0:00:34 > 0:00:39Welcome to Nottingham, city of legends and lace, of Robin Hood,
0:00:39 > 0:00:45HP Sauce and Raleigh bicycles. Land of DH Lawrence and Lord Byron,
0:00:45 > 0:00:50of William Booth - salvationist, and Jesse Boot - chemist.
0:00:50 > 0:00:56Long before that illustrious list, Nottingham was established as Snottingaham -
0:00:56 > 0:00:59the tribal leader bearing the proud name of Snot.
0:00:59 > 0:01:04Happily, the invading Normans found that difficult to pronounce.
0:01:04 > 0:01:09And, at certain times, the name of this inn would be difficult to say -
0:01:09 > 0:01:15it's one of the oldest in England. The Crusaders used to stop off on their way to the Holy Land.
0:01:15 > 0:01:19"Trip" in Old English means "stopping place".
0:01:19 > 0:01:23And legend insists that Robin Hood and his men made merry here
0:01:23 > 0:01:28while the Sheriff of Nottingham held court nearby at Nottingham Castle.
0:01:32 > 0:01:38It has been destroyed and rebuilt many times in its turbulent history.
0:01:38 > 0:01:40The Civil War began here in 1642,
0:01:40 > 0:01:43when Charles I raised his standard
0:01:43 > 0:01:46to enlist men to fight a rebellious parliament.
0:01:46 > 0:01:51If walls could talk, these would have a lot to say for themselves.
0:01:51 > 0:01:58The rock they stand on is soft sandstone, ideal for scooping out nice cosy caves.
0:01:58 > 0:02:01Indeed, in Alfred the Great's time,
0:02:01 > 0:02:04the city was known as "the house of caves".
0:02:04 > 0:02:07Generations of Nottinghamians lived in them.
0:02:07 > 0:02:13In 1330, Edward III's supporters used this passage to retake the castle from Roger Mortimer
0:02:13 > 0:02:17who had murdered Edward's father and slept with his mother.
0:02:17 > 0:02:22Mortimer was dragged down here and hauled off to London
0:02:22 > 0:02:26where he was hanged, drawn and quartered.
0:02:27 > 0:02:31Spin forward 500 years and we find young Jesse Boot,
0:02:31 > 0:02:35who, at the age of 13, is running his parents' chemist shop.
0:02:35 > 0:02:42He hit on the novel idea of buying in bulk and selling many items for a small but copious profit.
0:02:42 > 0:02:47Jesse Boot became the owner of the UK's largest chain of chemist shops.
0:02:47 > 0:02:51He was also a great benefactor of the University of Nottingham,
0:02:51 > 0:02:55providing land and a fine pharmacy department.
0:02:55 > 0:03:00And fittingly, for a town which boasts the world's oldest football club,
0:03:00 > 0:03:07today's Antiques Roadshow comes from a sporting venue - the Harvey Hadden Sports Centre.
0:03:07 > 0:03:11- Now, when you were given this, did you think it was a brooch?- Yes.
0:03:11 > 0:03:15I only ever saw my grandmother wear it as a brooch,
0:03:15 > 0:03:19so I didn't think it was anything else, and it's got a pin on the back.
0:03:19 > 0:03:25There's a clue to the fact that it was to be worn in another way.
0:03:25 > 0:03:27- Right.- Have you unscrewed this?- No.
0:03:27 > 0:03:30- And there it falls away.- Oh!
0:03:30 > 0:03:34And that's the key to another function to this very pretty jewel.
0:03:34 > 0:03:38- It seems freer without it, doesn't it?- Yes.
0:03:38 > 0:03:44- In the fitted box in which this was originally sold, there would be a long tortoiseshell comb...- Yes.
0:03:44 > 0:03:49..and it could be screwed into the back there, and in the same box
0:03:49 > 0:03:54- would be some enormously long white egret's feathers - aigrettes.- Oh!
0:03:54 > 0:04:01- So before you were married, you'd be wearing it in your hair like this.- Oh, really?- Yeah,
0:04:01 > 0:04:07- and it would have huge white feathers jutting out at the top and you'd be the belle of the ball.- Wow!
0:04:07 > 0:04:14The word "aigrette" is a corruption of the word "egret" because the feathers came from the white egret.
0:04:14 > 0:04:18Very spiky, very sort of shaving-brushy-looking feathers.
0:04:18 > 0:04:20- Yes.- And very, very elegant.
0:04:20 > 0:04:26This was what a girl would wear before she was married, before she could wear a tiara.
0:04:26 > 0:04:30- Only married women can wear tiaras in their hair.- Right.
0:04:30 > 0:04:36- And this would be part of etiquette in... What date do you think?- I've no idea. It was my grandmother's,
0:04:36 > 0:04:42and I believe that she inherited it, but other than that, I don't know.
0:04:42 > 0:04:46Well, we're pushing it a little bit further back,
0:04:46 > 0:04:51- probably 1870s to 1890s.- Wow! - And it's hugely versatile.
0:04:51 > 0:04:57It HAS lost its feathers, they perished long ago. In fact, most of the egrets perished.
0:04:57 > 0:05:01They were hunted to nearly extinction to get these feathers.
0:05:01 > 0:05:06The velvet case has gone, the tortoiseshell comb has gone...
0:05:06 > 0:05:10- Well, it's a blaze of diamonds, it's wonderful.- It's a bit sparkly.
0:05:10 > 0:05:15Along the bottom here is a gallery, which raises the diamond work up
0:05:15 > 0:05:19when it's worn as a brooch, to let the light come through.
0:05:19 > 0:05:24Pierced by hand, drawn out with a little diamond work and then filed.
0:05:24 > 0:05:28Then the silver settings are let into this, tubes of silver,
0:05:28 > 0:05:34and each diamond is rubbed round and cut down. They call them cut-down settings.
0:05:34 > 0:05:40- So it's a hugely sentimental one for you, isn't it?- Oh, yes, it will be passed on to my daughter.
0:05:40 > 0:05:45Well, that's wonderful, but I think we've got to make a stab at value.
0:05:45 > 0:05:49- I think, let's put it down at £3,000 for insurance.- Goodness me!
0:05:49 > 0:05:52That'll give my husband a shock!
