0:00:36 > 0:00:40It's wagons roll again as we hit the tarmac
0:00:40 > 0:00:45for a brand-new series of the Antiques Roadshow. Welcome back.
0:00:45 > 0:00:48Exceeding 70 is quite a good thing,
0:00:48 > 0:00:52although we don't insist that antiques are more than 100.
0:00:52 > 0:00:58As usual, our ageless experts are looking out anything interesting from your attic.
0:00:58 > 0:01:02In the months ahead, dust sheets will be flung off across the land.
0:01:02 > 0:01:06We'll be in Bala, on the doorstep of Snowdonia,
0:01:06 > 0:01:09Mount Stewart, a stately home in Northern Ireland,
0:01:09 > 0:01:13and Dumfries, the town that inspired Robert Burns.
0:01:13 > 0:01:17We have Woburn Abbey, Dyrham Park near Bath,
0:01:17 > 0:01:20and the RHS Gardens at Wisley in Surrey.
0:01:20 > 0:01:23We'll visit the brewery town of Burton upon Trent,
0:01:23 > 0:01:26rugby league territory in Wigan,
0:01:26 > 0:01:28and Kendal, gateway to the Lakes.
0:01:28 > 0:01:31All that and more lies ahead of us, but today,
0:01:31 > 0:01:36I'm in the Cotswolds, heading for the town of Winchcombe.
0:01:36 > 0:01:40We've set up camp at a castle fit for a king.
0:01:40 > 0:01:43Sudeley has royal connections spanning 1,000 years.
0:01:43 > 0:01:49Ethelred the Unready was prepared to give the original Saxon manor house to his daughter,
0:01:49 > 0:01:53but it wasn't fortified until the reign of King Stephen.
0:01:55 > 0:01:59By 1535, the castle was owned by Henry VIII,
0:01:59 > 0:02:03seen here in his wedding robes for marriage number six.
0:02:03 > 0:02:05Catherine Parr was a radiant bride,
0:02:05 > 0:02:10and when Henry slipped off his garter for the final time,
0:02:10 > 0:02:14she set up home here with her new husband, Sir Thomas Seymour.
0:02:14 > 0:02:19A topiary portrait of Catherine - with roses and a prayer book -
0:02:19 > 0:02:23now graces the route of her daily walk to St Mary's church,
0:02:23 > 0:02:26where her mortal remains were eventually entombed.
0:02:31 > 0:02:36Sudeley might still be a royal castle but for the Civil War,
0:02:36 > 0:02:39when Parliamentarians rendered it unusable.
0:02:39 > 0:02:43Sudeley was derelict for 200 years until the estate was restored
0:02:43 > 0:02:47by the Dent family, glove-makers from Worcester.
0:02:47 > 0:02:49In the 15th century,
0:02:49 > 0:02:53there were fruit and vegetable and herb gardens here.
0:02:53 > 0:02:58Today, the lawns are trembling beneath legions of antiques lovers,
0:02:58 > 0:03:02all heading for our experts, so let's not hold them back.
0:03:02 > 0:03:05Can you show me how it works?
0:03:05 > 0:03:09- Just push it round like that. - Is it stiff or is it...?- No, no, no.
0:03:09 > 0:03:15It looks as though it's been bathed in sunlight for a long time. Is it?
0:03:15 > 0:03:18No, it isn't. It's generally been folded over.
0:03:18 > 0:03:25When it's open, it always has a cover on it. This must have been before it came into our family.
0:03:25 > 0:03:29- Right, and when did you acquire it? - We think it's about 55 years.
0:03:29 > 0:03:33It belonged to our father, who died recently.
0:03:33 > 0:03:37- And it was always closed, pushed up against the wall?- Yes.
0:03:37 > 0:03:41- At mealtimes we'd have to pull it out, cos there's seven of us.- Yes.
0:03:41 > 0:03:44- All of you round the table?- Yes.
0:03:44 > 0:03:50Well, you're using it in exactly the way that it was always conceived to have been used.
0:03:50 > 0:03:57It is a swivel-action form that you usually see on card tables and tea tables.
0:03:57 > 0:04:01And this was always conceived for a dining room -
0:04:01 > 0:04:03beautiful fiddle-back mahogany.
0:04:03 > 0:04:07You've got this rich parallel lines within the graining,
0:04:07 > 0:04:12but it's obviously been exposed to very strong sunlight at some time
0:04:12 > 0:04:18because, as opposed to that rich lustrous reddy-brown that you get on good quality Cuban mahogany,
0:04:18 > 0:04:23- it's got slightly sort of jaundiced, yellowy-greenish surface.- Yes, yes.
0:04:23 > 0:04:28- And that is the polish being applied on a very sun-bleached surface.- Oh.
0:04:28 > 0:04:32I rather like nice old surfaces that have been worked up,
0:04:32 > 0:04:36but when you compare it to the colour on the frieze,
0:04:36 > 0:04:41- it is, you know, certainly... certainly a darker colour.- Yes.
0:04:41 > 0:04:45The quality of the piece is fantastic, actually.
0:04:45 > 0:04:50It's beautifully made - these very bold kind of trestle-end supports.
0:04:50 > 0:04:55- In terms of date, I'm sure you know it...- No, we don't how old it is.
0:04:55 > 0:04:59- Oh, you don't?- No.- It's inspired by Regency prototypes
0:04:59 > 0:05:04of around 1800-1810, but the treatment of the carving
0:05:04 > 0:05:07is slightly denser and fatter,
0:05:07 > 0:05:12so I think it's perhaps closer to 1815-1820, while still Regency,
0:05:12 > 0:05:17but it's got a little bit more of that kind of gutsy...form to it.
0:05:17 > 0:05:22I think the quality is very, very good. Nice surface carving,
0:05:22 > 0:05:27sea scrolls, very, very good dense timber and nice lacquered brass -
0:05:27 > 0:05:31original fittings, so it's in very pure condition.
0:05:31 > 0:05:35If you were to buy this in a shop today, you might have to spend...
0:05:35 > 0:05:38- £4,500 - £5,000. - Right. OK.- Very nice.
0:05:38 > 0:05:39Lovely thing.
0:05:40 > 0:05:42It's a sunny day here at Sudeley
0:05:42 > 0:05:46and all the butterflies have come out.
0:05:46 > 0:05:51This is an amazing collection. Where did you get them from?
0:05:51 > 0:05:55I got them from an antiquarian book dealer in Petersfield.
