0:00:30 > 0:00:35This is the east coast of Yorkshire, where between the white chalk arms of Flamborough Head
0:00:35 > 0:00:41and the lowland spit at Spurn, we find the seaside town of Hornsea.
0:00:46 > 0:00:48Well, I knew it was small...
0:00:48 > 0:00:51they said it was sleepy, but this is rather...
0:00:51 > 0:00:52spooky.
0:00:54 > 0:00:55Where is everyone?
0:00:55 > 0:01:02Normally people flock here for the beach or for the wildlife on the freshwater lake, The Mere...
0:01:04 > 0:01:09..or to admire the famous collection of Hornsea Pottery.
0:01:09 > 0:01:12But not it seems today.
0:01:12 > 0:01:15There used to be a spot of smuggling round here once...
0:01:15 > 0:01:18you don't think they've all...? No.
0:01:18 > 0:01:20Wait a minute...
0:01:20 > 0:01:22I wonder.
0:01:26 > 0:01:33Of course, I should have guessed, the word's gone round the Antiques Roadshow's in town,
0:01:33 > 0:01:37and they've all headed for the Leisure Centre. Let's meet the population.
0:01:37 > 0:01:43- These girls are obviously Art Deco dancers.- Yes, yes. Lovely.
0:01:43 > 0:01:45So are you an Art Deco collector?
0:01:45 > 0:01:49Um, a little bit. I bought this one in auction, um,
0:01:49 > 0:01:53it was a household auction and I don't think this should have been in it,
0:01:53 > 0:01:57so I dragged my husband in and the auctioneer at one point was saying,
0:01:57 > 0:02:00"The bid is with the gentleman with the very excited lady on the bed",
0:02:00 > 0:02:04because I was nudging him, "Keep bidding, keep bidding!"
0:02:04 > 0:02:06So we got this and then we had a shop,
0:02:06 > 0:02:11and somebody came in with this one and I loved them and then we went to another auction, I got this one
0:02:11 > 0:02:19- from under the nose of a local dealer, which is even better.- Let's start with the one nearest you.- Yes.
0:02:19 > 0:02:25The great thing about Deco figures is, for some reason best known to the modellers, the sculptors of the day,
0:02:25 > 0:02:29they always show them standing on one leg, don't they?
0:02:29 > 0:02:31That's how we always stand, us women.
0:02:31 > 0:02:33- Is that? Is that right?- Oh, God, yes.
0:02:33 > 0:02:37When we're excited we always go on one leg, yes. Have you not noticed?
0:02:37 > 0:02:42- You obviously haven't got a woman excited, Eric.- No. - No, well, there you go.
0:02:42 > 0:02:44- Well, I'll pay more attention in future.- Exactly, yes.
0:02:44 > 0:02:49- I've always thought it rude to look down when I'm talking to somebody. - Yes, well.
0:02:49 > 0:02:55Anyway...well, this particular one, the minute I see a piece like this, I want to do this.
0:02:55 > 0:02:58- I mean, it could be on the head, I want to tap it.- Yes, yes.
0:02:58 > 0:03:02- And if I was to do the same with the twins over here.- Yes, yes.
0:03:02 > 0:03:08Give them a quick tap because it gives a sort of a dull sound when you tap.
0:03:08 > 0:03:13I've got no doubt, without actually scratching them underneath,
0:03:13 > 0:03:15to say that these are actually spelter.
0:03:15 > 0:03:20- Yes.- Which, without being unkind, is often referred to as a poor man's bronze.- Yeah, yeah.
0:03:20 > 0:03:24In terms of alloy, it's primarily zinc.
0:03:24 > 0:03:30- Yes.- And you can cast with it, but heaven forbid it breaks because it's a nightmare to repair.
0:03:30 > 0:03:32- Yes.- Because it fractures rather jaggedly.
0:03:32 > 0:03:37- Brittle, yeah.- This particular figure date-wise...
0:03:37 > 0:03:40- I would say we're looking around about 1925, 1930.- Really?
0:03:40 > 0:03:46- As early as that?- And I think that these two here are also 1925, 1930.
0:03:46 > 0:03:53As for the shades, it's difficult to know whether that's original because there are lots of repros being made.
0:03:53 > 0:03:56- Yes.- In fact there are lots of repros of this type of figure.- Yes.
0:03:56 > 0:03:58Um, but what I find interesting is THIS shape,
0:03:58 > 0:04:04for the simple reason that it's emulating, or simulating veined alabaster.