0:05:52 > 0:05:56All you've got to do is look after it, and wear it for him.
0:05:56 > 0:05:58- Yes.- Very posh. Lucky chap!
0:05:58 > 0:06:02Signed on the silver dial here - Hall & Co of Manchester.
0:06:02 > 0:06:06He was a retailer rather than a maker,
0:06:06 > 0:06:09but looking at the quality of the three-train movement,
0:06:09 > 0:06:16- I would have said this is a comparatively late clock. Had you any thoughts of date?- No.
0:06:16 > 0:06:21Well, looking at the case, we would say just prior to 1800,
0:06:21 > 0:06:26- but this movement, I think, is about 1855-1860.- Really?
0:06:26 > 0:06:33- Which would account for the retailer's name on the dial rather than a specific clockmaker.- Yes.
0:06:33 > 0:06:35Still, a nice three-train movement,
0:06:35 > 0:06:40rather tiny little gong and interesting...
0:06:40 > 0:06:45If I move that slow-fast, you can see the cam just at the back there,
0:06:45 > 0:06:49which is moving the pendulum up and down to regulate the time.
0:06:49 > 0:06:52Have you had it running recently?
0:06:52 > 0:06:57- I have it running regularly.- You do? - Yes.- It could do with a clean.- Yes!
0:06:57 > 0:07:02So the case, stylistically, just before 1800...
0:07:02 > 0:07:06Very pretty case, very handsome.
0:07:06 > 0:07:11Because we've got the glass sides, we can see the chain fusee
0:07:11 > 0:07:19- and you can see above that, the little pinned barrel for the quarter-chiming work.- Right.
0:07:19 > 0:07:23We've also got this rather nice repeat facility here,
0:07:23 > 0:07:27which will make it strike and quarter chime
0:07:27 > 0:07:30to the preceding quarter hour.
0:07:30 > 0:07:36- So you'll hear the full three-quarters and then the single one on the gong.- Yes.
0:07:36 > 0:07:42Well, even though it's a late clock, it's a handsome three-train bracket clock.
0:07:42 > 0:07:45If you put that to auction today,
0:07:45 > 0:07:47you would get an absolute minimum
0:07:47 > 0:07:51- of about £2,800. - Thank you very much.
0:07:51 > 0:07:55- My grandfather was an Arsenal physio.- Was he?- Yeah.
0:07:55 > 0:07:59After the 1950 FA Cup Final, when they went to the dressing room,
0:07:59 > 0:08:04Joe Mercer kindly gave him the cup-winning shirt, which is this.
0:08:04 > 0:08:08- He played left half, didn't he, Joe Mercer?- Yeah.- Terrific.
0:08:08 > 0:08:12- In those days, they called it the Final Tie, not the Cup Final.- Yeah.
0:08:12 > 0:08:18And it's Saturday April 29th 1950 at 3pm - at Wembley, of course.
0:08:18 > 0:08:21So was your father there as well?
0:08:21 > 0:08:26My father was in the crowd, but my grandfather was on the Arsenal bench.
0:08:26 > 0:08:31- The cap is... Oh, it's an England International cap.- Yes.
0:08:31 > 0:08:35That is from my grandfather again. It was given to him by Laurie Scott,
0:08:35 > 0:08:39- who was the Arsenal number seven. - That's right, yes.
0:08:39 > 0:08:44- Um...- It's inscribed - "Very best wishes, Laurie Scott".- Yeah.
0:08:44 > 0:08:48- Do you know what international it was awarded for?- I think...
0:08:48 > 0:08:53- it may be against Argentina.- Right. Because that can affect the value.
0:08:53 > 0:08:58Let's start with the programme - always keenly sought after -
0:08:58 > 0:09:03Cup Final programmes - and I'd think a programme from the 1950 Final
0:09:03 > 0:09:06is probably worth £80 to £120.
0:09:06 > 0:09:10The England cap, although not relating to the Cup Final,
0:09:10 > 0:09:15nevertheless is a good England cap in nice condition, made of velvet,
0:09:15 > 0:09:19and the fact that it's got the inscription inside from Laurie Scott
0:09:19 > 0:09:24adds to its value. I would think that cap at auction would fetch
0:09:24 > 0:09:26£500 to £600.
0:09:26 > 0:09:31And then we come to the shirt, worn by Joe Mercer, captain of Arsenal
0:09:31 > 0:09:34and captain of England at the time,
0:09:34 > 0:09:38- and then went on to be a manager for Manchester City and others.- Yeah.
0:09:38 > 0:09:43Well, interestingly enough, a shirt from this Cup Final
0:09:43 > 0:09:47came up at auction not so long ago, belonging to Laurie Scott,
0:09:47 > 0:09:49so that gives a guideline.
0:09:49 > 0:09:54But this is more important because Mercer was England's captain.
0:09:54 > 0:09:56If this shirt came up for auction,
0:09:56 > 0:10:00it wouldn't surprise me if it fetched £5,000.
0:10:02 > 0:10:04Made out of spelter...
0:10:04 > 0:10:10- Excuse me, John.- Yes?- Any suggestions?- Um, let's have a look.
0:10:10 > 0:10:14Well, I think they're probably for somebody who has dire gout,
0:10:14 > 0:10:17identical gout in either foot, bandaged their feet,
0:10:17 > 0:10:22and when they're wheeled around town they are to hide the bandages.
0:10:22 > 0:10:25So a gout man's boots.
0:10:25 > 0:10:28A likely story. Thank you!
0:10:28 > 0:10:33It's an unusual table - German, because of the type of wood,
0:10:33 > 0:10:37but, more importantly, the type of veneer on here,
0:10:37 > 0:10:41- this parquetry veneer all the way round, geometric parquetry.- Yes.
0:10:41 > 0:10:44With this leg which is rather fat at the top
0:10:44 > 0:10:49and going smaller as it goes down the cabriole. How did you find this?
0:10:49 > 0:10:55I was on a visit to London with my family and we went shopping to buy a dining table,
0:10:55 > 0:10:59and we visited an auction room in North London
0:10:59 > 0:11:03and this table was there with four or five items stacked on top.