0:05:55 > 0:05:59- Was this very long ago?- Um, it was probably about four years ago.- Yes.
0:05:59 > 0:06:05Well, they are the most beautiful 1840s, 1830s watercolours,
0:06:05 > 0:06:08SO detailed, but they're absolutely immaculate.
0:06:08 > 0:06:11The butterflies are fabulous,
0:06:11 > 0:06:14and the backgrounds - the leaves and the nettles -
0:06:14 > 0:06:17are just absolutely incredible.
0:06:17 > 0:06:21Look at the translucence of this one.
0:06:21 > 0:06:26You can actually see through that. It's on a sort of iris. Tremendous.
0:06:26 > 0:06:31This one is very bold and very sombre, really, isn't it?
0:06:31 > 0:06:36- I can see that doing a lot of damage somewhere.- Yes, if it's life size!
0:06:36 > 0:06:40Terrifying, but it really is extraordinary.
0:06:40 > 0:06:46And I notice at the top it says, "Van Diemens Land Lepidoptera",
0:06:46 > 0:06:50and I notice on this one it says, "Chinese Lepidoptera".
0:06:50 > 0:06:54Now, I do know of an author who did a book on Chinese Lepidoptera
0:06:54 > 0:06:58- and his name was Donovan. - I have seen a copy of it.
0:06:58 > 0:07:04- And was it exactly the same?- It was exactly the same.- And it presented exactly the same way round?- Yes.
0:07:04 > 0:07:09I think that he was thinking of doing other books on Lepidoptera,
0:07:09 > 0:07:13- but the Chinese one, particularly, was the one that he published.- Yes.
0:07:13 > 0:07:16Look at this, this is a grasshopper,
0:07:16 > 0:07:20and the most wonderful sort of canna lily.
0:07:20 > 0:07:25- This one is almost so delicate, it looks Chinese almost.- Yes, yes.
0:07:25 > 0:07:29But they just are absolutely incredible watercolours.
0:07:29 > 0:07:34And this - that's a Gingko biloba that they're sitting on.
0:07:34 > 0:07:38- That's the tree.- Oh? Where the little pills come from?- Probably!
0:07:38 > 0:07:43- Those little pills that are supposed to make you think better.- Yes!
0:07:43 > 0:07:46- Yes.- Well, there we are, we've looked at only seven,
0:07:46 > 0:07:51but the quality of them, of these 22, is absolutely incredible.
0:07:51 > 0:07:58- Now, how much did you pay for them? - Well, I bought them with a friend.
0:07:58 > 0:08:04- He has 22, I have 22 and we paid about £400.- Right.
0:08:04 > 0:08:09Right, I think you'd better go and buy the others off him!
0:08:09 > 0:08:16- I think - he wouldn't sell them?- No. - Well, I think your 22 - it's such a pity to break them up -
0:08:16 > 0:08:22- but your 22 are worth in the region of £10,000.- No!- That's what I mean,
0:08:22 > 0:08:26- you must go and buy the other ones back!- Definitely!
0:08:26 > 0:08:30- It's an early piece of English porcelain.- Yes.
0:08:30 > 0:08:32- It's made in Worcester.- Uh-huh.
0:08:32 > 0:08:37And around 1775, but it's a very interesting piece
0:08:37 > 0:08:42in terms of the shape and design. Quite sumptuous for this time.
0:08:42 > 0:08:44What's its background?
0:08:44 > 0:08:49My grandfather used to go to lots of house sales locally,
0:08:49 > 0:08:53and my grandmother gave it to me when I got married.
0:08:53 > 0:08:56- Are there any other pieces?- No.
0:08:56 > 0:09:01- The shape itself is based on English silver.- Oh, right.
0:09:01 > 0:09:04But the decoration is much more complicated,
0:09:04 > 0:09:09- because you've got these curious Rococo cartouches round here...- Yes.
0:09:09 > 0:09:11..these mirror-shaped panels here.
0:09:11 > 0:09:16But they've got this trellis work which is based on Chinese design.
0:09:16 > 0:09:19- Oh, right. - Then this pattern round the rim
0:09:19 > 0:09:24- is, in fact, based on a Meissen pattern.- Oh, right.
0:09:24 > 0:09:28- As are the flowers.- Oh, right.
0:09:28 > 0:09:32So, again, we have these dialogues between East and West,
0:09:32 > 0:09:35and I think it's a beautiful object.
0:09:35 > 0:09:39Very unusual to get the tureen with the cover and the stand.
0:09:39 > 0:09:42I'd expect this, under the hammer, to make between...
0:09:42 > 0:09:46£3,000 and £4,000 - maybe a little bit more. CROWD GASPS
0:09:46 > 0:09:53- Certainly in a shop, it would sell for double that, probably.- I don't believe you!
0:09:53 > 0:09:55There you go - a wonderful object.
0:09:55 > 0:09:59It's always a pleasure to see a good little camera, particularly a Leica,
0:09:59 > 0:10:03and this is a nice one because it's an early model.
0:10:03 > 0:10:07- It's a four-digit Leica - we've got a number here, 6806.- Right.
0:10:07 > 0:10:13This is a Leica 1 and that number there denotes it's 1928.
0:10:13 > 0:10:17- Oh, gosh.- So it's an early Leica. Very interesting, though.
0:10:17 > 0:10:21It's exceptionally clean for its age...
0:10:21 > 0:10:25Well, we had it restored - a gentleman in Scotland did it.
0:10:25 > 0:10:30- We were recommended to have it done.- Yeah.- It cost £200 to £300.
0:10:30 > 0:10:32He has done a very nice job on it,
0:10:32 > 0:10:36but to me that is very important as to the price of it.
0:10:36 > 0:10:42- An original version of this camera, is worth around about £1,000.- Yes.
0:10:42 > 0:10:45My feeling is, I'll be honest with you,
0:10:45 > 0:10:49- is that it's probably worth around about £400 or £500.- Right.
0:10:49 > 0:10:53These are sailing boats by Wade of Ireland. Have you had them long?
0:10:53 > 0:10:58- No, I purchased them a few years ago from a friend of mine.- Right.
0:10:58 > 0:11:02- And how much did you pay for them? - Just a few pounds.
0:11:02 > 0:11:05They are rare, made by Wade of Ireland.
0:11:05 > 0:11:08- Wade moved to Ireland in 1947.- Yes.
0:11:08 > 0:11:12So, they're fairly recent but they're very, very collectable.
