
0:32:23 > 0:32:261730, we're into the reign of George II - is that right?
0:32:26 > 0:32:31- I couldn't tell you.- He would have been three years on the throne then.
0:32:31 > 0:32:35But what have we got here? We've got the impression
0:32:35 > 0:32:40of the Customs and Excise mark for William III - he died in 1702.
0:32:40 > 0:32:44So there's 28 years between the last official use of this mark -
0:32:44 > 0:32:48- this should have a George II inscription.- Yes.
0:32:48 > 0:32:54It's a humble pottery and they were simply using old marks, they couldn't be bothered to get new ones cut.
0:32:54 > 0:33:00Because this inscription is genuine, 1730 is the date
0:33:00 > 0:33:04and this is the mark that would have been put on a tankard
0:33:04 > 0:33:09made for James Small, who would have drunk regularly at the sign of the ship.
0:33:09 > 0:33:14- Ah.- And pub signs are always showing things much older than the present.
0:33:14 > 0:33:19- So, do you not think that he actually did travel?- I don't know.
0:33:19 > 0:33:24Only you can establish that by going through the Small side of your family
0:33:24 > 0:33:28because, to make an inscription "bound to Virginia"
0:33:28 > 0:33:32suggests very strongly that's what he was going to do.
0:33:32 > 0:33:36Maybe he didn't like it, maybe he came back.
0:33:36 > 0:33:42The material is salt-glazed stone ware. It could have been made in a number of factories.
0:33:42 > 0:33:47There were factories in Cambridgeshire, Northamptonshire,
0:33:47 > 0:33:50but it could also have been from London.
0:33:50 > 0:33:57It's more likely to have been local to where this Ship pub is - is there a Ship at St Neots?
0:33:57 > 0:34:00- It would be interesting to find out. - I wouldn't know.
0:34:00 > 0:34:03So you've got tons of history
0:34:03 > 0:34:08- for you to carry on researching here. - Yes.- And is it going to go down the family line?
0:34:08 > 0:34:10Better had do!
0:34:10 > 0:34:15Because pottery usually goes down the female line, so you're in business, I hope.
0:34:15 > 0:34:19- Well, it comes from my father's side of the family.- OK.
0:34:19 > 0:34:25- So, you would certainly have to insure for between £3,000 and £5,000. - Really?- God!
0:34:25 > 0:34:28Because the big thing is Virginia.
0:34:28 > 0:34:33- Yes.- You only need an eccentric, but rich, collector of English ceramics
0:34:33 > 0:34:38in the States - preferably in Virginia - to say,
0:34:38 > 0:34:41"Gee, that's a real swell tankard," you know.
0:34:41 > 0:34:44And it is!
0:34:44 > 0:34:49My initial reaction looking at this, is one of horror, because of the top.
0:34:49 > 0:34:54- Sure.- Let's open this out and we'll see the top in its full ghastliness.
0:34:54 > 0:35:01- Yes. I believe the top to be later than the underneath. - I think you're absolutely right -
0:35:01 > 0:35:05the colour is quite extraordinary in the surface.
0:35:05 > 0:35:08It just looks utterly false.
0:35:08 > 0:35:12Most people call this a credence table. Is that how you know it?
0:35:12 > 0:35:18It was known in the family as the zebra table - why, I do not know. But I believe it's a credence table.
0:35:18 > 0:35:23Most unusually, we've got two cupboard doors in the frieze here.
0:35:23 > 0:35:25Can we get that one open?
0:35:25 > 0:35:29And these are hinged on metal pins which are still in situ
0:35:29 > 0:35:35and on the edge of each door we can see where the tongue of the lock engaged.
0:35:35 > 0:35:41So my guess is that we had a single lock in the centre - here is the escutcheon -
0:35:41 > 0:35:45- and the same lock engaged both doors. - Yes.
0:35:45 > 0:35:48And then below we've got
0:35:48 > 0:35:51this marvellous ribbed, or gadrooned, leg
0:35:51 > 0:35:55coming down to this rather unusual cross stretcher.
0:35:55 > 0:35:57Most tables of this type
0:35:57 > 0:36:01have a stretcher round the periphery but this is most unusual.