0:11:03 > 0:11:08- So you couldn't see it?- No, I couldn't see anything but the sides,
0:11:08 > 0:11:13- but I loved the work and the shape of the legs.- It's not that old,
0:11:13 > 0:11:17- but there's something here... - When we lift it, the top moves.
0:11:17 > 0:11:21- So which way?- Anticlockwise. The top moves up...
0:11:23 > 0:11:27I don't think they were made for outside use, or not for walking in.
0:11:27 > 0:11:34I think they were made possibly for insulating the feet against something...maybe on a stagecoach?
0:11:34 > 0:11:37I think that they weren't for walking in,
0:11:37 > 0:11:42they're for an invalid, perhaps, outside to keep his feet warm.
0:11:42 > 0:11:45Carry on!
0:11:47 > 0:11:53Put that slightly down, leave it down, and it does...
0:11:56 > 0:12:00What do they say - "Vorsprung durch Technik"!
0:12:02 > 0:12:07Never seen these from any other country except England. It's German,
0:12:07 > 0:12:10- the wood is walnut, the underframe is pine...- Yeah.
0:12:10 > 0:12:15The origin of this type of capstan table, as it's called in England,
0:12:15 > 0:12:18originated in London in about 1830.
0:12:18 > 0:12:22- Right.- It's a firm called Johnson and Jeans,
0:12:22 > 0:12:25based on a patent by Jupe.
0:12:25 > 0:12:30- But I'm talking about 1830.- Yes. - This table is clearly much later,
0:12:30 > 0:12:34- but I think it predates the Second World War.- Oh.
0:12:34 > 0:12:38- Well, I'm going to have to ask you how much you paid for it!- Right,
0:12:38 > 0:12:43I paid £100 plus commission with two other items,
0:12:43 > 0:12:47so the three items and the table - £100.
0:12:47 > 0:12:50I'd give you £100 for it now! You couldn't buy this
0:12:50 > 0:12:53- for less than £1,000.- Right, yes.
0:12:53 > 0:12:59- And I think that's conservative. What do you think?- That's excellent!
0:12:59 > 0:13:05- Vicky, excuse me.- Good grief! They must have belonged to the fattest man in the world -
0:13:05 > 0:13:10- Daniel Lambert. He came from Stamford, near here, and he weighed 52 stone.- Wow!
0:13:10 > 0:13:16There's a picture of him with gaiters coming down to where those boots would have fitted.
0:13:16 > 0:13:18- Thank you very much!- Not a bit.
0:13:19 > 0:13:23Rather boot-shaped, isn't it? I assume that the prongs at the bottom
0:13:23 > 0:13:27- are for pushing into the ground? - I think so.
0:13:27 > 0:13:32I assume you give this a clout with a stick and a ball is projected?
0:13:32 > 0:13:36Yes. I think it's called a trap ball, but it has lots of different names.
0:13:36 > 0:13:42I believe it was played between the 14th century and the 18th century in England,
0:13:42 > 0:13:46and it appears to be a forerunner of rounders. You were right -
0:13:46 > 0:13:50you place a ball - which I assume was leather - on this,
0:13:50 > 0:13:52you hit it with a stick on there
0:13:52 > 0:13:56and you hit it with a bat. So one of the names is "bat, trap and ball."
0:13:56 > 0:14:01It's difficult to date it exactly. It's just a carved piece of oak,
0:14:01 > 0:14:04the metalwork is hand-forged and the screws are handmade,
0:14:04 > 0:14:08which indicates it's 18th century rather than 19th century.
0:14:08 > 0:14:13It's a difficult thing to value. I'd see it at around about £500-£800.
0:14:13 > 0:14:16Nice thing, unusual.
0:14:16 > 0:14:19Thank you very much.
0:14:19 > 0:14:24My grandfather was art director of Royal Crown Derby up until 1936.
0:14:24 > 0:14:30- Oh, right. He was?- Thomas Amos Reed. And these were test pieces, I believe -
0:14:30 > 0:14:35only done on one side, or slightly differently on both sides,
0:14:35 > 0:14:39to evaluate whether a design was viable or not.
0:14:39 > 0:14:43So why waste paint if you weren't going to make it?
0:14:43 > 0:14:47Obviously the art director played a vital role in creating the designs.
0:14:47 > 0:14:52- He was a very good artist.- Would he have decorated these or designed...?
0:14:52 > 0:14:56I don't know. One of them is signed by Gregory, so...
0:14:56 > 0:15:01He got a friend. Albert Gregory's signature is on the panel there,
0:15:01 > 0:15:06but the piece itself is clearly a trial in some way,
0:15:06 > 0:15:09- It's a most strange design.- Yes.
0:15:09 > 0:15:16I've never seen the design in production in Derby and no factory mark, so never put on sale,
0:15:16 > 0:15:22- just things he kept in the family. - Just at home. Though he didn't like patterned things to eat off.
0:15:22 > 0:15:29- He had all white plates. - He was designer at the factory for how long?- I'm not sure.
0:15:29 > 0:15:36- He retired in 1936. I think he was there for quite a few years.- I seem to remember he left in the 1920s.
0:15:36 > 0:15:40I think his designs were too traditional for the time.
0:15:40 > 0:15:46The designs were the Victorian designs that Derby had always made,
0:15:46 > 0:15:50but then in the '20s, Art Deco was coming in
0:15:50 > 0:15:55- and Derby fell a bit behind - maybe they wanted somebody modern.- Yes.
0:15:55 > 0:15:59- These designs were old-fashioned. - Yes.- Fascinating trials.
0:15:59 > 0:16:01- But these are finished.- Yes.
0:16:01 > 0:16:05We were always told they were christening cups.
0:16:05 > 0:16:07One is my father's, the green one,
0:16:07 > 0:16:10and the other one is his brother's,
0:16:10 > 0:16:16- They were Thomas Amos Reed's sons. - "Donald Howard Reed."- My father.
0:16:16 > 0:16:21And Gordon Vernon Reed was his older brother, who was killed in World War I.
0:16:21 > 0:16:27- So this was made when he was born. - Yeah.- That's the factory mark there.
0:16:27 > 0:16:32That's what - 1902? Oh, we've got the inscription there -
0:16:32 > 0:16:37born February 10th 1903. What special productions to commission
0:16:37 > 0:16:41- and create.- Yeah.- As art director you could do some wonderful work.