0:11:12 > 0:11:16- Wall decorations. Little hole in the back to hang it on the wall.- Yes.
0:11:16 > 0:11:20- Then you could arrange them, sailing along.- Yes.
0:11:20 > 0:11:22Collectors would go mad for these.
0:11:22 > 0:11:27If they went into auction, they'd be estimated at maybe £200 to £300,
0:11:27 > 0:11:32- but they could sail away to quite a bit more, I think.- Gosh!
0:11:32 > 0:11:36- I wasn't a teddy-bear child. - Really?- No, or a doll child.
0:11:36 > 0:11:42- What were you, a Meccano child? - I had a stuffed toy on wheels
0:11:42 > 0:11:44that was my substitute teddy, yes.
0:11:44 > 0:11:47Right. Well, he's lovely and I think
0:11:47 > 0:11:51he could be described almost as a psychedelic bear, couldn't he?
0:11:51 > 0:11:56He's got this wonderful two-tone fur where the base part is pink
0:11:56 > 0:12:00and the very tips have just been bleached, I suppose,
0:12:00 > 0:12:03to give it an "of the moment" look.
0:12:03 > 0:12:09- Girls might like to copy this kind of look.- Very fashionable.- Very.
0:12:09 > 0:12:13He's got very bright and quite large eyes.
0:12:13 > 0:12:17The feet are a giveaway as to who might have made him,
0:12:17 > 0:12:20and the soles of his feet are pear-shaped,
0:12:20 > 0:12:24small at the top and then they go out to the bottom,
0:12:24 > 0:12:29- and I think all that adds up to the maker Jopi - J-O-P-I.- Right.
0:12:29 > 0:12:33And the one thing that is the clincher is this...
0:12:33 > 0:12:37- MUSIC TINKLES - His box.- His squeeze box.
0:12:37 > 0:12:43- Yes, it's got a squeeze box.- Well, because you didn't play with him,
0:12:43 > 0:12:48he's in really good condition. I would have said that he's worth...
0:12:48 > 0:12:51- £500, perhaps as much as £700. - You're not serious?
0:12:51 > 0:12:54- Yes, do you want to sit down? - Oh, you're not serious?
0:12:54 > 0:12:58Yes, and dating from... They first made them in 1925
0:12:58 > 0:13:03and they went on until the 1950s, so I would have said maybe 1930.
0:13:05 > 0:13:08Standing in the heart of the Cotswolds, as we are,
0:13:08 > 0:13:12what I would hope to see is Cotswold furniture.
0:13:12 > 0:13:17The Cotswolds produced artistic furniture from the 1890s.
0:13:17 > 0:13:22Great names - Gimson, Barnsley - people who were classic figures
0:13:22 > 0:13:26in English Arts-and-Crafts furniture all worked round here.
0:13:26 > 0:13:30Now, I've a perception of what their furniture looks like,
0:13:30 > 0:13:34and it doesn't quite look like this, so tell me what you know about this.
0:13:34 > 0:13:39- This is a dental cabinet which I inherited...- A dental cabinet?
0:13:39 > 0:13:44- Yes, which I inherited when I took a dental practice over in 1975.- Yes.
0:13:44 > 0:13:46And this came with it.
0:13:46 > 0:13:51It was commissioned by one of my predecessors in the early 1920s,
0:13:51 > 0:13:57- by... I think it was done by Mr Gimson in Sapperton.- Right.
0:13:57 > 0:14:00So, it's a very different piece of Cotswold furniture.
0:14:00 > 0:14:03Most Cotswold furniture is domestic.
0:14:03 > 0:14:08They wanted that handmade beautifully finished traditional Arts-and-Crafts look.
0:14:08 > 0:14:12What I've never seen before is a piece that is specifically made
0:14:12 > 0:14:16for a particular industry - if I can call it an industry.
0:14:16 > 0:14:21Now, it looks like a dental cabinet, it's got all the drawers...
0:14:21 > 0:14:25wonderful little thing there for putting your drill bits in...
0:14:25 > 0:14:27- Are they called drill bits?- Yes.
0:14:27 > 0:14:31Um, everything about this is to do with its function.
0:14:31 > 0:14:35One of the most classic things which underlines that to me is...
0:14:35 > 0:14:40Normally cupboards open that way, but these open the other way...
0:14:40 > 0:14:44God, it smells of the dentist in there!
0:14:44 > 0:14:47It's that terrible smell I used to hate as a child.
0:14:47 > 0:14:50- Sorry, I shouldn't say that to you. - All right.
0:14:50 > 0:14:53This is for practicality.
0:14:53 > 0:14:56I imagine the nurse would prepare things on top here
0:14:56 > 0:15:01with a glass plate, and would get in the cupboards without having to...
0:15:01 > 0:15:05- lean across. Does that make sense? - Yes, it does.
0:15:05 > 0:15:09So, the design of the piece has been driven by its function,
0:15:09 > 0:15:13but all the Cotswold techniques are still here - the revealed structure,
0:15:13 > 0:15:19the use of oak, the visible dowel pins which hold it together,
0:15:19 > 0:15:23the way the dovetails are part of the design,
0:15:23 > 0:15:27the whole sense of simplicity. Now, you say Gimson -
0:15:27 > 0:15:31Gimson was the key figure, 1864-1919,
0:15:31 > 0:15:36- but there's a problem. If it was made in the '20s, he was dead.- Yes.
0:15:36 > 0:15:40Gimson and two Barnsley brothers - Sidney and Ernest -
0:15:40 > 0:15:44were the founder figures of the Cotswold style.
0:15:44 > 0:15:50- A Mr Hawkins was the dentist in the early '20s.- Yes.- His father practised there before that.
0:15:50 > 0:15:54Maybe we can take it back another generation. If you want Gimson -
0:15:54 > 0:15:56it's got to be before World War I.
0:15:56 > 0:16:00Equally, it could be a Sapperton piece of the 1920s
0:16:00 > 0:16:04by a lot of other makers who set up in business there,
0:16:04 > 0:16:08so I'm not going to put a name on it without more research,
0:16:08 > 0:16:12but if it's Gimson you're going to be looking at...
0:16:12 > 0:16:15at least £5,000, possibly more.
0:16:15 > 0:16:18If it's by one of the followers in the 1920s,
0:16:18 > 0:16:23you're looking at £3,000 to £5,000, which is still a good price
0:16:23 > 0:16:26- for something that came with the job.- Mmm.
