0:00:34 > 0:00:36Welcome to a king's playground.
0:00:36 > 0:00:39In these parks, an English monarch practised archery
0:00:39 > 0:00:42with the dark-haired beauty who had captured his heart.
0:00:42 > 0:00:44He called her his "own darling".
0:00:44 > 0:00:49And while they played Cupid, the queen was in the palace wondering what her fate would be.
0:00:49 > 0:00:53The king was Henry VIII, his darling, Anne Boleyn...
0:00:53 > 0:00:56and the palace... Hampton Court.
0:01:08 > 0:01:14During Henry's reign these walls had witnessed the arrivals, and mostly the departures, of six queens.
0:01:14 > 0:01:18When he took up residence with his first wife, Catherine of Aragon,
0:01:18 > 0:01:23he was already making way for Anne Boleyn and had started building rooms for her at the palace.
0:01:23 > 0:01:27But Anne Boleyn did not live to see the rooms completed.
0:01:27 > 0:01:32For palace staff, the arrival of a new queen meant swift makeovers.
0:01:32 > 0:01:36Anne's insignia had to be replaced by Jane Seymour's.
0:01:36 > 0:01:41The royal beasts had to be altered too and Anne's leopard converted to Jane's panther...
0:01:41 > 0:01:45perhaps by a diplomatic removal of spots.
0:01:45 > 0:01:51Jane gave birth to Henry's son Edward at the palace and he was christened in the Chapel Royal.
0:01:52 > 0:01:59Sadly his mother died ten days later and at Henry's request her internal organs were buried under the altar.
0:01:59 > 0:02:03Unsuited to being a widower, he then married Anne of Cleves...
0:02:03 > 0:02:05a swift annulment followed.
0:02:05 > 0:02:10And when Catherine Howard, his fifth queen, made her first public appearance
0:02:10 > 0:02:12it was here at the Chapel Royal.
0:02:26 > 0:02:30Only 15 months later Catherine Howard was under house arrest
0:02:30 > 0:02:33awaiting execution on a charge of adultery.
0:02:33 > 0:02:37She made one final attempt to plead for Henry's mercy -
0:02:37 > 0:02:40she ran along this corridor to the chapel where she believed him to be,
0:02:40 > 0:02:43but she was intercepted and dragged back to her room.
0:02:43 > 0:02:47A ghost is said to shriek along the corridor at night.
0:02:51 > 0:02:57This enormous kitchen catered to the last great reception hosted by Henry at the palace
0:02:57 > 0:03:00with his sixth wife, Catherine Parr.
0:03:00 > 0:03:03In poor health, the king left most of the entertaining...
0:03:03 > 0:03:06and throwing of chicken legs... to his young son.
0:03:06 > 0:03:11All that in the life of just one of the monarchs who called Hampton Court home.
0:03:11 > 0:03:17And so to the Privy Gardens for another great reception hosted by the Antiques Roadshow.
0:03:17 > 0:03:20Well, this is absolutely incredible.
0:03:20 > 0:03:24I've never seen anything like it, well, not quite like it anyway.
0:03:24 > 0:03:30- But these are cut out pieces of paper and they're actually using little bits of...- Bits of a plant.
0:03:30 > 0:03:35- ..Bits of a plant there, but all these... This is all paper.- Yes.
0:03:35 > 0:03:38And this is actually... If you look at the paper,
0:03:38 > 0:03:40it is, in fact, sort of, Chinese paper.
0:03:40 > 0:03:46- Uh-huh.- It's Chinese sort of pith paper, what they call pith paper. So where did you get this from?
0:03:46 > 0:03:49It was given to me as a birthday present,
0:03:49 > 0:03:53and it was, I suspect, given to me because I'm actually a biologist.
0:03:53 > 0:03:58- Right.- And although I read zoology, I did two years of botany,
0:03:58 > 0:04:00and so I was fascinated by this.
0:04:00 > 0:04:04I can't wait to look at the rest. I mean, they just are too exciting.
0:04:04 > 0:04:06Look at that.
0:04:06 > 0:04:08- Is that laburnum? - I think it's laburnum.
0:04:08 > 0:04:12Laburnum, it's just incredible. The way they've just absolutely...
0:04:12 > 0:04:17- She had an eye for spreading things out.- You think it was a "she", do you?- I think so.
0:04:17 > 0:04:21We've seen some examples of this sort of work in the British Museum
0:04:21 > 0:04:23by Mrs Delany,
0:04:23 > 0:04:26and so we wondered whether they might be by her.
0:04:26 > 0:04:30Well, it's not Mrs Delany because it's not Mrs Delany's period.
0:04:30 > 0:04:33Mrs Delany was at the great, sort of, Kew Garden period.
0:04:33 > 0:04:39- Oh, yes.- She was a great friend of George III and used to go and stay with Queen Charlotte.
0:04:39 > 0:04:43How she had time to do 1,000 cut-out flowers I just have no idea.
0:04:43 > 0:04:47But this person is in the tradition of Mrs Delany,
0:04:47 > 0:04:52but I reckon about 80 years later. This is about 1850.
0:04:52 > 0:04:55You're going to have to be jolly careful with this, you know,
0:04:55 > 0:04:58because as you can see, little bits are cracking here.
0:04:58 > 0:05:02It is a concern owning this sort of thing - the conservation issue.
0:05:02 > 0:05:08Yes. I would say something else also, the paper I suspect is not particularly stable.
0:05:08 > 0:05:10Is there anything we could or should do?
0:05:10 > 0:05:13I think at this stage absolutely nothing at all. Look at that.
0:05:13 > 0:05:17- Oh, just look at that - variegated holly.- Yes.
0:05:17 > 0:05:21Gosh, I can't stop mine... it grows all over the place,
0:05:21 > 0:05:26but here it is recreated in paper with the little berries.
0:05:26 > 0:05:31- I mean, they're almost real berries really, but it just brings it out, doesn't it?- Yes.
0:05:31 > 0:05:35- This is my favourite, yes. - This is your favourite.
0:05:35 > 0:05:37And it is absolutely stunning.
0:05:37 > 0:05:41- Artistically it's so beautifully arranged, isn't it? - Yes.- It really is superb.
0:05:41 > 0:05:47- And the colours are still so fresh. - Well, that is the advantage of keeping it in this album, obviously.
0:05:47 > 0:05:50- You couldn't take those out and put them on the wall...- No.
0:05:50 > 0:05:52..because they would undoubtedly fade.
0:05:52 > 0:05:58But you see the binding, looking at the binding, that is very typically mid-19th century.