0:36:01 > 0:36:05It's got a repaired but substantially original joint.
0:36:05 > 0:36:11- And the colour is great. - What age do you reckon it to be?
0:36:11 > 0:36:16- I was going to ask YOU that.- We've always reckoned it to be Jacobean,
0:36:16 > 0:36:18early Jacobean, but that again...
0:36:18 > 0:36:22Possibly earlier. This style of ribbed decoration
0:36:22 > 0:36:28on these doors, the gadrooning on the turned legs, these are all consistent
0:36:28 > 0:36:31with a late Elizabethan or Jacobean date,
0:36:31 > 0:36:35- so any time from about 1580... - Really?
0:36:35 > 0:36:39- Possibly as late as 1640 but my guess is around 1600.- Yes.
0:36:39 > 0:36:43And it's all there, really. It's a marvellous base.
0:36:45 > 0:36:49I suppose you MIGHT be able to buy this
0:36:49 > 0:36:53in its present condition, with this later top,
0:36:53 > 0:36:57for...between £2,500 and £3,500.
0:36:57 > 0:37:03- But with an original top, something like this would be worth in excess of £15,000.- Yeah?
0:37:03 > 0:37:06Never thought of putting a clock in a bucket.
0:37:06 > 0:37:09It was a way of bringing it down.
0:37:09 > 0:37:12This is a beautiful electro-mechanical clock.
0:37:12 > 0:37:15It LOOKS like a conventional skeleton clock,
0:37:15 > 0:37:19but the electrical part is winding the mechanical part.
0:37:19 > 0:37:24Instead of having a main spring in the normal way,
0:37:24 > 0:37:26it's got a very small main spring
0:37:26 > 0:37:30- and then uses an electric motor to rewind it.- Yes.- The advantage of that
0:37:30 > 0:37:34is that the spring is rewound quite frequently.
0:37:34 > 0:37:37When it's rewound, it maintains a more constant force.
0:37:37 > 0:37:42- Now, it's got a maker's name on it, called...- Harwood.- Yes...
0:37:42 > 0:37:44who I don't know. Can you help me?
0:37:44 > 0:37:48- He was my great-uncle. - That's a good start.- Yes.
0:37:48 > 0:37:52- Do you know when he made this one? - No idea.
0:37:52 > 0:37:55I knew him when I was about ten years old
0:37:55 > 0:38:01and I wasn't interested in what he did. Now I would have been.
0:38:01 > 0:38:03- He died just before the war.- Yes.
0:38:03 > 0:38:07- Died before the war. - Before the Second World War.
0:38:07 > 0:38:10OK, I'm wiring this thing up...
0:38:10 > 0:38:12Is it going?
0:38:12 > 0:38:16- What it's theoretically supposed to do...- It DID do.
0:38:16 > 0:38:20- It lights up...- It lights up. - ..as it winds up.
0:38:20 > 0:38:23- Now watch the light. - It SHOULD come on.
0:38:24 > 0:38:27And the escape is working...
0:38:27 > 0:38:29There's a light but we have no light.
0:38:29 > 0:38:32Most likely find the bulb's gone or something.
0:38:32 > 0:38:37It's worth taking a little time to look at the quality of the mechanism.
0:38:37 > 0:38:39It's a pierced fretwork -
0:38:39 > 0:38:44conventional skeleton clock practice, which was to pierce out the frame -
0:38:44 > 0:38:48but you can see that it's been spotted or knurled
0:38:48 > 0:38:50all over the plates.
0:38:50 > 0:38:54It's actually done with a small scraper.
0:38:55 > 0:38:58Now, the screws have all been blued.
0:38:58 > 0:39:03- They've all been highly polished and then blued over.- Yes.
0:39:03 > 0:39:06And the pillars are beautiful.
0:39:06 > 0:39:09They've been polished, circulared and lacquered,
0:39:09 > 0:39:14and the whole base has this machining pattern or scraping pattern.
0:39:14 > 0:39:18It is stunning. It's a sophisticated and complicated clock.