0:16:26 > 0:16:32I've waited all day for someone to turn up with some Winchcombe pottery
0:16:32 > 0:16:37and at last, two people turn up, both connected with the pottery.
0:16:37 > 0:16:41Yes. Yeah, I went there as a young boy about 1948.
0:16:41 > 0:16:43- Yes.- I was 12 years old.
0:16:43 > 0:16:48Good Lord. And your father was, of course,
0:16:48 > 0:16:51- at Winchcombe pottery back in the old days?- He was, yes,
0:16:51 > 0:16:54from when he was 14. He's 89 now.
0:16:54 > 0:16:59The Winchcombe pottery has been a very dear one to my heart.
0:16:59 > 0:17:04At first they used the clay dug from the field behind the pottery.
0:17:04 > 0:17:08- Yes.- That's right.- Used the brickyard clay, I think, first.
0:17:08 > 0:17:12- But I think this one probably was made...- Brickyard clay that one.
0:17:12 > 0:17:16Brickyard clay, yes. And this is inscribed Winchcombe
0:17:16 > 0:17:19in Michael Cardew's own lettering.
0:17:19 > 0:17:22Very typical beautiful lettering round there.
0:17:22 > 0:17:29- Your father was Sidney Tustin who made all these pieces.- He did, yes.
0:17:29 > 0:17:33- And he used his own personal mark, didn't he?- That's right, yeah.
0:17:33 > 0:17:36This one has got the Winchcombe pottery mark, WP,
0:17:36 > 0:17:39- and ST for Sid Tustin.- Yes.
0:17:39 > 0:17:42These were all made for your family, were they?
0:17:42 > 0:17:47- The green set, a complete tea set, was made for my sister.- Yes.
0:17:47 > 0:17:51And the brown set was made for myself,
0:17:51 > 0:17:54when we were sort of five, six...
0:17:54 > 0:17:59And this comes from a much more recent period of production.
0:17:59 > 0:18:01This is from Nigeria, isn't it?
0:18:01 > 0:18:06That's one of Cardew's assistants in Abuja.
0:18:06 > 0:18:11When Cardew left Winchcombe, he got a job with the government in Africa
0:18:11 > 0:18:14and that's by one of his assistants.
0:18:14 > 0:18:17- It's a built pot, not thrown.- No.
0:18:17 > 0:18:21- She came to England and made two in Winchcombe.- This is Ladi Kwali?
0:18:21 > 0:18:26- Ladi Kwali.- And you actually met her when she was in England?- Yes.
0:18:26 > 0:18:29Yes, I see her build two. She put them on my wheel
0:18:29 > 0:18:32- and spun them and they were perfect.- Heavens!
0:18:32 > 0:18:35You'd have thought they were thrown on wheels.
0:18:35 > 0:18:38She used a five-gallon oil drum.
0:18:38 > 0:18:44She put a ring of...sort of reeds or something on a bit of calabash,
0:18:44 > 0:18:48started with a big lump of clay, pinched it out and pulled it up,
0:18:48 > 0:18:50put bits on and built them round,
0:18:50 > 0:18:56- walking backwards.- Good Lord! - Singing and dancing, lovely.
0:18:56 > 0:18:59These are very much local and very personal -
0:18:59 > 0:19:03they're priceless in the family, aren't they?
0:19:03 > 0:19:08A jug like that is probably going to be £500, £600 now,
0:19:08 > 0:19:10highly collectable, these things.
0:19:10 > 0:19:14But a Ladi Kwali vase like that - God knows, I don't know...
0:19:14 > 0:19:18- What did you pay for that? - Do you want to know?- Yes, please.
0:19:18 > 0:19:24- £12.- No! £12?! - That was a lot of money!
0:19:24 > 0:19:30Yes, but £12! Now, a pot by Ladi Kwali, highly collectable potter,
0:19:30 > 0:19:33would be I suppose £5,000, £6,000, £7,000.
0:19:33 > 0:19:39- So your £12 has done very, very well!- Mmm.
0:19:39 > 0:19:43What a beautiful vase. Absolutely wonderful. African and yet,
0:19:43 > 0:19:47mixed up with Winchcombe at the same time. Wonderful.
0:19:47 > 0:19:50Where did this furniture come from?
0:19:50 > 0:19:54I bought them from local auctions about seven or eight years ago.
0:19:54 > 0:19:59I collect porcelain and pottery and I bought them to display them.
0:19:59 > 0:20:03- Oh, perfect, perfect! - But also with this one,
0:20:03 > 0:20:09I've always been interested in things made of timber and inlaid and marquetry furniture
0:20:09 > 0:20:13and I was attracted by this, by the complicated inlay on it.
0:20:13 > 0:20:18- I am not sure quite where these came from.- I see.
0:20:18 > 0:20:21China is pretty obvious as a possibility,
0:20:21 > 0:20:26but I think they could have come slightly further west than that.
0:20:26 > 0:20:30It's an export piece, it was never made for indigenous use.
0:20:30 > 0:20:34- No. - Made from an Oriental rosewood.
0:20:34 > 0:20:37If you think about carving that...
0:20:37 > 0:20:43with the design of this scrolling lotus in relief,
0:20:43 > 0:20:47- you're cutting away the background. - Carved from solid, I think.
0:20:47 > 0:20:51- Carved from the solid - that is laborious.- Yes.
0:20:51 > 0:20:56- Date of this - mid-19th century... - Mm, I see.- ..something like that.
0:20:56 > 0:21:00This one's very nice. It's actually Japanese, not Chinese,
0:21:00 > 0:21:04- did you know that?- Yes, I did, yes. - And slightly later -
0:21:04 > 0:21:08we're looking here into the 1870s. Again an export piece
0:21:08 > 0:21:13and what's unusual about this one is that it's symmetrical.
0:21:13 > 0:21:16- Oh, I see. - Everything balances.
0:21:16 > 0:21:20- Right.- And that is untypical, until you get to the very bottom element.
0:21:20 > 0:21:24- Yes.- Where suddenly it's asymmetrical.- Yes.
0:21:25 > 0:21:32- We've got little, wonderful sliding doors.- Yes, amusing, that.
0:21:32 > 0:21:36And, of course, in Japan the houses are made of wood and paper
0:21:36 > 0:21:41and perhaps, when this was new, those were infilled with paper.
0:21:41 > 0:21:45- I see, a bit like the houses. - Just like the houses -
0:21:45 > 0:21:48that's how their doors worked, so they reproduced it.