0:05:58 > 0:06:04A lovely clasp there, so, I mean, it...just everything about it is just too exciting.
0:06:04 > 0:06:08And you've got what, over 30 of these in there?
0:06:08 > 0:06:09- Yes.- Yes, over 30.
0:06:09 > 0:06:12- Well, may I value it? - Ooh, yes, please.
0:06:14 > 0:06:20I have to say that I think that this would retail for somewhere between £15,000 and £20,000.
0:06:20 > 0:06:22Oh, my!
0:06:23 > 0:06:28- That's quite a present. - You jolly be careful you're not mugged on the way out.
0:06:28 > 0:06:30- Thank you very much indeed. - Thank you very much.
0:06:30 > 0:06:32- My great pleasure. It's lovely. - Wonderful.
0:06:32 > 0:06:35Do you know anything about him?
0:06:35 > 0:06:41Only that he was the, er, mineral manager of the Midland Railway, erm,
0:06:41 > 0:06:43but he didn't go down the pits.
0:06:43 > 0:06:49Oh. The fascinating thing about these portraits is that they look like coloured-over photographs,
0:06:49 > 0:06:52- but they're portraits on porcelain...- On porcelain, yes.
0:06:52 > 0:06:56- ..which is extraordinary.- Yes. - Ellis Roberts, the painter -
0:06:56 > 0:07:02this one is signed just faintly there, but this one is quite clear, 1886.
0:07:02 > 0:07:05- Yes, yes.- He was a very well-known Victorian artist.
0:07:05 > 0:07:10- Was he?- He was trained in the ceramics world, trained at Wedgwood and Minton.
0:07:10 > 0:07:15- Yes.- But then went on to do oils, particularly portraits.
0:07:15 > 0:07:18He was a great specialist Victorian portraitist.
0:07:18 > 0:07:24They could have been done from photographs because they used to have very strict photographs -
0:07:24 > 0:07:28- you stood very still and had it, and then somebody painted them over. - Yes.
0:07:28 > 0:07:32But in this case, perhaps they were sent to Roberts and he...
0:07:32 > 0:07:35They could have sat for him, of course. Do you think they did?
0:07:35 > 0:07:40- They were friends of his.- Ah. - Apparently.
0:07:40 > 0:07:45They're fascinating, especially by a well-known Victorian portraitist
0:07:45 > 0:07:47on porcelain.
0:07:47 > 0:07:53I find them quite riveting to look at. I mean, the faces - the expressions are so wonderful.
0:07:53 > 0:07:55She looks just like my old grandmother.
0:07:55 > 0:08:00- I could have thought she could have been her.- I like the glasses.
0:08:00 > 0:08:03Wonderful, aren't they? They're looking...
0:08:03 > 0:08:08But they're worth, I should imagine, quite a considerable sum.
0:08:08 > 0:08:13- To you, of course, priceless. - Yes, yes.- But if they came up on the open auction market,
0:08:13 > 0:08:17because of Ellis Roberts' well-known skills as a portraitist,
0:08:17 > 0:08:18they would be very interesting.
0:08:18 > 0:08:25I suppose one must be looking at, I don't know, about £3,000 or £4,000 as a value, so look after them.
0:08:25 > 0:08:27- Thank you very much.- Thank you.
0:08:27 > 0:08:30How lovely it is to see such a gorgeous clock
0:08:30 > 0:08:35in front of a piece of architecture of virtually the same period.
0:08:35 > 0:08:38- Is it something you've had in the family for generations?- Yes.
0:08:38 > 0:08:44I've had it for about 30 years, but we know it must have been in the family for at least 100,
0:08:44 > 0:08:47and possibly even 200.
0:08:47 > 0:08:54My grandmother had it in her house - as a child I always admired it and it was always designated for me
0:08:54 > 0:08:57because I was the one that loved the clock.
0:08:57 > 0:09:03And actually in there is a small label which says that that is to come to me in due course,
0:09:03 > 0:09:06- and I kept it inside as a memento. - That's lovely.
0:09:06 > 0:09:09As a child did you ever try and get inside and play with it, or not?
0:09:09 > 0:09:11Er, no, those sort of things were forbidden.
0:09:11 > 0:09:15- It is in use?- Oh, yes, it's in use every day, I wind it about...
0:09:15 > 0:09:20- Every week.- Every week, yes, but we don't wind the bell.
0:09:20 > 0:09:22You don't have the striking going?
0:09:22 > 0:09:25- No, because it's too noisy. - Too noisy?!- It wakes us up at night.
0:09:25 > 0:09:28What can I say? Listen, um...
0:09:28 > 0:09:33that is a fabulous ten-inch dial, the mark of an early clock, in fact.
0:09:33 > 0:09:37We've got a very slender seconds dial here,
0:09:37 > 0:09:44lovely cherub spandrels, a superb matted centre and very, very attractive hands.
0:09:44 > 0:09:50- It's a beautiful dial.- Original hands.- Original hands, BUT it looks as if the silvering has gone.
0:09:50 > 0:09:53- Have you been polishing at that a bit, or not?- No.
0:09:53 > 0:09:57- We only got married about 12 years, 13 years ago.- 13 years.
0:09:57 > 0:10:02And it was the same as when we, when I came into the scene.
0:10:02 > 0:10:06I like to see that, so if you have a look your side and I'll have a look mine,
0:10:06 > 0:10:12- we've got a lovely movement there with six ring pillars, all of which are latched.- Yes.
0:10:12 > 0:10:18So you can just unclip them and take the whole thing apart and the dial is also latched,
0:10:18 > 0:10:23the dial feet are all latched to that front plate. It's a cracking good movement.
0:10:23 > 0:10:26Now, what sort of date do you reckon?
0:10:26 > 0:10:28Well, I always thought it was about 1720, 1730,
0:10:28 > 0:10:33but that's slightly guessing and I've got nobody to corroborate that.
0:10:33 > 0:10:37- Well, I think we could call it just prior to 1685.- Oh, my goodness!
0:10:37 > 0:10:40- Oh, it's a good thing, a very good thing.- Oh, my goodness.
0:10:40 > 0:10:44And look at this case, look at this fantastic panel marquetry.
0:10:44 > 0:10:49I'm not quite convinced about the mother-of-pearl that's been set into that little butterfly,
0:10:49 > 0:10:51but the rest of it is superb.
0:10:51 > 0:10:56Sadly there has been a little bit of damage and restoration to the plinth...
0:10:56 > 0:11:00and you've got cracking here, but that's not the end of the world.