0:04:04 > 0:04:07- Oh, right.- I mean, that definitely adds to the value of that figure.
0:04:07 > 0:04:11Yeah, yeah. It is a lovely shape. I like that one, yes.
0:04:11 > 0:04:15When it comes to price, if I wanted to go and buy one of these today,
0:04:15 > 0:04:19- I would probably be asked somewhere in the region of around about £200. - Right.
0:04:19 > 0:04:25And for the twins, I would probably expect to have to pay
0:04:25 > 0:04:30- around about £400 or £500.- Yes. - Which brings us to this particular figure.- Right, yes.
0:04:30 > 0:04:33So, once again I need to give it a bit of a tap.
0:04:33 > 0:04:37It's got slightly more resonance to it, that particular figure,
0:04:37 > 0:04:43- which is good news because that suggests that we are dealing with bronze as opposed to spelter.- Wow.
0:04:43 > 0:04:46And if I can just give her a quick, a quick twirl,
0:04:46 > 0:04:49the first thing that springs to mind is the condition -
0:04:49 > 0:04:51she's in lovely condition.
0:04:51 > 0:04:59- The way that she's been given this lovely green, little, almost like a kimono-type gown, isn't it?- Yes, yes.
0:04:59 > 0:05:01And, you know, we're talking in terms of...
0:05:01 > 0:05:05in an age when a glimpse of stocking was looked on as something shocking.
0:05:05 > 0:05:11- Shocking, yes.- That amount of leg... - Ooh!- I mean, that predates Mary Quant, doesn't it?- Yes, exactly.
0:05:11 > 0:05:14I can see the name here, Teleska.
0:05:14 > 0:05:19- Yes.- And I can tell you now, I've not come across his name before.
0:05:19 > 0:05:25- Oh, right.- But it's so true of so many East European sculptors in the '20s and '30s -
0:05:25 > 0:05:28you see the piece and you see the name...
0:05:28 > 0:05:32you wait ten years before you find another piece by that person.
0:05:32 > 0:05:35- What did you pay at auction for it? - We're talking about 20 years ago,
0:05:35 > 0:05:41so we thought we were really daring to pay about perhaps £75 for it maybe, something like that.
0:05:41 > 0:05:44- Daring?- Mmm.- OK. Well, if I was going to be daring today,
0:05:44 > 0:05:50I wouldn't hesitate to spend the better part of £1,000 to put her on my mantel shelf.
0:05:50 > 0:05:51Good grief!
0:05:51 > 0:05:55I really thought that this would be less than these two.
0:05:55 > 0:05:58- Well, there you are... - That just shows you.
0:05:58 > 0:06:02- Is it Columbo who says, "It's always the one you least suspect."- Exactly.
0:06:02 > 0:06:06You either love it or you hate it, which is it?
0:06:06 > 0:06:08- Love it.- Why?
0:06:08 > 0:06:12Just pure intriguement - the way it's made, the textures,
0:06:12 > 0:06:19the thought of somebody sitting there and actually making the bits and all the shapes.
0:06:19 > 0:06:22Well, how it was made is actually quite interesting.
0:06:22 > 0:06:28Let's go back to the mid-1500s and to a French potter called Bernard Palissy.
0:06:28 > 0:06:34If you were a piece of wildlife running around the country you'd be in severe danger
0:06:34 > 0:06:37because he liked the look of reptiles, snakes, frogs, newts -
0:06:37 > 0:06:43he would take them into his studio and he would actually make casts of them,
0:06:43 > 0:06:46so this piece was made in the Bernard Palissy style.
0:06:46 > 0:06:50These animals were probably hopping around the French countryside
0:06:50 > 0:06:56when some French potter said, "Ah, we could make one of these into a nice big dish."
0:06:56 > 0:06:59So this comes out of the Bernard Palissy tradition,
0:06:59 > 0:07:02and again it was made in France, but in the 19th century.
0:07:03 > 0:07:05So how long have you had it?
0:07:05 > 0:07:09Er, it's been in my family for about 100 years that I know of.
0:07:09 > 0:07:11And where did it come from?
0:07:11 > 0:07:16It was a gift to a great-aunt when she retired from service.
0:07:16 > 0:07:22She was housekeeper, cook for one of the big families in London or on the outskirts of London.
0:07:22 > 0:07:25- So you think it could have come from quite a large house?- Yes.
0:07:25 > 0:07:30Because objects like this are very imposing. You stand back when you see this,
0:07:30 > 0:07:32you think "Oh, my goodness!"