0:21:48 > 0:21:53- Amusing temples here.- And a little bridge.- A little bridge! Wonderful!
0:21:53 > 0:21:57- You'll have to get some porcelain figures to put on the bridge.- Yes.
0:21:57 > 0:22:01This class of ware was hugely popular for export
0:22:01 > 0:22:04both to America and to Europe in the 1870s.
0:22:04 > 0:22:09- Mmm.- Made by marquetry
0:22:09 > 0:22:11onto a pine base.
0:22:11 > 0:22:16And what we've got on here is different woods -
0:22:16 > 0:22:19these are sample woods to show what was available.
0:22:19 > 0:22:24This is probably walnut, and this is probably a calamander...
0:22:24 > 0:22:27on a typical pine base,
0:22:27 > 0:22:30all cut and set in position.
0:22:32 > 0:22:35The interesting thing... I'd be quite interested to know...
0:22:35 > 0:22:39what you paid for that one.
0:22:39 > 0:22:43- Yes, that was £700, I think. - Oh, how long ago was this?
0:22:43 > 0:22:47- Six or seven years ago. - Oh, that was a very good price.
0:22:47 > 0:22:50- You did well on that one.- Yes.
0:22:50 > 0:22:55I mean...a retail price on that one today would be...
0:22:55 > 0:22:58- £1,200 - £1,500.- Yes.- And this one?
0:22:58 > 0:23:04- I paid £500 for this one.- This was? - About seven years ago, again.
0:23:04 > 0:23:06That's a perfectly good price.
0:23:06 > 0:23:10If that had come up in a London auction that time ago,
0:23:10 > 0:23:14- it would have made at least double that if not more.- Yes, mm.
0:23:14 > 0:23:16You've done very well.
0:23:16 > 0:23:21- You've doubled up your price.- Mm. - No doubt about that.- Very nice.
0:23:23 > 0:23:27Simon, some time ago we featured a watch with a luminous face
0:23:27 > 0:23:31and then we got a letter warning us about the dangers of radioactivity.
0:23:31 > 0:23:33Mm, in fact, in the old days,
0:23:33 > 0:23:37radium, that Marie Curie used, was considered to be harmless
0:23:37 > 0:23:40and occasionally you'll find a little bottle of it
0:23:40 > 0:23:43in a very old doctor's surgery kit,
0:23:43 > 0:23:47but in terms of watches, it's the luminous dials that are dangerous.
0:23:47 > 0:23:51They're not dangerous per se and I'll explain more about that.
0:23:51 > 0:23:55I've actually managed to purloin a watch today.
0:23:55 > 0:24:00This is probably '50s and we're OK, cos in the '50s they changed over.
0:24:00 > 0:24:04Where it becomes dangerous - it's rather like asbestos -
0:24:04 > 0:24:06it's safe if you don't play with it,
0:24:06 > 0:24:09you don't inhale it and you leave it where it is.
0:24:09 > 0:24:15So, fundamentally, an old watch, especially one made before the war,
0:24:15 > 0:24:19if it's got a luminous dial, is safe enough if you don't open it
0:24:19 > 0:24:23and you don't get the radium in contact with yourself.
0:24:23 > 0:24:29- What's the history of it?- They used to mix it with zinc sulphide
0:24:29 > 0:24:33and paint it onto the watch dial. Now, the ladies that did it,
0:24:33 > 0:24:38had a tendency, with a very pointed brush, to lick the end of the brush,
0:24:38 > 0:24:42to sharpen it up, to pick up the radium and put it on the dial.
0:24:42 > 0:24:46And huge numbers of people dying of cancer of the tongue and the throat.
0:24:46 > 0:24:52- So what do you do if you want to get it repaired?- Well, YOU don't!
0:24:52 > 0:24:54You get a man who does.
0:24:54 > 0:24:58In fact, if you write to someone like the British Horological Institute,
0:24:58 > 0:25:02they will recommend a watchmaker who can remove it safely.
0:25:02 > 0:25:05One way is by immersing the dial into oil,
0:25:05 > 0:25:11then it can be gently scraped off and the material is kept in the oil and can be disposed of safely.
0:25:11 > 0:25:14What you DON'T do is scrape...
0:25:14 > 0:25:16Right(!)
0:25:16 > 0:25:21This was painted by my grandmother's uncle.
0:25:21 > 0:25:25I'm not sure of the date, but way back in the 1850s.
0:25:25 > 0:25:27And as I understand it,
0:25:27 > 0:25:32the lady who is in the centre of the picture, who is dying,
0:25:32 > 0:25:38was his mother, and that would be his wife and one of his daughters.
0:25:38 > 0:25:41Yes. It's quite remarkable to think
0:25:41 > 0:25:45that somebody would have the presence of mind or the ability
0:25:45 > 0:25:47to record the scene.
0:25:47 > 0:25:50We have his portfolio here
0:25:50 > 0:25:52and his name - RP Cuff,
0:25:52 > 0:25:56who I don't recognise as any particularly noted artist.
0:25:56 > 0:26:01The name means nothing to me other than he's in the family history.
0:26:01 > 0:26:03But this quite often happens.
0:26:03 > 0:26:07It's extraordinary that somebody with so much ability did this,
0:26:07 > 0:26:11and probably did one or two other watercolours and not much else.
0:26:11 > 0:26:16But just examining the painting, as I'm sure you have for years,
0:26:16 > 0:26:20moving around the fruit, and I think this is a cheese...
0:26:20 > 0:26:26- Oh, it is. Incredible detail.- Yes. We have the artist's palette
0:26:26 > 0:26:31and possibly some water and some other drawings here.
0:26:31 > 0:26:35And here, this wonderful posy here, the still life of flowers
0:26:35 > 0:26:38and the family Bible, or a prayer book...
0:26:38 > 0:26:41Yes, they would have been Bible readers.
0:26:41 > 0:26:46- Yes, yes.- We showed it at Sotheby's and Phillips and one of them said,
0:26:46 > 0:26:51"Oh, the lady there, she's got such a pallid uninteresting face."
0:26:51 > 0:26:53Well, if I may say,
0:26:53 > 0:26:58speaking as a doctor, that face depicts precisely
0:26:58 > 0:27:02- the disease she was dying from. She was dying from tuberculosis.- Yes.
0:27:02 > 0:27:07And that is a very clear, precise painting of that.
0:27:07 > 0:27:12- Yes, yes.- And people dying of tuberculosis DON'T look very happy.
0:27:12 > 0:27:14Of course they don't, no, no.