0:11:00 > 0:11:07- And this section here, all this moulding is not original, these feet are not original.- Oh, oh.
0:11:07 > 0:11:10It would almost certainly have sat on small bun feet.
0:11:10 > 0:11:15- Oh, that's interesting. - But I think it's an absolutely cracking good piece.
0:11:15 > 0:11:21Would it have had any sort of spandrel-type things on the top originally?
0:11:21 > 0:11:24It might have had some cresting but it doesn't matter,
0:11:24 > 0:11:28the thing that has been lost are the barley twist columns which would have come down each side.
0:11:28 > 0:11:33- There's been some alteration to the hood, the mouldings are not original.- Yes.
0:11:33 > 0:11:37But again that's not the end of the world - the basic thing is in superb condition.
0:11:37 > 0:11:42The movement is lovely. Not signed so I can't pin it down to any specific maker.
0:11:42 > 0:11:46- So what about insurance? Have you got it covered? - Yes, we've always had it insured.
0:11:46 > 0:11:51It used to be about 3,000, I think it's probably gone up to 5,000 now.
0:11:51 > 0:11:55Gosh, well, let's take that £3,000.
0:11:55 > 0:11:59If you put a nought on the end of that I'd say £30,000...
0:11:59 > 0:12:04- but when this is up and running, it's even going to be more than that, so...- My goodness.
0:12:04 > 0:12:07- The family will be very overpowered. - Very envious.
0:12:07 > 0:12:10I'm sure the family will be delighted - it's a super clock.
0:12:13 > 0:12:17This has to be one of the ugliest chairs ever seen on the Antiques Roadshow.
0:12:17 > 0:12:20The only merit I think it has, when I first looked at it,
0:12:20 > 0:12:23was the inlay on the back plate here with this...
0:12:23 > 0:12:28what looks like an alpine goat or whatever and then again here on the seat,
0:12:28 > 0:12:30obviously the pair of stag and deer.
0:12:30 > 0:12:34But you shouldn't be put off by first appearances because it is special.
0:12:34 > 0:12:36What's the history behind it?
0:12:36 > 0:12:41We don't know any of the history. All we know is that my great grandfather bought it from a shop,
0:12:41 > 0:12:46and they used to live in Hove and we think he bought it in the late '40s,
0:12:46 > 0:12:50but apart from that we don't know anything about it at all.
0:12:50 > 0:12:51OK, maybe I can enlighten you a bit.
0:12:51 > 0:12:54I mean, this is a bit of a give-away - alpine scene.
0:12:54 > 0:13:00It's a Swiss chair and would have been made round about 1880, that sort of period,
0:13:00 > 0:13:04and it would have been probably something that would have sat in the hall.
0:13:04 > 0:13:09It wouldn't be very comfortable so the sort of thing you would have admired, very Victorian,
0:13:09 > 0:13:11and maybe left your coat on.
0:13:11 > 0:13:14Um, but it has a bit of a secret about it, doesn't it?
0:13:14 > 0:13:17Yes, it's actually a musical chair and it still works.
0:13:17 > 0:13:20PLAYS TINKLY MUSIC
0:13:31 > 0:13:35So to amuse your guests you'd have had them sitting down there on the chair,
0:13:35 > 0:13:39and suddenly you'd have pulled the button and they'd have said "Where's that music coming?"
0:13:39 > 0:13:42Not only one musical box, but this is in stereo.
0:13:44 > 0:13:50I've never seen one, I have to say, in all 25 years of the show I have never ever seen one just like this.
0:13:50 > 0:13:54- Normally the musical movements are about three inches long.- Right.
0:13:54 > 0:14:00- Er, this is a full size musical movement and two of them, so extraordinarily unusual.- OK.
0:14:00 > 0:14:05It's in good working order, a rare piece - probably somewhere in the region of about £2,500.
0:14:06 > 0:14:08Excellent, thank you.
0:14:09 > 0:14:13I must say there are lots of women and men...
0:14:13 > 0:14:17who'd liked to have got their hands on Freddie Mercury and I'm the lucky girl,
0:14:17 > 0:14:22because here we've got a great piece of...well, it's almost, sort of, homo-eroticism,
0:14:22 > 0:14:27this wonderful torso of Freddie Mercury made of ceramic,
0:14:27 > 0:14:31striking one of his famous poses. Now, are you a fan?
0:14:31 > 0:14:35- Oh, indeed, yes. - And so where did you see this piece?
0:14:35 > 0:14:40I saw it in a bric-a-brac shop in Shepperton about 1992, I think.
0:14:40 > 0:14:43- So a couple of years after Freddie Mercury died, yes.- Yes.
0:14:43 > 0:14:46I've worked with rock'n'roll memorabilia for a long time,
0:14:46 > 0:14:51and I've seen a lot of different sorts of ceramic pieces,
0:14:51 > 0:14:54but actually I've never seen a Freddie Mercury one.
0:14:54 > 0:15:01Queen as a band have that very special quality, this sort of longevity.
0:15:01 > 0:15:05Not all bands have it, but I think that Freddie Mercury and Queen do have it,
0:15:05 > 0:15:10and I think that that bodes well for something like this in the future.
0:15:10 > 0:15:13It's a wonderful sort of piece of 1990s.
0:15:13 > 0:15:19The pose that he's striking and who it is, and the way that it's done,
0:15:19 > 0:15:23- just in black and white, I think it's very sexy. How much did you pay for it?- I paid £5 for it.
0:15:23 > 0:15:25Oh, today I would...
0:15:25 > 0:15:31you're not going to be able to sort of go on a sort of world cruise on the proceeds,
0:15:31 > 0:15:34but I would have thought we'd be talking about perhaps £100, £150.
0:15:34 > 0:15:39It's certainly gone up in value, and I think it's got a good chance of keeping that momentum going,
0:15:39 > 0:15:43- simply because of the status of the band itself.- Yes.
0:15:46 > 0:15:50It can't be often on the Roadshow that you stand by a portrait
0:15:50 > 0:15:52and then talk to the person painted.
0:15:52 > 0:15:55- When was this done?- 1976.
0:15:55 > 0:16:00- What were the circumstances? - I was a nursing sister in a hospital in London,
0:16:00 > 0:16:05and, um some of the patients on the ward put my name forward for Nurse of the Year competition.
0:16:05 > 0:16:10- The Nurse of the Year competition? - One of the patients was a very good friend of Miss Zinkeisen,
0:16:10 > 0:16:16and I was asked whether she could do my portrait, and I said yes, I'd like to have it done.