0:16:41 > 0:16:43And here is the proud factory mark
0:16:43 > 0:16:46and marvellous decoration.
0:16:46 > 0:16:48These are both signed by Gregory.
0:16:48 > 0:16:55He was particularly good at flower painting. These flowers were typical of the sort of work he did as well.
0:16:55 > 0:16:59So the best artist chosen to do a lovely design, special commission,
0:16:59 > 0:17:05- proudly kept in the family.- Yes. - In terms of value, of course, they're worlds apart.
0:17:05 > 0:17:07Experimental vases without tops...
0:17:07 > 0:17:12A curiosity like this is going to be worth a few hundred pounds.
0:17:12 > 0:17:16They tell a story of what was going on at Derby.
0:17:16 > 0:17:20But pieces like these are now enormously expensive.
0:17:20 > 0:17:24Are they covered by insurance? Are they properly valued?
0:17:24 > 0:17:26Not specially, no.
0:17:26 > 0:17:31Because these pieces are stunningly beautiful and so desirable
0:17:31 > 0:17:34as pieces of jewelled porcelain.
0:17:34 > 0:17:40A cabinet object of that quality by Gregory with that gilding - you've got to be, I suppose...
0:17:40 > 0:17:43£7,000.
0:17:43 > 0:17:46- Is that each, or for the pair? - Each.- Oh, my God!
0:17:47 > 0:17:53- Now, we all know you as Lord Oaksey, but we're not going to talk about racing today.- No.
0:17:53 > 0:17:57But why are you here? What is your connection with this material?
0:17:57 > 0:18:00My connection is through my father.
0:18:00 > 0:18:06He was appointed... as one of two British judges
0:18:06 > 0:18:10on the International Military Tribunal
0:18:10 > 0:18:14which was set up to try the Nazi war criminals.
0:18:14 > 0:18:17- This was the Nuremburg trials? - Exactly.- Right.
0:18:17 > 0:18:20So he was what? The presiding judge?
0:18:20 > 0:18:25- He turned out to be the presiding judge, yes.- Right, so what are these?
0:18:25 > 0:18:29- Well, my mother went out to Nuremburg with my father.- Right.
0:18:29 > 0:18:34And she decided to compile a record, her own photographic record.
0:18:34 > 0:18:38So this is a record of your father's involvement with the trials?
0:18:38 > 0:18:40Yes, entirely personal.
0:18:40 > 0:18:46Now, the Nuremburg trials, I think, from memory, was October 1945 to October '46, wasn't it?
0:18:46 > 0:18:48Lasted about 11 months, that's right.
0:18:48 > 0:18:53Right. And I think that it was the trial that established the precedent
0:18:53 > 0:19:00- that when you say as a defence, "I was only following orders", that doesn't hold water, right?- Yes.
0:19:00 > 0:19:05So the patterns set at Nuremburg are now part of our cultural history.
0:19:05 > 0:19:08- I hope so.- Now, that's your father? - That's right.
0:19:08 > 0:19:13And here we've got your father on duty, as you might say,
0:19:13 > 0:19:18and these are the various passes issued that he wore. "IMT",
0:19:18 > 0:19:23and he was number one, so he was top of the list, wasn't he?
0:19:23 > 0:19:26So there he is, on the job.
0:19:26 > 0:19:32I think what we've got here is a sort of chronological record, is that right?
0:19:32 > 0:19:34More or less, yeah.
0:19:34 > 0:19:39Now, here are all the judges and the prosecutors.
0:19:39 > 0:19:42So there's... That's your father.
0:19:42 > 0:19:45That's my father and that's Biddle.
0:19:45 > 0:19:51- Who was the American one.- Yes. He thought that he should have been presiding.- So he was cross about it?
0:19:51 > 0:19:56- Yes.- So we've got Russians, Americans, British and French.
0:19:56 > 0:19:59- That's right. - So this was the establishment
0:19:59 > 0:20:03of this sort of four-power rule of conquered Germany, wasn't it?
0:20:03 > 0:20:07- Very much so.- Or it reflects that, rather. So there we are.
0:20:07 > 0:20:11The interesting one is Jackson, who had stepped down
0:20:11 > 0:20:15from the Supreme Court in America to head up the prosecution,
0:20:15 > 0:20:18and, in fact, made a nonsense
0:20:18 > 0:20:23- of cross-examining Goering. - Oh, really?- He was really a failure.
0:20:23 > 0:20:28- He wasn't a good cross-examiner?- No. - Here's the dock and there's Goering.
0:20:28 > 0:20:33- Gosh, doesn't he look thin? - Well, that's the amazing thing.
0:20:33 > 0:20:37He had lost four stone, four stone in weight,
0:20:37 > 0:20:39and had come off main-line heroin
0:20:39 > 0:20:45and so it was an incredible achievement that he became...
0:20:45 > 0:20:49because he did become the outstanding figure in the dock.
0:20:49 > 0:20:53- He defended himself and his colleagues.- Never said sorry at all.
0:20:53 > 0:20:55No, exactly.
0:20:55 > 0:20:58Who are these girls? Translators, are they?
0:20:58 > 0:21:03- The one who sticks in my memory is the lady on the right.- That one?- Yes.
0:21:03 > 0:21:06Who was German-into-English,
0:21:06 > 0:21:13and she was known throughout the English team, so to speak, as the "Passionate Haystack"
0:21:13 > 0:21:17because sometimes her hair would be piled up like that,
0:21:17 > 0:21:22sometimes it would be sort of Veronica Lake style,
0:21:22 > 0:21:26- so we used to bet on what style... - On a day-to-day basis? Good odds?
0:21:26 > 0:21:29Well, Passionate Haystack was six to four.
0:21:29 > 0:21:33- Was she aware of this? Obviously not.- I think not.
0:21:33 > 0:21:37- One of the great personalities of the court.- Yes.- What have we here?
0:21:37 > 0:21:41- "Picnics. Spring 1946" - LORD OAKSEY LAUGHS
0:21:41 > 0:21:44So you have images of what went on.
0:21:44 > 0:21:49- It was rather beautiful countryside. - Well, Brecht's garden was nearby.