0:27:14 > 0:27:18But what WE like about it is the warmth of the family care.
0:27:18 > 0:27:22Yes. I would have thought that a figure of something like...
0:27:22 > 0:27:25£2,000 or £3,000 is what it's worth.
0:27:25 > 0:27:30- Thank you. Pleasure to have it appreciated.- Good.
0:27:30 > 0:27:33It was bought in 1960 or thereabouts,
0:27:33 > 0:27:37in an antique shop in South Kensington
0:27:37 > 0:27:41and that lady left it to a lady friend of mine,
0:27:41 > 0:27:44a long-time lady friend,
0:27:44 > 0:27:47- and she died and left it to me. - Oh, wonderful.
0:27:47 > 0:27:51It is a Tunbridge-ware box. You'll know all about Tunbridge ware,
0:27:51 > 0:27:54but it's a fascinating technique.
0:27:54 > 0:27:57It came in at the end of the Georgian period,
0:27:57 > 0:28:02going right through the 19th C. The way they decorate these panels
0:28:02 > 0:28:05is with little tiny bundles of different coloured woods
0:28:05 > 0:28:10and they clip them off and put them into the patterns here,
0:28:10 > 0:28:14so it looks rather like a pixelated photograph,
0:28:14 > 0:28:17- like something you see on a computer now.- Yes.
0:28:17 > 0:28:22They were very popular. This is a particularly fine example
0:28:22 > 0:28:25and it is a workbox. There's a castle on top,
0:28:25 > 0:28:30- which is a favourite.- Very ingenious.- It is. Isn't it clever?
0:28:30 > 0:28:35They had time in those days to do these things! But look inside. Wow!
0:28:35 > 0:28:37- I love the colour of the silk.- Mm.
0:28:37 > 0:28:41- It must have been much-loved and much used, this box, I feel.- Yes.
0:28:41 > 0:28:43And it'd have an underneath tray.
0:28:43 > 0:28:48- Let's take that out. Oh, gracious, we've got a letter in here.- Yes.
0:28:48 > 0:28:51That's from a gentleman of 1857
0:28:51 > 0:28:55to a lady asking her if she would like to accept it,
0:28:55 > 0:28:58- which she obviously did.- Great.
0:28:58 > 0:29:02And it's stayed with it all those years. Isn't that wonderful?
0:29:02 > 0:29:05"John Kitchener's respectful compliments
0:29:05 > 0:29:09"begs Mrs Jones' kind acceptance of the workbox
0:29:09 > 0:29:13"as a token of regard and esteem." Wonderful!
0:29:13 > 0:29:17It's a long time since gentlemen have esteemed ladies!
0:29:17 > 0:29:19I'd like to be esteemed. 1857.
0:29:19 > 0:29:23I think if it was sold today, you would be talking somewhere between
0:29:23 > 0:29:28- £700 and £1,000 at auction. Thanks for bringing it in.- It's a pleasure.
0:29:31 > 0:29:36- Do you know what that mark is?- I can't read it, it's too corrupted.
0:29:36 > 0:29:37- 1860?- Or later.
0:29:37 > 0:29:41That dragon is the sort of thing you see in Liberty designs.
0:29:41 > 0:29:45- Are you a family of letter writers? - Not really.
0:29:45 > 0:29:48It was my great, great uncle's,
0:29:48 > 0:29:52- and we've had it ever since then. - Well, I love these things.
0:29:52 > 0:29:56I think no country-house hall would be complete without them.
0:29:56 > 0:30:00It is made of oak - Victorian miniature letter box -
0:30:00 > 0:30:04and they're always conceived to go on a hall table.
0:30:04 > 0:30:08The postman would pick up the mail every day from it.
0:30:08 > 0:30:11The earliest ones of these tend to be made
0:30:11 > 0:30:15in the second quarter of the 19th century,
0:30:15 > 0:30:18but they continued being made until the early 20th century.
0:30:18 > 0:30:23But very nice colour. They are very popular. Have you had it valued?
0:30:23 > 0:30:28- Don't think so, no.- If you were to go to a dealer or a fair,
0:30:28 > 0:30:34- you might well have to pay... £2,000 to £2,500.- £2,500?!
0:30:35 > 0:30:37Right.
0:30:37 > 0:30:41I don't want to be rude, but she appears to be going bald,
0:30:41 > 0:30:44she hasn't got any eyes,
0:30:44 > 0:30:48her hands are all bashed up, she's got dirty socks,
0:30:48 > 0:30:51but I'm sure you love her?
0:30:51 > 0:30:54I do, yes. She was given to me as a little girl
0:30:54 > 0:30:58- and I've treasured her ever since. - And did you damage her?
0:30:58 > 0:31:02- I played with her and cut her hair. - YOU did that?
0:31:02 > 0:31:05- I did, yes, cut her fringe. - What about her eyes?
0:31:05 > 0:31:09Her eyes fell out. The head got glued on and the eyes got left out,
0:31:09 > 0:31:14- so I haven't tried to dismantle her again.- Where are the eyes?- At home.
0:31:14 > 0:31:17- Oh, you've still got them?- Yes.
0:31:17 > 0:31:20Has an expert looked at her?
0:31:20 > 0:31:24They said she was worth about £1,000 as she is now.
0:31:24 > 0:31:31- So you must have caused about £10,000 worth of damage!- Yes.
0:31:31 > 0:31:35This is a painting of a Hurricane from WW2. Whose plane is it?
0:31:35 > 0:31:39- That's my father flying that plane in the Battle of Britain.- Right.
0:31:39 > 0:31:42And your father was by rank...?
0:31:42 > 0:31:47- Squadron Leader Ginger Lacey, DFM and Bar.- Really?
0:31:47 > 0:31:50- One of the well-known aces of the last war.- Yeah.
0:31:50 > 0:31:53Ranking up there with Johnny Johnson and the rest.
0:31:53 > 0:31:56- We like to think of him as better than most.- Right!
0:31:56 > 0:32:01Well, this is his flying logbook, which is wonderful. I've had a peep.
0:32:01 > 0:32:07- Now...the fascinating thing is here this entry about the Heinkel.- Yes.
0:32:07 > 0:32:13"Heinkel 111 destroyed. Remember, must leave bombers alone in future -
0:32:13 > 0:32:17"they're shooting me down too often." What's the story?
0:32:17 > 0:32:20If you look at the date - September 13th -
0:32:20 > 0:32:24it says, "Intercepted single HE 111."