0:16:16 > 0:16:20So what was it like sitting to the great Anna Zinkeisen,
0:16:20 > 0:16:26who together with her sister Doris were very formidable figures in the 20th-century art scene?
0:16:26 > 0:16:28She was very, very easy to sit for.
0:16:28 > 0:16:35She chatted while painting, and in fact I forgot I was being painted at the time,
0:16:35 > 0:16:38because she was such a wonderful, exuberant sort of person.
0:16:38 > 0:16:43If we work out when Anna Zinkeisen died and when this appointment was,
0:16:43 > 0:16:46it pretty well happened at the same time, didn't it?
0:16:46 > 0:16:51Yes, it was two weeks when she completed my portrait
0:16:51 > 0:16:54that she died, unfortunately. Really sad.
0:16:54 > 0:16:58Really? You've got a photograph, I gather, of the sitting,
0:16:58 > 0:17:04- and actually it makes a very good comparison between the portrait and you.- Yeah.
0:17:04 > 0:17:07I think she's captured the essence superbly,
0:17:07 > 0:17:15- and she's - dare I say it - slightly attenuated it, slightly pulled you up.- Yes, she has.
0:17:15 > 0:17:19I love the way she's expressed your hands in that cupping expression.
0:17:19 > 0:17:26It pervades a feeling of humility, service, conscientiousness,
0:17:26 > 0:17:30all sorts of other things you don't normally find in portraits.
0:17:30 > 0:17:34- Yes.- Because it must be very difficult for any portrait painter,
0:17:34 > 0:17:39even someone like Anna, who was a nurse, to work out a way of describing great achievement
0:17:39 > 0:17:43in an area where portrait painting hasn't traditionally performed.
0:17:43 > 0:17:49There are other ways. The way you're looking out of the portrait, you've got a friendly face.
0:17:49 > 0:17:54So often in formal portraiture where people have performed things and achieved things,
0:17:54 > 0:17:59there's an aloofness, but there is a lovely, sweet feeling of connection, I think,
0:17:59 > 0:18:05that she's got between you and, no doubt, the patients, but also the person looking at the portrait.
0:18:05 > 0:18:10But I love these little touches which, again, are adaptions of historical portraits.
0:18:10 > 0:18:16Instead of having an Order of the Bath or, if you're Elizabeth I, a great chunk of jewellery,
0:18:16 > 0:18:19- you've got...- My pens. - Yeah, two biros. Nice touch.
0:18:19 > 0:18:26I would like to see this work as much on your walls as on a museum wall,
0:18:26 > 0:18:30and although it would be difficult to value,
0:18:30 > 0:18:36- I would see an insurance valuation of £5,000, £6,000, £7,000 as quite appropriate.- Would you?
0:18:36 > 0:18:39Gosh! That's very interesting.
0:18:40 > 0:18:42Now, we have two mystery items here.
0:18:42 > 0:18:44What looks like a piece of sculptured driftwood
0:18:44 > 0:18:50and a bit of possibly lead piping. Can you help?
0:18:50 > 0:18:56This is a piece of wood which is purported to come
0:18:56 > 0:19:03from Wolsey's old water system, which came from Coombe Hill up at Kingston.
0:19:03 > 0:19:08Down the Thames and underneath the Thames to Hampton Court Palace,
0:19:08 > 0:19:11where Wolsey wanted a source of fresh water.
0:19:11 > 0:19:15- And this was just a slice of that.- It is.- It was given to my husband
0:19:15 > 0:19:19and unfortunately I no longer knew who gave it to him,
0:19:19 > 0:19:22but they knew he was doing research on the palace.
0:19:22 > 0:19:24It's been in my possession ever since.
0:19:24 > 0:19:26Where does this come into the equation?
0:19:26 > 0:19:29This is a more modern system, still probably from Coombe Hill,
0:19:29 > 0:19:32and that would have been used to join the pipes.
0:19:32 > 0:19:35Eventually, the wooden pipes were replaced.
0:19:35 > 0:19:39- So this comes from the time of Cardinal Wolsey?- It does.
0:19:39 > 0:19:43- Remind us of the date.- Wolsey actually was building the palace
0:19:43 > 0:19:48about 1515, and I don't know how it came to light. It's a mystery to me.
0:19:48 > 0:19:53I wonder how long it took to call out a plumber in Wolsey's time.
0:19:53 > 0:19:56- This is a nice collection of sweetheart badges. - Your own collection?
0:19:56 > 0:20:00Oh, yes, I've gathered them from all over the place.
0:20:00 > 0:20:04This one was my uncle's in the New Zealand Cavalry.
0:20:04 > 0:20:07- Right.- And these Canadian...
0:20:07 > 0:20:12the numbered ones were from my great-uncle from the First World War.
0:20:12 > 0:20:15Of course, they're called sweetheart badges,
0:20:15 > 0:20:20I mean, they were bought for Mum, sisters, wives, daughters.
0:20:20 > 0:20:25- And they were sent home because brother or husband was in the forces.- That's right, yes.
0:20:25 > 0:20:29And in those days, ladies used to wear these big shawls
0:20:29 > 0:20:34and they were always fastened with something, a coin brooch or something like that.
0:20:34 > 0:20:38So, these so-called sweetheart badges, they filled the bill quite well.
0:20:38 > 0:20:44You've got the Royal Naval Air Service here, Machine Gun Corps.
0:20:44 > 0:20:52You can usually pick these up from various militaria dealers, something between £10, £15 and £20 each.
0:20:52 > 0:20:56You might've bought some of these a long time ago and picked them up for a £1 each.
0:20:56 > 0:20:58- Nothing.- Well, time marches on.
0:20:58 > 0:21:01- It does indeed, yeah. - And seeing as they are...
0:21:01 > 0:21:06There's now a book published on sweetheart badges, the interest is...is growing very, very much.
0:21:06 > 0:21:11- I'll have to look after those, won't I? Thank you.- Thank you for bringing it.- Thank you very much.
0:21:11 > 0:21:16I can remember when my father gave it to me at Christmas in 1938.
0:21:16 > 0:21:21- How little a lad were you? - Four going on five.
0:21:21 > 0:21:24Let me have a look at it. And you've got the original box there.
0:21:24 > 0:21:28- That's right.- And you've got the key? - Yes.- Can I give it a go?- You can.
0:21:28 > 0:21:33Well, this is made by a well-known German manufacturer,
0:21:33 > 0:21:38a company called Schuco which is short for Schreyer and Company.