0:21:49 > 0:21:54- Yes, we went there. - So, in a sense, a complete package of international life
0:21:54 > 0:21:59is transported to Nuremburg for the duration of the trial. What's this?
0:21:59 > 0:22:04Oh, look, these are drawings by Nikichenko, the Russian prosecutor.
0:22:04 > 0:22:08- Who was a charming man from the Ukraine.- Right.
0:22:08 > 0:22:14- And we found him easily the most charming of the two Russians.- Yes.
0:22:14 > 0:22:19- The other one we thought had just a touch of KGB about him.- Runstedt,
0:22:19 > 0:22:25- Speer, Papen - who was acquitted, wasn't he?- Got off, yes, mmm.
0:22:25 > 0:22:30Wonderful drawings of these people. It was a cartoonist's heyday.
0:22:30 > 0:22:36- I suppose it was, and...- Several times you've said "we". I mean, how is it "we"? Were you there?
0:22:36 > 0:22:40I was there for a whole summer holiday,
0:22:40 > 0:22:46- when I was 16, 17, sort of thing. - So you have memories of it? - Oh, rather!
0:22:46 > 0:22:50- So the Passionate Haystack you saw? - I certainly did!- Did you bet?
0:22:50 > 0:22:53Well...yes!
0:22:53 > 0:23:00More to the point, more to the point, was the PX rations, because coming from rationed England,
0:23:00 > 0:23:04suddenly to be pitchforked into PX rations -
0:23:04 > 0:23:10two bars of Hershey chocolate, 200 cigarettes, which was like gold.
0:23:10 > 0:23:17- I couldn't play in the black market. - Nylon stockings!- Yes!- All those things Americans were famous for.
0:23:17 > 0:23:19- Exactly.- Now, what's this?
0:23:19 > 0:23:24- Well, I'm sorry to say that's me... - There you are!
0:23:24 > 0:23:28- So you have memories of the trial? - I have indeed.
0:23:28 > 0:23:33- I wish I'd taken more notice.- You sat in the public galleries?- Oh, rather.
0:23:33 > 0:23:39- So you saw all these people? - Absolutely, with my headsets on.
0:23:39 > 0:23:43I must ask you quickly, what's this? Why have you got a Union Jack?
0:23:43 > 0:23:48Oh, the Union Jack, which flew in the courtroom
0:23:48 > 0:23:54over where my father sat and there were, of course, the other flags too.
0:23:54 > 0:23:56- This is the actual one?- Yes.
0:23:56 > 0:24:00These books are part of your family history. Where are they now?
0:24:00 > 0:24:06- Do you keep them at home? - No, we've lent them to the Galleries of Justice at Nottingham.
0:24:06 > 0:24:09- The only legal museum in Britain. - Yes.
0:24:09 > 0:24:15- I gather it's on open access - there's a microfilm or microfiche version of it?- Yes.
0:24:15 > 0:24:19- So any historian can consult it. - Yes.
0:24:19 > 0:24:25But it's a Roadshow convention that we value things. Frankly, I don't know where to begin.
0:24:25 > 0:24:32- There is no archive like this. One can't break this up.- No, no. - Clearly you'll never sell it.- Never.
0:24:32 > 0:24:36But for insurance purposes - I suppose one's got to think about
0:24:36 > 0:24:42£20,000 - £30,000, which is a meaningless figure in terms of the value of it,
0:24:42 > 0:24:46- but it gives us something to go by. - Yes.- But value's unimportant.
0:24:46 > 0:24:51This is just such an incredible vision into this, as I say,
0:24:51 > 0:24:55this vital moment in our history which we are still benefiting from.
0:24:55 > 0:25:01I would feel very, very ashamed if I ever even thought of selling them.
0:25:01 > 0:25:07- I'm sure you won't.- No.- Thank you very much for sharing it with us. - Not a bit. Thank YOU.
0:25:09 > 0:25:13I've always worked in the shoe trade and a friend got them at an auction
0:25:13 > 0:25:16because he thought I might be interested
0:25:16 > 0:25:21and that got me going... collecting various other things.
0:25:21 > 0:25:24Well, these are most lovely quality.
0:25:24 > 0:25:29They're marked "left and "right" and they're also...
0:25:29 > 0:25:32They're made in London in...1800.
0:25:32 > 0:25:36I think they're absolutely, absolutely beautiful...
0:25:36 > 0:25:40- and then you've got a very, very nice meat skewer here.- Yes.
0:25:40 > 0:25:45The only thing about that is that most I've seen have sharp edges
0:25:45 > 0:25:50- and that one seems to be pretty blunt.- Indeed.
0:25:50 > 0:25:54But it was made in the 18th century, in 1796,
0:25:54 > 0:25:59- and you tend to find that this flat edge is 18th century.- Yes.
0:25:59 > 0:26:04In the 19th century, you get them with bevelled edges, rather sharper.
0:26:04 > 0:26:08- But it was a meat skewer, now used as a letter opener...- Yes.
0:26:08 > 0:26:13- It's damn rich to have a meat skewer like that, but rather fun.- Yes.
0:26:13 > 0:26:18I'll tell you the thing that really intrigues me is this.
0:26:19 > 0:26:22I bought it at an auction.
0:26:22 > 0:26:26- It was the first item to come up on the auction.- Yeah.
0:26:26 > 0:26:33- I bought it for £200 as a vinaigrette.- Ye-es...
0:26:33 > 0:26:38Um, I've been told that it's probably a snuff box,
0:26:38 > 0:26:42that was later turned into a vinaigrette.
0:26:42 > 0:26:45Well, this really, really, really intrigues me.
0:26:45 > 0:26:50It was made in 1817.
0:26:51 > 0:26:56And...I think I would agree initially that, yes,
0:26:56 > 0:27:01this is a snuff box, but the hinge is exactly the same there -
0:27:01 > 0:27:05the same working of hinge - as is on the back
0:27:05 > 0:27:11and that is marked...1817. It was made by William Elliot,
0:27:11 > 0:27:14presumably for Mr Fry,
0:27:14 > 0:27:18whose name is punched through as part of the work there.
0:27:18 > 0:27:23"I Fry." Jonathan Fry, James Fry, whatever.