0:07:32 > 0:07:35You need a big space to show this in. Where does it live at home?
0:07:35 > 0:07:39At the moment it's in storage but for most of its life
0:07:39 > 0:07:44it's hung above the fireplace in what used to be the family home
0:07:44 > 0:07:48for at least 70 years, but I put claim to it.
0:07:48 > 0:07:51You need a sturdy wall. It's massively heavy.
0:07:51 > 0:07:57It used to have a very large Victorian six-inch nail that went with it to hang it from.
0:07:57 > 0:08:04Well, looking on the back, we can see it always was intended to be hung, those holes are glazed through,
0:08:04 > 0:08:06and here's the mark of the maker.
0:08:06 > 0:08:14Now, sadly this is not by Bernard Palissy. It is not getting on for 500 years old, I'm afraid.
0:08:14 > 0:08:21It's a 19th-century piece and we have a wonderful toad, my goodness even when you stroke him he...
0:08:22 > 0:08:25- ..he makes a noise, doesn't he? - He's hollow.
0:08:25 > 0:08:26He's lovely.
0:08:26 > 0:08:32Broadly speaking, it belongs to the tradition we call majolica ware.
0:08:32 > 0:08:35It's lead-glazed earthenware and sadly...
0:08:35 > 0:08:43Well, if it were 16th-century it would be worth thousands of pounds, but it ain't, it ain't 16th-century.
0:08:43 > 0:08:48It's probably worth somewhere in the region of £2,000 to £3,500.
0:08:52 > 0:08:54Me husband, he dug it up.
0:08:54 > 0:09:00- He was doing a job for the farmer, you know, where he worked, near a duck pond.- Was he?
0:09:00 > 0:09:03And he dug this up.
0:09:03 > 0:09:07At first he thought it was just an old... Then when he cleaned it up and saw what it was,
0:09:07 > 0:09:10he showed his boss and his boss says, "Well, keep it".
0:09:10 > 0:09:12Well, that was jolly nice. Do you wear it?
0:09:12 > 0:09:18Er, well, I did, and then somebody said it might be valuable so I put in me jewellery box.
0:09:18 > 0:09:21Very sensible, and I think they were right.
0:09:21 > 0:09:26I do think it is quite valuable, but more than valuable, it's a very interesting thing.
0:09:26 > 0:09:30- Shall I tell you why?- Yes.- Let's have a little look inside here.
0:09:30 > 0:09:33In a little script that tells me
0:09:33 > 0:09:37that this ring is made in the 17th or early 18th century.
0:09:37 > 0:09:40Goodness me!
0:09:40 > 0:09:45In the 17th or early 18th century this was engraved with the following...
0:09:45 > 0:09:50- It says "Love pure will endure".- Yes.
0:09:50 > 0:09:52And that's what we call a posy.
0:09:52 > 0:09:56The word "posy" is a corruption of the word poesy which is an old term for poetry.
0:09:56 > 0:10:01- Yes.- So this is a poetry ring, and this is the most lovely message, a covert message...
0:10:01 > 0:10:03It's lovely. I think so, yes.
0:10:03 > 0:10:07..of love, absolutely, and it's hidden inside the ring like this.
0:10:07 > 0:10:11- So nobody else can see it. - I think almost certainly, yeah.- Yes.
0:10:11 > 0:10:14And, um, no, a brilliant thing, but very collectable.
0:10:14 > 0:10:19I think probably about £600, £700.
0:10:19 > 0:10:22Lovely. Smashing.
0:10:24 > 0:10:29- I thought maybe it was snake skin. - That's not a bad guess. It's actually fish skin.
0:10:29 > 0:10:32- Oh, right.- But it's treated in a certain way,
0:10:32 > 0:10:36it's probably the skin of one of the shark or ray families.
0:10:36 > 0:10:41- Right.- And if you take the skin - it's knobbly.
0:10:41 > 0:10:45- Yes, right.- And if you dye it and then you polish it, or vice versa,
0:10:45 > 0:10:52you polish the tops off the knobbles and you end up with this almost pepper and salt effect.
0:10:52 > 0:10:55This case, which is more difficult to see,
0:10:55 > 0:11:01this is actually very, very fine fish skin and they haven't polished it.
0:11:01 > 0:11:03It's the finer part of a...
0:11:03 > 0:11:06of a smaller version of the ray fin.
0:11:06 > 0:11:13They're very popular in the end of the 18th century as a decorative technique.