0:21:38 > 0:21:41The full title of the factory was Schreyer and Company,
0:21:41 > 0:21:46- but they shortened it to Schuco which was much easier for people to pronounce.- Right.
0:21:46 > 0:21:50And it's a lovely car with this great mechanism here,
0:21:50 > 0:21:54- because it's got a working gear, hasn't it?- It has.
0:21:54 > 0:21:58So you can put it into first, second, third, fourth AND reverse.
0:21:58 > 0:21:59- Does it go?- It does.
0:21:59 > 0:22:03- Shall I send it to you?- Right. - What are we in? Are we in first?
0:22:03 > 0:22:07- We're in first. Just release the brake.- OK, handbrake off...
0:22:08 > 0:22:09Ooh!
0:22:10 > 0:22:14Very good. That is a wonderful toy.
0:22:14 > 0:22:19In 1938, just before the war, it must've been a wonderful toy to have been given,
0:22:19 > 0:22:24and today it would be worth between about £300 and £350.
0:22:24 > 0:22:28So, it is a real treasure in every sense of the word.
0:22:28 > 0:22:32- Have fun playing with it. - Thank you very much, thank you.
0:22:34 > 0:22:36How did you come to own a Rodin?
0:22:36 > 0:22:40My grandmother gave it to me as a wedding present about 35 years ago.
0:22:40 > 0:22:47- And how did she get it? - She was the widow of Newbury Abbot Trent, who was a sculptor.- Right.
0:22:47 > 0:22:54And he, as a young boy, had been seen by Thomas Armstrong
0:22:54 > 0:22:57sketching in the Victoria and Albert Museum.
0:22:57 > 0:23:05Thomas Armstrong was the director, took my grandfather under his wing - he became a sort of surrogate son -
0:23:05 > 0:23:12- so when he died, an awful lot of Thomas Armstrong's things eventually ended up with my grandfather.- Right.
0:23:12 > 0:23:17Armstrong was an interesting man. He'd been director of what was then called the South Kensington Museum,
0:23:17 > 0:23:22but, in fact, was what everybody now knows as the Victoria and Albert Museum,
0:23:22 > 0:23:29and prior to that, he was an artist and had studied in Paris. And I suppose one has to assume
0:23:29 > 0:23:31that he had met Rodin,
0:23:31 > 0:23:34or had certainly come into his circle at some point.
0:23:34 > 0:23:38Whether it was a gift, or whether he paid for it or... I don't know.
0:23:38 > 0:23:45What's particularly beautiful about this is that it's... It appears to be, in a sense a maquette -
0:23:45 > 0:23:49it's a sort of sketch rather than a grand finished work.
0:23:49 > 0:23:53And if we can assume that it's... Camille Claudel,
0:23:53 > 0:23:57who was his mistress and also a fellow sculptress,
0:23:57 > 0:24:04she had met Rodin in the early 1880s. It was an absolutely disastrous affair in the end...
0:24:04 > 0:24:09He wanted to break it up, she got pregnant, he wasn't having any of it and didn't marry her
0:24:09 > 0:24:11and it all ended in tears, very sadly.
0:24:11 > 0:24:18Rodin had sort of developed a much more loose sculptural style than had been hitherto acceptable
0:24:18 > 0:24:23in the salons of Paris, so there was this very new style of sculpture
0:24:23 > 0:24:25which Rodin developed.
0:24:25 > 0:24:32And here, this is even sketchier than one would expect, but it's all there, isn't it?
0:24:32 > 0:24:33I think so, yes.
0:24:33 > 0:24:40There's something very intimate about it which makes one feel that it probably is Camille,
0:24:40 > 0:24:46because, you know, he's connected very much with the sitter in this particular case, I think.
0:24:46 > 0:24:52He's signed it on the bottom here and the big question is, how much is a piece like this worth?
0:24:52 > 0:24:58Rodin is really probably THE greatest of 19th century French sculptors.
0:24:58 > 0:25:03It's a great romance, it's a wonderful story the two of them.
0:25:03 > 0:25:06Not a very happy story, but a wonderful story, none the less.
0:25:06 > 0:25:11Lovely provenance from your point of view - it's connected right back to the artist
0:25:11 > 0:25:14which, of course, you know, is...is a great thing.
0:25:14 > 0:25:19I would imagine at auction you could expect it to be worth in excess of £15,000.
0:25:19 > 0:25:23Possibly as much as £20,000, so it's a very beautiful thing.
0:25:23 > 0:25:28- Oh, that's fantastic news, thank you very much indeed.- Thank you.
0:25:28 > 0:25:31It was left to me by a very dear friend.
0:25:31 > 0:25:33I actually used to work for her.
0:25:33 > 0:25:37And her husband was a buyer at one time in Harrods.
0:25:37 > 0:25:40- A jewellery buyer?- Yes. For Harrods. - Yeah, yeah.
0:25:40 > 0:25:42And when she died, he gave it to me.
0:25:42 > 0:25:46Was it something that was worn on a regular basis?
0:25:46 > 0:25:49Yes, she used to wear it nearly every day on her suit lapel.
0:25:49 > 0:25:55That's a lovely story and I'll tell you something, it is in absolutely exquisite condition.
0:25:55 > 0:26:00There's not a chip out of that enamel anywhere. What sort of date do you think it is?
0:26:00 > 0:26:04I have no idea actually. I've got to be quite honest, I don't know.
0:26:04 > 0:26:07Well, these flowers, the petals, leaves, the enamel,
0:26:07 > 0:26:10- it's very, very, sort of, Art Nouveau in style, isn't it?- Oh.
0:26:10 > 0:26:14And just looking at the general size and shape of the piece,
0:26:14 > 0:26:18- I'm quite happy to say it's about 1905 to 1910.- Oh, thank you.
0:26:18 > 0:26:22So just, sort of, nudging 100 years old.
0:26:22 > 0:26:28And some of the lower-grade Boulle watches have a normal stem winder like you get on a wrist watch,
0:26:28 > 0:26:33but this, as you probably know, is wound by the rotating of the bezel,
0:26:33 > 0:26:37and then just around here, if I can find it, there should be a very small...there it is -
0:26:37 > 0:26:42a thumb piece. You put your thumb in there, move the bezel and that will turn the hands.
0:26:42 > 0:26:46So it does everything it should do. But...
0:26:46 > 0:26:50there's just one thing I'm not entirely happy with...
0:26:50 > 0:26:52- The little rose diamonds...- Yes.
0:26:52 > 0:27:00around the bezel of this watch, just don't have quite the same style and class -
0:27:00 > 0:27:04if I can use that word - of these brilliant-cut ones. Do you see how that just...?