0:27:23 > 0:27:27But I've never seen such a huge vinaigrette,
0:27:27 > 0:27:30and I would stick my neck out
0:27:30 > 0:27:33and say it is absolutely right,
0:27:33 > 0:27:37it HAS to be right, which makes it INCREDIBLY rare.
0:27:37 > 0:27:39I have never seen anything like it.
0:27:39 > 0:27:42It's also very beautiful, a lovely shape,
0:27:42 > 0:27:48- it's dated...1818 as an inscription...- Yes.
0:27:48 > 0:27:53..and it was made the year before, which all ties in so well.
0:27:53 > 0:27:56I find it a very intriguing piece
0:27:56 > 0:28:02and I don't know what to put on it. I tell you,
0:28:02 > 0:28:05- it's a hell of a lot more than £200! - Well, that's very gratifying.
0:28:08 > 0:28:11- £800.- That's amazing.- Maybe more.
0:28:11 > 0:28:15I think it's a wonderful and exceptional, rare interesting thing.
0:28:15 > 0:28:20The largest vinaigrette I've ever seen and the most extraordinary.
0:28:20 > 0:28:25..Banners were a great feature of late 19th-century working-class life.
0:28:25 > 0:28:30We associate them particularly with the trade union movement.
0:28:30 > 0:28:34From the 1860s, trade unions were about getting membership,
0:28:34 > 0:28:37making unions acceptable, raising funds,
0:28:37 > 0:28:42and these banners. They survive because many unions, although amalgamated, are still there.
0:28:42 > 0:28:45This one is for hospitals.
0:28:45 > 0:28:51Nottingham and Notts Sick and Annual Societies, Children's Hospital Cot and Free Medicine Fund.
0:28:51 > 0:28:55What is unusual about it is that it survives. The date is, I'd think,
0:28:55 > 0:29:00the 1890s, 1900s, certainly well before the First World War -
0:29:00 > 0:29:02- I'm looking at her uniform.- Yes.
0:29:02 > 0:29:06The image is wonderful, so lively - the way the girl is painted.
0:29:06 > 0:29:11And women in medicine were still a new phenomenon. Where is it from?
0:29:11 > 0:29:17- I bought it from a second-hand furniture dealer in Derby. - Long time ago?- No.
0:29:17 > 0:29:24I bought it nearly two years ago but it took me nearly 18 months to get it to my home.
0:29:24 > 0:29:29Because it was so large, I had to wait until my son bought a bed from the same dealer
0:29:29 > 0:29:35- and we had them delivered together. - It's very hard to value. I think...
0:29:35 > 0:29:39- something between £1,000, £2,000 to £3,000...- Oh!
0:29:39 > 0:29:42- ..because it's such a rare item. - Oh, dear!
0:29:42 > 0:29:47- Do you know who it represents?- No. I think it looks a bit like Punch.
0:29:47 > 0:29:51Oh, right. In fact, it's a man called Ali Sloper,
0:29:51 > 0:29:59who was a cartoon character in the late 19th century. He started in America, but was popular over here,
0:29:59 > 0:30:03and he was known for his outsize nose, as is represented here.
0:30:03 > 0:30:08It's also hallmarked - made in London, the date letter is "f" -
0:30:08 > 0:30:13which from memory I think is 1881, so we can date it accurately.
0:30:13 > 0:30:18The head is carved horn. How did you come by it?
0:30:18 > 0:30:25- Well, I remember it in my grandma's hall stand.- Right.- She'd be about 130 if she'd been alive.- Yes.
0:30:25 > 0:30:30That ties in with the date. This is unusual. I haven't seen Ali Sloper on a stick before.
0:30:30 > 0:30:34If this came up at auction, you would expect to get...
0:30:34 > 0:30:39- between perhaps £500 or £600 for it. - Amazing. Absolutely amazing.
0:30:39 > 0:30:43Crown Staffordshire, the name of the factory, then it's made in England,
0:30:43 > 0:30:49made after 1891, about 1900, and Celia is the name of the pattern.
0:30:49 > 0:30:53Very nice. Obviously it would have been part of a much bigger service,
0:30:53 > 0:30:57- but that's all you've got left, is it?- The two.
0:30:57 > 0:31:03They're only printed. The pair of them with their ladles are probably worth £100 to £120.
0:31:03 > 0:31:05This is a little bit older.
0:31:07 > 0:31:13Samuel Fielding and Company, and the name of the pattern is Kent and patent registration number.
0:31:13 > 0:31:16And then we have the date, which is...
0:31:16 > 0:31:19June 1884.
0:31:19 > 0:31:24- How many of those have you got? - Three.- Three.- That's the small one. - That's the small one,
0:31:24 > 0:31:27so this one is worth about £40,
0:31:27 > 0:31:33- and they'll go up in value as they get bigger.- Large ones. - Large ones could be £150 to £200,
0:31:33 > 0:31:37because everybody likes them for their dresser.
0:31:37 > 0:31:42- It was left to my great-grandmother. - Yes.- She was a housekeeper
0:31:42 > 0:31:47and it was given to her by the family. I remember seeing it in her house.
0:31:47 > 0:31:54So when was it given to your great-grandmother? I don't know. It must have been the '40s, '50s?
0:31:54 > 0:32:01- I'm imagining that's... - But that is a very generous family she worked for.- Yes.
0:32:01 > 0:32:05- They must have really adored her. - They did.- What do you know about it?
0:32:05 > 0:32:08Only about the artist being local.
0:32:08 > 0:32:12- Laslett Pott born in Newark. - Exactly.- I think 1837.
0:32:12 > 0:32:15- '36-37, whatever.- Whatever.
0:32:15 > 0:32:21- That's really all I know about him. - I know Laslett John Pott very well.
0:32:21 > 0:32:24When he went down to London, he consistently,
0:32:24 > 0:32:28for about 40 or 50 years, exhibited at the Royal Academy.
0:32:28 > 0:32:31He is a perfect academic artist.
0:32:31 > 0:32:35The first thing I think about when I look at paintings like this
0:32:35 > 0:32:40is the sheer craftsmanship, the artisanship of the artist...
0:32:40 > 0:32:45This is a very beautiful painting, but underlying all good art
0:32:45 > 0:32:50is the craftsmanship of an artist learning how to use his tools.