0:39:18 > 0:39:23He was very able. Some of the clocks he made were absolutely beautiful.
0:39:23 > 0:39:28- Have you got it insured? - Our son has because it's really his.
0:39:28 > 0:39:31- He should have it insured for £5,000. - Five?
0:39:31 > 0:39:35I don't think he's got it insured for that.
0:39:35 > 0:39:41The connection is the Hudson Scotts branch of the Metal Box Company where I worked from 1968.
0:39:41 > 0:39:43We had our own artists' studio,
0:39:43 > 0:39:46and these pictures were part of it.
0:39:46 > 0:39:48We'd pick the designs off paintings
0:39:48 > 0:39:54- and transport them onto tins. - So these belonged to your company? - Absolutely.
0:39:54 > 0:40:01When they closed the studio down in '69, the paintings were offered to the staff.
0:40:01 > 0:40:05- How wonderful. And you purchased these?- I liked these two.
0:40:05 > 0:40:09And others. I can't remember what happened to them.
0:40:09 > 0:40:15- Have you liked looking at the paintings?- Yeah, I really like that one.- Because of the dogs?
0:40:15 > 0:40:19- Yes.- Yes, this has a more serious subject,
0:40:19 > 0:40:24and it's decorative in colour but it's...it's rather poignant.
0:40:24 > 0:40:28The painting at the top is signed by Arthur Wardle,
0:40:28 > 0:40:30a very well-known animal painter.
0:40:30 > 0:40:35I think it's a particularly good group of dogs,
0:40:35 > 0:40:38and you've got the guns and the pheasants.
0:40:38 > 0:40:44I think anybody would be enchanted by the sympathetic studies of the dogs.
0:40:44 > 0:40:48The way that the broken-down fence and the landscape is painted
0:40:48 > 0:40:50is beautifully observed and rendered.
0:40:50 > 0:40:56- How much did you pay?- We'd to give... - This one.- Well, it was BOTH of them
0:40:56 > 0:40:58because they came as a job lot.
0:40:58 > 0:41:05We had to give a donation to the Sports and Social Club and I think both of them cost me nearly a pound.
0:41:05 > 0:41:08- Gosh. And that didn't surprise you at the time?- No.
0:41:08 > 0:41:10How incredible.
0:41:10 > 0:41:13This watercolour...
0:41:13 > 0:41:15it's signed here
0:41:15 > 0:41:21Septimus Scott, and he worked at the beginning of the 20th century.
0:41:21 > 0:41:25In this, what appears to be a rather cheery scene,
0:41:25 > 0:41:27we have these soldiers going off to war,
0:41:27 > 0:41:30and the young boy waving happily.
0:41:30 > 0:41:34And we have to really consider the relationship
0:41:34 > 0:41:37between him and the older gentleman.
0:41:37 > 0:41:41I believe that this must be his grandfather
0:41:41 > 0:41:45and that this boy's father probably would be going off to war.
0:41:45 > 0:41:48He could be waving him goodbye.
0:41:48 > 0:41:52So it's a much more thought-provoking painting
0:41:52 > 0:41:58- and its value would be probably in the region of £2,000 to £2,500. - Good heavens.
0:41:58 > 0:42:00This wonderful painting of the dogs
0:42:00 > 0:42:04should be valued between £10,000 and £15,000
0:42:04 > 0:42:08and should be insured for as much as £20,000.
0:42:08 > 0:42:11- That one?- Yes.- Good heavens!
0:42:11 > 0:42:16Earlier, Lars Tharp was looking at an 18th-century stoneware tankard
0:42:16 > 0:42:22which seemed to be linked to a Ship Inn at St Neots and he wondered if such a place existed.
0:42:22 > 0:42:26Well, there is no Ship Inn at St Neots, but there WAS,
0:42:26 > 0:42:30from the early 17th century until well into the 20th century.
0:42:30 > 0:42:35If you think our theme of public houses has become an obsession,
0:42:35 > 0:42:39all I can say is, to the people of Cumbria, your very good health
0:42:39 > 0:42:42and from Carlisle, goodbye.
0:42:58 > 0:43:02Subtitles by BBC