0:27:04 > 0:27:08- Right, yes.- It's just a little bit nicer than the watch itself.
0:27:08 > 0:27:13Now, let me just see if I can open it up with my little thumbnail,
0:27:13 > 0:27:16- there we go, look at that.- Ah.
0:27:16 > 0:27:19Do you see that little movement in there?
0:27:19 > 0:27:21Yes, that's working fine.
0:27:21 > 0:27:24- Absolutely typically Swiss.- Yes. - Minute with that tiny platform.
0:27:24 > 0:27:29- It is tiny.- Which is, I mean, look, it's, it's half the size of my little fingernail.- Yes.
0:27:29 > 0:27:32It is an exquisite thing, wonderful quality.
0:27:32 > 0:27:33I'm not sure
0:27:33 > 0:27:37- the pendant actually went en-suite with the watch when new.- Oh!
0:27:37 > 0:27:42- But the colours are so good, that it doesn't really matter.- No, it blends quite well, doesn't it?
0:27:42 > 0:27:47It blends extremely well because this is an unusual quality of enamel and it's an unusual colour.
0:27:47 > 0:27:54You've got the dark reds and these lovely, sort of, almost corally petals.
0:27:54 > 0:27:58- Right, well you're never going to replace it, because you'll never need to.- No.
0:27:58 > 0:28:00But if you went to look for one...
0:28:00 > 0:28:05- Yes.- I think that's going to cost you an absolute minimum of £6,000 to £7,000.
0:28:05 > 0:28:09Oh, goodness! Oh, goodness me! Thank you, that's wonderful.
0:28:09 > 0:28:15- Next time somebody takes you out for a lovely dinner, pop it on.- Yes, right I'll tell him.- You tell him!
0:28:16 > 0:28:21You may not be aware, but every recording of the Roadshow is done under the watchful eye of the law -
0:28:21 > 0:28:23not just to keep an eye on the experts,
0:28:23 > 0:28:28but to give advice about looking after precious items. And in London, the Metropolitan Police
0:28:28 > 0:28:35has a special unit devoted to crime involving art and antiques. Vernon Rapley is on the team.
0:28:35 > 0:28:38Bernard, I mean short of... moving to Fort Knox or something,
0:28:38 > 0:28:43how can we look after our precious items? Being burgled is horrible.
0:28:43 > 0:28:49Well, what we're really interested in is things of a greater sentimental value than a monetary value
0:28:49 > 0:28:51with art and antiques, and things that you want back,
0:28:51 > 0:28:53rather than in insurance pay-out.
0:28:53 > 0:29:00The majority of burglaries are still committed by people who don't know the commodity that they're stealing,
0:29:00 > 0:29:05and as such, they have to pass it on quickly. It passes through three or four hands within a week.
0:29:05 > 0:29:10And it's that first week that we have the best opportunity to recover your object.
0:29:10 > 0:29:13So, should we take lots of photographs of our object?
0:29:13 > 0:29:17Well, with photographs, remember not just to make the object look pleasing.
0:29:17 > 0:29:23Take overall pictures of the object from all sides, but also photograph all the defects, cracks and splits
0:29:23 > 0:29:28of that object, all the things that make it uniquely identifiable, for example with this box,
0:29:28 > 0:29:34we'd be interested in the dents on the top, the marks here and the cracks in the rear,
0:29:34 > 0:29:37as well as the actual wood grain itself.
0:29:37 > 0:29:41All these identifying features make that object recoverable for us.
0:29:41 > 0:29:46There may be 300 of these boxes, but only ONE will have that exact wood grain pattern,
0:29:46 > 0:29:51and only one will have that dent there, and that means that we can actually check that object
0:29:51 > 0:29:54on our database, and try and recover that particular object for you.
0:29:54 > 0:29:57Is there a website people can go to if they get robbed?
0:29:57 > 0:30:00We've got crime prevention advice on our website,
0:30:00 > 0:30:02which is www.met.police.uk
0:30:02 > 0:30:06and on there, there's pages for crime prevention and pages for art.
0:30:06 > 0:30:09We also display some of the objects that have been stolen
0:30:09 > 0:30:12for people to see how objects can be photographed and things like that.
0:30:12 > 0:30:16I think our own website will help with details of that as well.
0:30:16 > 0:30:17What about using a marker pen?
0:30:17 > 0:30:19People often just put a mark somewhere,
0:30:19 > 0:30:21think that will do the trick.
0:30:21 > 0:30:26Sometimes it can be a good idea, but think about the safety of the object you're marking.
0:30:26 > 0:30:31If in doubt, don't use a marker pen. There are a lot of other ways of marking property more safely,
0:30:31 > 0:30:34and you should always get advice from an expert if you're unsure.
0:30:34 > 0:30:41I mean, some of the newer ways maybe are using microdots or DNA coding on your object.
0:30:41 > 0:30:44DNA? What you mean, the touch of human flesh?
0:30:44 > 0:30:49It's synthetically created now, I believe, and it's a very small invisible mark
0:30:49 > 0:30:55that is put on your objects, uniquely identifying them as your property. It's similar to a postcode marking,
0:30:55 > 0:31:02but it's just a more sophisticated, smaller and safer method for using on art and antiques.
0:31:02 > 0:31:06- I wish I'd known this when the two bronze dogs were nicked from my garden.- I'm sorry.
0:31:06 > 0:31:10- Hopefully, they're on our database and we'll get them back.- Thank you.
0:31:12 > 0:31:15When I first saw this from the cover,
0:31:15 > 0:31:17I thought "Oh, my goodness this is going to be a disaster."
0:31:17 > 0:31:22But in fact it isn't - the cover is the only thing that needs attention.
0:31:22 > 0:31:27This is a Thames tunnel and how appropriate to have this as we're on the banks of the Thames.
0:31:27 > 0:31:32When it stretches out, the inside is as fresh as a daisy.
0:31:32 > 0:31:34It looks absolutely wonderful.
0:31:34 > 0:31:38It's one of these things that you look through,
0:31:38 > 0:31:41a peep scope here, and you look through the tunnel itself.
0:31:41 > 0:31:47They're all as bright as they could possibly be, even the gas lamps are absolutely fantastic.
0:31:47 > 0:31:50- Do you know which tunnel it is? - I've been told it's the Rotherhithe.
0:31:50 > 0:31:54- They seem to be having an absolute jolly in there, don't they?- They do.
0:31:54 > 0:31:59- Can I have a look through?- You can. The holes are very uneven, aren't they? The way they...