0:32:50 > 0:32:54The marvellous thing about Victorian paintings
0:32:54 > 0:32:58is the underlying craftsmanship that they really learned at the schools -
0:32:58 > 0:33:02at the Royal Academy schools and other schools -
0:33:02 > 0:33:05how to push paint around with their brush.
0:33:05 > 0:33:08So that's the first joy in seeing a picture like this.
0:33:08 > 0:33:12The second joy is that it's in its original frame, behind glass,
0:33:12 > 0:33:16which has kept it in beautiful condition.
0:33:16 > 0:33:20Being behind glass preserves the surface of the picture.
0:33:20 > 0:33:24- You have never had this picture cleaned?- No.
0:33:24 > 0:33:29I am sure your great-grandmother never had it cleaned. She received it,
0:33:29 > 0:33:33and yet it looks as though it was cleaned yesterday,
0:33:33 > 0:33:38because the grime of the atmosphere does not attack the varnish
0:33:38 > 0:33:42and it preserves the varnish - which turns yellow very easily.
0:33:42 > 0:33:48Victorian times were filled with grime and dust and smoke. It's very, very beautiful.
0:33:48 > 0:33:56So much has been restored since the war, it's good to find it in this condition. With all that in mind,
0:33:56 > 0:34:01this picture would certainly make between £6,000 and £8,000,
0:34:01 > 0:34:04but I believe it would make well over £10,000.
0:34:04 > 0:34:11- As an insurance value - £15,000. - Great, lovely. OK.
0:34:11 > 0:34:17- Who's the Andy Pandy fan? - My mum. She used to eat her roast dinners on it,
0:34:17 > 0:34:21because when they ran out of chairs, she used a small chair on top.
0:34:21 > 0:34:26- It's in incredible condition.- Is it? - Yes, immaculate. Like brand new.
0:34:26 > 0:34:31Now, Andy Pandy, I'll tell you something... I'm interested in it
0:34:31 > 0:34:33because my mother was a puppeteer
0:34:33 > 0:34:39- and she was the puppeteer who operated Andy Pandy.- No! Was she on the TV programme?- Yes.
0:34:39 > 0:34:43- She wasn't seen, but she pulled the strings.- Oh, yeah.
0:34:43 > 0:34:48- And she did Flowerpot Men and things like that.- Really?- Yeah?- Wow!
0:34:48 > 0:34:51- So this, for me, is a wonderful thing.- Yes.- It's great to see it,
0:34:51 > 0:34:56and there is even a little story which I'm going to deny immediately,
0:34:56 > 0:35:01which is that when Andy Pandy was being made in the 1950s,
0:35:01 > 0:35:06- I was that boy.- Really?!- Can you see the likeness?- Oh, no, definitely!
0:35:06 > 0:35:12- Blue eyes, the nose...- All the fair hair.- Oh, he's got blue eyes, you've got brown. Sorry!- No good.
0:35:12 > 0:35:17- Anyway, this sort of memorabilia is very popular now.- Yeah.
0:35:17 > 0:35:21This is in such great condition. I think, to an enthusiast,
0:35:21 > 0:35:25this material, for children's programmes particularly,
0:35:25 > 0:35:29this could be £150, as much as that.
0:35:29 > 0:35:35- She will be pleased.- So tell your mother to stop eating her lunch off it.- Yes! Take it away from the fire.
0:35:35 > 0:35:41I bought it about six years ago. I was looking for a piece like this
0:35:41 > 0:35:47for about two years and then saw this and I just fell in love with it, so I bought it.
0:35:47 > 0:35:52- This drawer originally would be called a brushing slide.- Yes.
0:35:52 > 0:35:56I think probably people could use it for a writing surface,
0:35:56 > 0:36:02but it's really for laying out things and brushing them down. That's what I was told, yeah.
0:36:02 > 0:36:07- The baize has been replaced here. - Yes.- It's in nice condition.
0:36:07 > 0:36:11This is a lovely shape, this serpentine shape here.
0:36:11 > 0:36:15Push that back.... These edges have just warped a tiny bit, look.
0:36:15 > 0:36:21- A tiny bit of movement on that.- Oh, yes.- Both edges.- When I bought it,
0:36:21 > 0:36:24- there was a cut-throat razor in there.- Ah, right.
0:36:24 > 0:36:27I've never seen them complete,
0:36:27 > 0:36:30but I've seen them with the, um... often with these.
0:36:30 > 0:36:35- Sometimes this has been stripped out which would ruin the value.- Yes.
0:36:35 > 0:36:37But with these here, very nice.
0:36:37 > 0:36:43- Along the front row, each one has got another box inside it. - Oh, that's nice.
0:36:43 > 0:36:46Along the front, to the shape of the serpentine.
0:36:46 > 0:36:51Oh, that's quite rare, and if they're still there, that's lovely.
0:36:51 > 0:36:55What a nice feature. But I love the thing for the cut-throat razor.
0:36:55 > 0:36:59It's a glorious thought, isn't it? But it's a gentleman's piece.
0:36:59 > 0:37:04Because of the razors, a gentleman's dressing chest, it would be called.
0:37:04 > 0:37:09Very nice shape. The serpentine line which helps me date it.
0:37:09 > 0:37:14- Have you any idea what the date is? - Well, I was told it was George III.
0:37:14 > 0:37:18- Is it about 1780?- A bit earlier than that, I'm glad to say.
0:37:18 > 0:37:22- I think it's basically a Chippendale sort of design.- Yes.
0:37:22 > 0:37:27Chippendale is a word that's used everywhere for mahogany furniture,
0:37:27 > 0:37:31but there are certain features which are similar to Chippendale's work.
0:37:31 > 0:37:37Chippendale's first book was in 1754 - the Gentleman and Cabinet Maker's Director -
0:37:37 > 0:37:41and he produced other versions in the 1760s, so it's 1760-1770 -
0:37:41 > 0:37:45- earlier than 1780.- Earlier. - This serpentine line here
0:37:45 > 0:37:49is typical of that Rococo mid-18th century period,
0:37:49 > 0:37:53but the feature I like most is this fretwork.