0:32:24 > 0:32:27That was the one that bombed Buckingham Palace,
0:32:27 > 0:32:33- when the Queen Mother said she could look the East End in the face at last.- Yes.
0:32:33 > 0:32:37Father shot him down, but he was shot down himself
0:32:37 > 0:32:41- "by rear gunner who knew his stuff" and had to bail out.- Oh, right.
0:32:41 > 0:32:45I would put a value on this one - my first thought was £500 -
0:32:45 > 0:32:50but because it is what it is, it could fetch £1,000 in auction
0:32:50 > 0:32:53because it's so desirable to collectors.
0:32:53 > 0:32:56Not that any collector's ever going to get hold of this!
0:32:56 > 0:32:58Of course!
0:32:59 > 0:33:02My late husband was a US navy pilot
0:33:02 > 0:33:07and he was a native of Sacramento but grew up in Oregon.
0:33:07 > 0:33:12His mother was called McCulley and...
0:33:12 > 0:33:15- That would be what this is here, this card.- Yeah.
0:33:15 > 0:33:19- Dr McCulley was a dentist.- Right. - And, as it says,
0:33:19 > 0:33:24the office was over Wilber's Drugstore in Snohomish, Washington.
0:33:24 > 0:33:28He used to trade with the Indians - he'd pull teeth or something.
0:33:28 > 0:33:31Well, they were penniless and...
0:33:31 > 0:33:36- And he took these in payment, did he? For pulling teeth?- Yes.
0:33:36 > 0:33:38And the tribe?
0:33:38 > 0:33:42Well, my husband told me it was the Klickitat Indians.
0:33:42 > 0:33:46- Right, OK. - Now, I've no history of that,
0:33:46 > 0:33:51- but he said they no longer exist. - This doll here is very simplistic,
0:33:51 > 0:33:54and obviously made for a child.
0:33:55 > 0:34:01We've got horsehair for the hair, which is interesting, and beadwork.
0:34:01 > 0:34:04This, I feel, is post-1900 so after 1900,
0:34:04 > 0:34:07but what very much interests me is this,
0:34:07 > 0:34:13which is a pouch. The thing about beadwork, Native-American beadwork,
0:34:13 > 0:34:18is that in fact an awful lot of it was actually made for trade.
0:34:18 > 0:34:23A nice pair of moccasins would have a very European influence -
0:34:23 > 0:34:27they'll be decorated in foliate bands and things.
0:34:27 > 0:34:31They can be hard to date, but often trade items are very easy to date
0:34:31 > 0:34:35because of those characteristics. I look at this and think,
0:34:35 > 0:34:40probably about 1870-1880. It's actually an old piece in real terms.
0:34:40 > 0:34:43I look at the characteristics of it
0:34:43 > 0:34:47and I don't see many European influences in it, which is good,
0:34:47 > 0:34:49I really like that.
0:34:49 > 0:34:53It fascinates me that this was traded for tooth pulling.
0:34:53 > 0:34:57I think that this pouch is probably worth about £1,500 to £2,000...
0:34:59 > 0:35:01And I think the little doll,
0:35:01 > 0:35:04which is charming, although later,
0:35:04 > 0:35:09- very naive, but very charming, I think is worth £500 to £800.- Uh-huh.
0:35:09 > 0:35:13They were my mother's. She was very interested in blue and white,
0:35:13 > 0:35:17particularly copies of Chinese patterns.
0:35:17 > 0:35:21Interesting that she collected Chinese patterns... You're right,
0:35:21 > 0:35:25what you have here are English examples
0:35:25 > 0:35:29of English manufacturers attempting to produce Chinese-style porcelains.
0:35:29 > 0:35:34- Actually you've got three different factories represented here.- Right.
0:35:34 > 0:35:41Here we've got the latest piece which is from the Caughley factory -
0:35:41 > 0:35:45a miniature coffee pot which is quite rare
0:35:45 > 0:35:48and produced around about 1778-1780.
0:35:48 > 0:35:53Beautifully made with a very, very pretty little Chinese pattern
0:35:53 > 0:35:58- of a river island and two Chinese-style pagodas.- Mm, OK.
0:35:58 > 0:36:02And here you've got the Worcester factory,
0:36:02 > 0:36:07with a pattern called Rock Warbler - very, very Chinese inspired design -
0:36:07 > 0:36:10- and it looks in perfect condition. - Mmm.
0:36:10 > 0:36:14- Underneath the lid we have a workman's mark.- Yes.
0:36:14 > 0:36:18This was piece work, so they'd get paid for each piece they painted.
0:36:18 > 0:36:21This one - a sort of TF mark.
0:36:21 > 0:36:25Sometimes individual painters' pieces got separated
0:36:25 > 0:36:27and didn't go together.
0:36:27 > 0:36:32- Is there a TF under this one? No, painted by a different person.- Oh!
0:36:32 > 0:36:37But when it came to be put together, just a lid that fitted pretty well
0:36:37 > 0:36:43- and off it went.- Mm.- Worcester, 1755, Rock Warbler pattern,
0:36:43 > 0:36:46- so older than the Caughley piece. - Yes, yes.
0:36:46 > 0:36:52In between the two, a factory in East Anglia, the Lowestoft factory -
0:36:52 > 0:36:55these wares produced about 1765.
0:36:55 > 0:36:59Again, looks in perfect condition which is really surprising.
0:36:59 > 0:37:01You've got the teapot, the cream jug
0:37:01 > 0:37:06and the sucrier, which reverses in the Chinese style to be a saucer.
0:37:06 > 0:37:12- Do you think their value is limited by their size?- Um, yeah.
0:37:12 > 0:37:16I would have thought that something so small couldn't be worth much.
0:37:16 > 0:37:21Well, it's the reverse in that small is beautiful.
0:37:21 > 0:37:23The Caughley coffee pot
0:37:23 > 0:37:27would have an estimate at auction of £600 to £800.
0:37:27 > 0:37:32- Mmm.- And could probably do better. The little Worcester teapot -
0:37:32 > 0:37:37- I think would be estimated at £1,000 to £1,500.- Wow, yeah.
0:37:37 > 0:37:40And the group of Lowestoft wares -
0:37:40 > 0:37:43the three pieces together -
0:37:43 > 0:37:47- £2,000 to £2,500.- Gosh. - Beautiful things.
0:37:49 > 0:37:53The light here shows us how very white these diamonds are
0:37:53 > 0:37:57- because this is a diamond parure of jewellery. Parure - a set.- Yes.