0:31:59 > 0:32:03- Well, somebody's been poking their fingers through it.- Oh, is that why?
0:32:03 > 0:32:07It looks fantastic in there. They're having a wonderful time,
0:32:07 > 0:32:12and I can see two Chinamen dressed in sort of Mandarin's robes.
0:32:12 > 0:32:17I can see a band, a soldier. All the colours are as bright as they could possibly be.
0:32:17 > 0:32:19- What about value? Any idea? - I have no idea.
0:32:19 > 0:32:25My mother had a valuation done at some stage, I don't know when. I've had it about ten years.
0:32:25 > 0:32:32- The valuation then was about £60 to £70 because the cover was so tatty. - So tatty...
0:32:32 > 0:32:34Well, a lot can be done to alleviate that cover.
0:32:34 > 0:32:38You need a proper professional paper restorer to do it,
0:32:38 > 0:32:45- but these things are very desirable. Even in the condition it's in now, I think a good £500.- Really?
0:32:45 > 0:32:49We're in front of a royal palace and you've brought along a jug
0:32:49 > 0:32:51with a royal coat of arms...
0:32:51 > 0:32:55- Now, have you ever looked at this royal coat of arms properly? - Not at all.
0:32:55 > 0:33:00You'll see it has what is perhaps the royal standard normally -
0:33:00 > 0:33:04the lions in the two corners for England -
0:33:04 > 0:33:07but this is the crown of the King of Hanover.
0:33:07 > 0:33:11- Oh, really?- And until 1837, the kings of England were kings of Hanover,
0:33:11 > 0:33:13- which you'll remember...- Yeah.
0:33:13 > 0:33:15But when Queen Victoria inherited,
0:33:15 > 0:33:19she couldn't become King of Hanover, so the two crowns got separated.
0:33:19 > 0:33:27- So, THIS is the arms of the King of England, who was King of Hanover, and that was William IV.- Oh, right.
0:33:27 > 0:33:34So, that gives you a nice date. We know this jug was made before 1837.
0:33:34 > 0:33:36How long have you had the jug?
0:33:36 > 0:33:41I bought that about 24 years ago at an antiques shop.
0:33:41 > 0:33:46I paid about £70 for it, I think. It was on sale for 90.
0:33:46 > 0:33:51I think I only had £70 on me so luckily enough, I had somebody
0:33:51 > 0:33:53slightly better looking than me
0:33:53 > 0:33:56and I sent them in and they managed to knock it down.
0:33:56 > 0:34:01It's tempting to wonder whether this kind of thing was actually made
0:34:01 > 0:34:05for use in the palaces like this. It'd be lovely if it was.
0:34:05 > 0:34:08It's 170 years old.
0:34:08 > 0:34:12- And you paid £70?- I paid £70 for it
0:34:12 > 0:34:15and they told me it was called a Suffolk jug,
0:34:15 > 0:34:18and apparently they used to drink beer or cider out of it.
0:34:18 > 0:34:24It was definitely for that purpose. What it has to do with Suffolk, I don't know. It comes from London.
0:34:24 > 0:34:26- Oh, right.- I'm as sure as I can be.
0:34:26 > 0:34:33- I think your £70 today has probably turned into £700... - Oh, right.- ..So it's not too bad.
0:34:33 > 0:34:35Not a bad return.
0:34:39 > 0:34:41I see very few of these on the Roadshow.
0:34:41 > 0:34:45They are rarities, and to have one this size,
0:34:45 > 0:34:48in reasonably good condition, has been a real treat.
0:34:48 > 0:34:52- So, I presume it's yours, from your family?- It's from my wife's family.
0:34:52 > 0:34:56- Oh, it's from your family?- Yes, from mine.- What's the story, then?
0:34:56 > 0:35:02Well, my grandparents bought it as a present for a nephew whose parents had died in the war
0:35:02 > 0:35:06and then decided that he'd prefer a gun, and so the boat passed to my mother
0:35:06 > 0:35:10- and then to me and my sister. - How bizarre!
0:35:10 > 0:35:13So, from that point then, it's been where?
0:35:13 > 0:35:15Um, pretty much up in attics.
0:35:15 > 0:35:18We weren't really allowed to play with it a lot.
0:35:18 > 0:35:21- We probably had it in the bath once or twice.- Right.
0:35:21 > 0:35:24- It's had a trip round a local pond. - Oh, what was this?
0:35:25 > 0:35:29We took it down to the local boating pond and wound up and away it went.
0:35:29 > 0:35:33- And you got it back again?- Yes, no water in it, beautifully dry.
0:35:33 > 0:35:39So, it's a clockwork tin-plate boat. Inside is the clockwork...
0:35:39 > 0:35:44And here is a lovely formidable key,
0:35:44 > 0:35:49suitable for a clockwork mechanism of that scope,
0:35:49 > 0:35:53- and on the top here...can you see that trademark there?- Yes.- Yes.
0:35:53 > 0:35:59Which says GBN...and the way that that trademark is written...
0:35:59 > 0:36:03indicates that it was made between about...
0:36:03 > 0:36:071906 and 1912,
0:36:07 > 0:36:09one can date it really quite accurately.
0:36:09 > 0:36:16It was made by a company called Gebruder Bing of Nuremberg, and that's what the GBN means -
0:36:16 > 0:36:22Gebruder Bing of Nuremberg - and that company started making toys in the 1880s,
0:36:22 > 0:36:25but actually in the run-up to the First World War,
0:36:25 > 0:36:30- they were the biggest makers in the world of toy boats.- Really?- Gosh!
0:36:30 > 0:36:36And in that pre-First World War period, they had 5,000 people working in their factory,
0:36:36 > 0:36:38I mean an extraordinary number.
0:36:38 > 0:36:44If you can imagine the build-up of the German and the British navies up to the First World War...
0:36:44 > 0:36:47they produced battleships called Dreadnoughts.
0:36:47 > 0:36:51And this is a Dreadnought style of battleship with this pointed prow here.
0:36:51 > 0:36:56The other thing which is very nice, and very indicative of these early Bing boats,
0:36:56 > 0:36:59is this raised decoration around the bow,
0:36:59 > 0:37:03it's got a lovely sort of swirling design which is raised,
0:37:03 > 0:37:06and that's, that's another sign of quality.
0:37:06 > 0:37:13And they were very clever, the Bing company, because they produced the boats to be used anywhere really...
0:37:13 > 0:37:17They called this "The Terror", obviously for the British market,
0:37:17 > 0:37:21but they also made boats which they called "The Deutschland", which could be sold at home.