0:37:53 > 0:37:57- The blind Gothic. Isn't it lovely? - Beautiful.- And that you'll see
0:37:57 > 0:38:03- if you get Chippendale's book. - That was one of the things that drew me to it.
0:38:03 > 0:38:08Really? Chippendale copied a lot of his designs from other people,
0:38:08 > 0:38:14but also from other pattern books of the 1720s and '30s, so he put all the information he got in his book -
0:38:14 > 0:38:16that's why he's so famous.
0:38:16 > 0:38:23This is influenced by him, but not necessarily made by him. If we could pin it down to Thomas Chippendale,
0:38:23 > 0:38:28- it would be a different story. - Correct, yes.- But I like it and I admire your courage
0:38:28 > 0:38:34for spending two years to find it. These have gone up a lot -
0:38:34 > 0:38:41I won't ask what you paid for it - I just hope it's gone up in value - it must have done in six years.
0:38:41 > 0:38:48- Prices have gone up a lot since the mid-'90s. You bought this retail, did you say?- I did, yes.
0:38:48 > 0:38:53Today, a retail price would be... well, verging on £20,000.
0:38:58 > 0:39:03- Goodness me! - I only hope it's gone up in value.
0:39:03 > 0:39:06Goodness me! Now you have shocked me!
0:39:06 > 0:39:10Deary me! Well, thank you very much.
0:39:10 > 0:39:14- Has it gone up in value? - Just a bit, yes!- Brilliant.
0:39:14 > 0:39:17- Will you take it off? - If I can get it off...
0:39:17 > 0:39:23It IS a beauty, isn't it? My goodness. What do you know about it?
0:39:23 > 0:39:27Very little, really, which is one of the reasons I came to see you.
0:39:27 > 0:39:31Right. Do you know what the stone is?
0:39:31 > 0:39:34Um, it's a hard stone, I would have thought.
0:39:34 > 0:39:37- Cornelian?- Cornelian is bang on.
0:39:37 > 0:39:43It's obviously a neoclassical ring and it's carved down into the ring.
0:39:43 > 0:39:48It's not a cameo, the relief isn't raised, this is an intaglio -
0:39:48 > 0:39:52it's cut into stone. It's rather like a seal ring,
0:39:52 > 0:39:57and it's one of the masterpieces of the gem engraver's art.
0:39:57 > 0:39:59In the 18th century,
0:39:59 > 0:40:03gem engraving was viewed as extension of sculpture
0:40:03 > 0:40:08and aristocrats would collect engraved gems of exactly this sort.
0:40:08 > 0:40:13They'd keep them in cabinets to admire them and show them to friends
0:40:13 > 0:40:18and it was the pursuit of princes ever since remotest antiquity,
0:40:18 > 0:40:22to have their lives decorated with stones of this sort
0:40:22 > 0:40:26and it IS a most remarkable stone. Have you thought about the subject?
0:40:26 > 0:40:31- It appears to be Greco-Roman... I think I recognise Pan...- Mm-hm.
0:40:31 > 0:40:33- Um...- Yeah.
0:40:33 > 0:40:37Well, that's absolutely on course for the period of the ring,
0:40:37 > 0:40:42- but it's actually Silenus, who's a Roman god of wine.- Oh!
0:40:42 > 0:40:46And he's being drawn along by his attendants
0:40:46 > 0:40:52in a state of severe drunkenness. He's lolling around, and he's going to fall off the ass in a second,
0:40:52 > 0:40:56and that moment has been captured by the gem engraver.
0:40:56 > 0:40:59- Where did you find this? - In a teapot.
0:40:59 > 0:41:02In a teapot?! You didn't?
0:41:02 > 0:41:05I did. I bought some pots at auction
0:41:05 > 0:41:10because there were some things that matched a service I had at home
0:41:10 > 0:41:14- and there was an awful teapot in it. That was in the spout.- It wasn't!
0:41:14 > 0:41:19- How much was the teapot with the...? - Well, the whole box was about £20.
0:41:19 > 0:41:24- £20, my God, and so somebody.. - It's a long time ago, though.
0:41:24 > 0:41:29So it was hidden there by somebody who thought it was a safe place,
0:41:29 > 0:41:34and you were the lucky recipient. Anyway, to take it further,
0:41:34 > 0:41:39it's not only the gem that's neoclassical, it's the ring itself,
0:41:39 > 0:41:43and you can see on the shank here, a little neoclassical mask
0:41:43 > 0:41:48and in the face of the mask is a diamond.
0:41:48 > 0:41:50So it's a most ravishing thing.
0:41:50 > 0:41:55It is a princely piece of jewellery. I think it's all 18th century,
0:41:55 > 0:41:59I don't think that this is an engraved gem from an ancient one.
0:41:59 > 0:42:05Very sophisticated - perhaps just a tiny bit too sophisticated, giving its origins away, late 18th century,
0:42:05 > 0:42:11probably early 19th century, could come from a famous collection. Maybe we'll track that down.
0:42:11 > 0:42:14But as to value - enormously difficult,
0:42:14 > 0:42:18it's still a relatively esoteric area of collecting,
0:42:18 > 0:42:22it still demands, you know, a certain amount of scholarship,
0:42:22 > 0:42:26so if you wanted to buy that again they might ask you...
0:42:26 > 0:42:28£5,000 for it.
0:42:28 > 0:42:31- You're joking!- No.
0:42:31 > 0:42:37- Oh, I don't believe it!- No, I'm not joking at all, I'm deadly serious!
0:42:37 > 0:42:40- My £20 box of pots! - I know. Can I come to tea?
0:42:40 > 0:42:44- I've still got the cups and saucers! - Brilliant!
0:42:44 > 0:42:47Well, I doubt if the Harvey Hadden Sports Centre
0:42:47 > 0:42:51has seen so many unusual and desirable objects for quite a while.
0:42:51 > 0:42:57This dining table that opens up like a lens is an amazing piece of work,
0:42:57 > 0:43:00but, at the end of the day, I think my favourite
0:43:00 > 0:43:05would be this elegant gentleman's dressing chest. Very nice indeed.
0:43:05 > 0:43:10So many thanks to Nottingham for having us. Until next week, goodbye.
0:43:36 > 0:43:39Subtitles by BBC