0:37:57 > 0:37:59Brooch and matching eardrops.
0:37:59 > 0:38:03The period of design for something like this
0:38:03 > 0:38:06is very much late 1940s, start of the 1950s,
0:38:06 > 0:38:11when London jewellers used to make jewellery like this -
0:38:11 > 0:38:16very white, using brilliant cuts - which are the round diamonds
0:38:16 > 0:38:20and, in this case, baguette-cut diamonds. You know the way it is,
0:38:20 > 0:38:24ladies would go to cocktail parties and wear their sets of jewellery.
0:38:24 > 0:38:28Sometimes with these drops for the ears, you could remove the diamonds.
0:38:28 > 0:38:30- And I see you can, can't you?- Yes.
0:38:30 > 0:38:35You could wear them as cluster clips on the lobe during the day,
0:38:35 > 0:38:39and at night, you would put your baguette diamond drops on.
0:38:39 > 0:38:43- Yes.- Night-time/day-time earrings -
0:38:43 > 0:38:45very practical indeed.
0:38:45 > 0:38:50With the brooch, you can remove it from the frame like that -
0:38:50 > 0:38:55you pull back these clip fittings - you just pull that like that -
0:38:55 > 0:38:59that dismantles...
0:38:59 > 0:39:02and then you can wear one on one side of your lapel
0:39:02 > 0:39:06- and one on the other. - Were clips fashionable in the '50s?
0:39:06 > 0:39:10- Very much so, and in the '30s too. - Were they? Yes.
0:39:10 > 0:39:13And you could imagine how striking that would look.
0:39:13 > 0:39:18Now, you've also brought in something that is utterly different from this.
0:39:18 > 0:39:22You couldn't get pieces that were so different in design.
0:39:22 > 0:39:28This is a totally aesthetic piece of jewellery, isn't it? Very subtle,
0:39:28 > 0:39:32it's very delicate. Whereas this is all flash and show,
0:39:32 > 0:39:35this is far more gentle. Do you know about this?
0:39:35 > 0:39:39I'm assuming that they didn't come from the same place?
0:39:39 > 0:39:42I don't know. This belonged to my grandmother,
0:39:42 > 0:39:47so it won't have come from the same place as this jewellery,
0:39:47 > 0:39:50and my grandmother gave me that when I was 21.
0:39:50 > 0:39:55The jeweller who's made this has used different coloured sapphires.
0:39:55 > 0:40:00These are blue ones and here we've got some pink sapphires
0:40:00 > 0:40:06and these are almost like moonstones but are actually a white sapphire,
0:40:06 > 0:40:08and they're from Ceylon, I think,
0:40:08 > 0:40:11that's where we get all these different coloured sapphires.
0:40:11 > 0:40:16Then you've got the frame which is all enamelled in bright green,
0:40:16 > 0:40:20so there is a sense of contrast between the stones and the frame.
0:40:20 > 0:40:26Now, the key about this is you've got a cartouche-shaped maker's mark
0:40:26 > 0:40:31- at the top there.- Yes.- That tells me that this is a piece of jewellery
0:40:31 > 0:40:37made by that famous house who worked in Victorian times called Guiliano.
0:40:37 > 0:40:42- It is them?- It is. Did you have a suspicion that it might have been?
0:40:42 > 0:40:46I've never ever had anybody look at it before, but, um...
0:40:46 > 0:40:48I hoped that it might be.
0:40:48 > 0:40:50Well, I'm delighted to confirm that it is.
0:40:50 > 0:40:52It's not Carlo Guiliano, the father,
0:40:52 > 0:40:57- it's actually the sons - they've got a slightly different mark there.- Oh.
0:40:57 > 0:41:00We can date this piece to about 1890...
0:41:00 > 0:41:04getting towards the end of the Victorian period.
0:41:04 > 0:41:08- You've also got a matching chain to go with it as well.- Yes.
0:41:08 > 0:41:11Although that hasn't a maker's mark.
0:41:11 > 0:41:15But this is absolutely right and proper for the period,
0:41:15 > 0:41:17by this maker.
0:41:17 > 0:41:22- Yes.- And it's colourful, it's delicate, it's wearable
0:41:22 > 0:41:26- and it's deeply commercial. - Oh, thank you!- Right, well, values.
0:41:26 > 0:41:29The diamond clip brooch -
0:41:29 > 0:41:33each side here has got about 6 carats of diamonds,
0:41:33 > 0:41:36that makes about 12 carats,
0:41:36 > 0:41:41so a basic break-up price for this diamond brooch
0:41:41 > 0:41:43would be maybe £4,000 or £5,000.
0:41:43 > 0:41:49The earrings - the fact it's a set adds a little boost to it as well -
0:41:49 > 0:41:54so I think those earrings are around £3,000 to £3,500.
0:41:54 > 0:41:57And then we move to this.
0:41:57 > 0:42:02I think that if this was being sold the interest would be comprehensive
0:42:02 > 0:42:06and I think it'd be worth something in the region of £6,000.
0:42:06 > 0:42:08- Yes.- That's the key name.- Yes.
0:42:08 > 0:42:13- Terrific, thank you very much indeed.- Thank you too.
0:42:13 > 0:42:16And, so, the new series is off and running.
0:42:16 > 0:42:21We have to leave the lovely grounds of Sudeley Castle and head home.
0:42:21 > 0:42:23We've had one or two letters
0:42:23 > 0:42:27about this lovely blue car that features in our opening titles.
0:42:27 > 0:42:31There's one here from Ron Magill of Surrey,
0:42:31 > 0:42:34who sees a resemblance between the driver and Tony Blair
0:42:34 > 0:42:37and sends a cartoon to illustrate that.
0:42:37 > 0:42:39Nice work, Ron.
0:42:39 > 0:42:43And another picture from C Tilley of Newark,
0:42:43 > 0:42:47who tells us that in 1928, when he was four, his father took him
0:42:47 > 0:42:52to collect a grandfather clock in a motorcycle and sidecar.
0:42:53 > 0:42:57The question most people ask about our title sequence is,
0:42:57 > 0:42:59"Where was the last bit filmed?"
0:42:59 > 0:43:01It's Hay Bluff near Hay-on-Wye,
0:43:01 > 0:43:04where the sun always seems to shine.
0:43:04 > 0:43:06Until the next time, goodbye.
0:43:37 > 0:43:39Subtitles by Red Bee Media Ltd