0:37:21 > 0:37:24Gosh, it's a lovely thing.
0:37:24 > 0:37:27I'm very tempted to take it home and put it in my own bath,
0:37:27 > 0:37:29but I'll try and resist the temptation...
0:37:29 > 0:37:31What about value?
0:37:31 > 0:37:33They are... They are rare.
0:37:33 > 0:37:36The fact that they were heavy in the water,
0:37:36 > 0:37:40I think loads of them sunk, which is why you don't see many of them today.
0:37:40 > 0:37:42So, something like this...?
0:37:42 > 0:37:45Well, we're talking about a minimum of £1,500.
0:37:45 > 0:37:48- Gosh.- And perhaps going up to £2,500.- Really?
0:37:48 > 0:37:50It's a great...
0:37:50 > 0:37:54It's a great piece of kit, but also it's a wonderful story.
0:37:54 > 0:37:55It's a wonderful story
0:37:55 > 0:37:59to think that children whose parents were lost in the war
0:37:59 > 0:38:04were still given toys relating to war and killing each other... Bizarre.
0:38:05 > 0:38:09A group of choice small objects... Tell me something about them.
0:38:09 > 0:38:14Well, my late mother studied art and became a portrait sculptor.
0:38:15 > 0:38:17She was German and her...
0:38:17 > 0:38:23first years were in the artistic circle in Hanover.
0:38:24 > 0:38:29She met, amongst others, and became friendly with Kurt Schwitters
0:38:29 > 0:38:33and she also went to study in Paris
0:38:33 > 0:38:40and a friend of hers was the girlfriend of Mondrian, Piet Mondrian.
0:38:40 > 0:38:44- What date was that?- That was in the 1920s.- Was 1920s, yes.
0:38:44 > 0:38:51Piet very kindly presented my mother with that particular picture,
0:38:51 > 0:38:56which really was well before he became famous.
0:38:56 > 0:39:02Well, these little collages here, um... we've got here by Kurt Schwitters.
0:39:02 > 0:39:07We can see the date here of 1927, and that again signed,
0:39:07 > 0:39:12- and then inscribed to your mother with the date 1928.- That's right.
0:39:12 > 0:39:14And signed on this original mount...
0:39:14 > 0:39:17It's important these are... These collages.
0:39:17 > 0:39:20And of course he was really influenced by, first Dada -
0:39:20 > 0:39:24the crazy art - and then by cubism
0:39:24 > 0:39:28and eventually, he came, as you probably know, to the Lake District
0:39:28 > 0:39:34and settled there. Quite often you find quite a lot of Kurt Schwitters paintings in this country,
0:39:34 > 0:39:37albeit of a rather more conventional landscape format.
0:39:38 > 0:39:42Now, I suppose this, in a way, is the prize of the group -
0:39:43 > 0:39:45a sheet of paper from a sketchbook,
0:39:45 > 0:39:51- and as you say, given by Mondrian... - Mondrian to my mother.
0:39:51 > 0:39:57Yes, well this extraordinary starburst chrysanthemum head
0:39:57 > 0:40:02is interesting even on a sketch that it actually should be signed,
0:40:02 > 0:40:05and I wonder whether he did that particularly for...for your mother.
0:40:06 > 0:40:11And, of course, he is one of THE most important abstract artists
0:40:11 > 0:40:13and it is, I think, remarkable
0:40:13 > 0:40:17for the very fact that he did have a conventional landscape style,
0:40:17 > 0:40:21developed into this extraordinary rigid geometrical grid.
0:40:21 > 0:40:24I don't think I can think of any artist
0:40:24 > 0:40:28who has actually had that extraordinary transformation...
0:40:28 > 0:40:33almost unrecognisable, but at the same time recognisable because you can see it coming in his work
0:40:33 > 0:40:34through his life.
0:40:34 > 0:40:40Now, I'd love to talk about this foal...this jumping foal... This little bronze.
0:40:40 > 0:40:47The artist who produced this was professor of fine art in Germany
0:40:47 > 0:40:51- and she specialised in animals.- Yes.
0:40:51 > 0:40:57And I'm absolutely fascinated by the...the energy and the movement in that.
0:40:57 > 0:41:02- Yes.- There's grace in it.- And what was the connection with...?
0:41:02 > 0:41:06- Well, again, my mother knew these people.- Yes.
0:41:06 > 0:41:08And her name was Rene Sintenis.
0:41:08 > 0:41:10Yes, and they were good friends?
0:41:10 > 0:41:15How close they were, I can't tell. I know it was a very friendly circle.
0:41:15 > 0:41:18We love it, we have it on the mantelpiece.
0:41:18 > 0:41:20Yes, well it's absolutely charming.
0:41:20 > 0:41:24Well, I suppose we must obviously consider the values.
0:41:24 > 0:41:30Now, I think the bronze probably is worth about £15,000.
0:41:30 > 0:41:33- Good Lord!- Good God!
0:41:33 > 0:41:37The Kurt Schwitters, with this lovely dedication to your mother and so on,
0:41:37 > 0:41:44wonderful provenance, probably we ought to say £6,000 to £8,000,
0:41:44 > 0:41:46and £3,000 to £5,000 on this.
0:41:46 > 0:41:50And then we come to this extraordinary drawing and I think
0:41:50 > 0:41:53it's quite difficult to be accurate about what it would be worth,
0:41:53 > 0:41:59- but possibly £50,000 to £70,000. - Oh, no!- Good heavens!
0:42:00 > 0:42:06So, difficult to be absolute, but it is from all the pleasure of you owning them,
0:42:06 > 0:42:08and the wonderful story behind it, the value.
0:42:08 > 0:42:11It's also quite a responsibility as well.
0:42:11 > 0:42:14Did you have any idea of what it might be worth?
0:42:14 > 0:42:18I had no idea, except that I thought there would be value in it.
0:42:18 > 0:42:23- Quite a remarkable find for us. - I'm quite stunned as to the values.
0:42:24 > 0:42:27It's not surprising in such a grand setting that we've come across
0:42:27 > 0:42:29some rather important items today.
0:42:29 > 0:42:33Working on the theory that there's more where that came from,
0:42:33 > 0:42:35we decided to come back to Hampton Court Palace.
0:42:35 > 0:42:39Not only that, it'll give us a chance to give William III's privy garden
0:42:39 > 0:42:42a thorough once-over. So, let's hope the weather keeps fine.
0:42:42 > 0:42:44Until then, goodbye.
0:42:52 > 0:42:55Subtitles by Red Bee Media Ltd