0:11:13 > 0:11:16And in fact, this is exactly the date of these two pieces.
0:11:16 > 0:11:20Now, if I open them up, they are actually fascinating
0:11:20 > 0:11:25because what we've got is a small set of travelling instruments.
0:11:25 > 0:11:31- Lay out the bits and they're basically a simple geometry set.- Mmm.
0:11:31 > 0:11:38This I've never seen, this little protective piece on the end.
0:11:38 > 0:11:42That's the first time I've seen it. And here you have a pair of dividers
0:11:42 > 0:11:46with steel points, adjustable,
0:11:46 > 0:11:50- which would have been used for taking dimensions off a map.- Yes.
0:11:50 > 0:11:55And there's a neat little touch on them, if you turn that one round,
0:11:55 > 0:12:01- put it back in the end, and you've actually got a compass.- Right, fine.
0:12:01 > 0:12:03Now, it's not finished there
0:12:03 > 0:12:09- because you can pull apart these. I don't think these have ever been used.- No, no, no,
0:12:09 > 0:12:13- well, I wondered about that, yes, yes.- I was going to ask you that.
0:12:13 > 0:12:16And then you can dismantle them again and you can place...
0:12:16 > 0:12:20these pieces inside, that goes in there.
0:12:20 > 0:12:25- I didn't actually know that. - That goes in...there, like that,
0:12:25 > 0:12:30- and they're even bigger.- Oh, amazing, I didn't know that they did that.
0:12:30 > 0:12:32They've got an ivory rule
0:12:32 > 0:12:35which is graduated with various scales.
0:12:35 > 0:12:38And the best bit about it is on this side...
0:12:38 > 0:12:40we have a name.
0:12:40 > 0:12:43- Oh, really?- Have you seen that?
0:12:43 > 0:12:47- Adams - London.- Oh, yeah, right.
0:12:47 > 0:12:52Now, there were a big family of Adams and I would date this instrument
0:12:52 > 0:12:56at around about, say 1765, 1770.
0:12:56 > 0:13:00Really?! I really didn't think it was that old.
0:13:00 > 0:13:02But hang on, we haven't finished.
0:13:02 > 0:13:10This one, which is undoubtedly later, probably in the 1790s I think, late '80s or '90s,
0:13:10 > 0:13:15you can see from the design, the leather, it has a later feeling, doesn't it?
0:13:15 > 0:13:18It is, in my opinion,
0:13:18 > 0:13:20by the second generation of the family.
0:13:20 > 0:13:26It's unsigned, but you've got very similar detail and very similar features.
0:13:27 > 0:13:33So it looks as if we have a set by let's say the father, and a further set by the son.
0:13:33 > 0:13:35Anything on the history in the family?
0:13:35 > 0:13:40Um, all I really know about them is that I believe they belonged
0:13:40 > 0:13:45to my great-grandfather and then to my grandfather on my father's side,
0:13:45 > 0:13:50and came down to my dad, and really that's all I know about them. I really don't know anything else.
0:13:50 > 0:13:53No great, sort of, nautical history or anything?
0:13:53 > 0:13:55Not as far as I know.
0:13:55 > 0:14:00Usually these instruments are not... not that rare...
0:14:00 > 0:14:05but by Adams who was one of the best instrument makers of the period...
0:14:06 > 0:14:10..and being absolutely complete, and that is quite rare,
0:14:10 > 0:14:15I suppose I'd say £1,500 to £2,000 for that one.
0:14:17 > 0:14:19But probably only half for this set.
0:14:19 > 0:14:22Oh, that's amazing, that really is.
0:14:22 > 0:14:24I'm really surprised.
0:14:24 > 0:14:30I didn't think, although I can see that that was stylish, I really didn't think it was that valuable.
0:14:30 > 0:14:34These are the biggest pair of blunderbuss pistols I've ever seen.
0:14:34 > 0:14:36Can you tell me where you got them from?
0:14:36 > 0:14:42They were bought by my father, about 40 years ago at a house sale not far from the Humber.
0:14:42 > 0:14:45Because these are the sort of things
0:14:45 > 0:14:49that would have been used by anybody who needed firearms like this for personal protection,
0:14:49 > 0:14:54and because they're all brass, or perhaps gun metal I'm not quite sure of what the alloy is,
0:14:54 > 0:14:58but it's a copper rich alloy, they would be very, very resistant to corrosion,
0:14:58 > 0:15:02and that really does shout to me, for on board ship.
0:15:02 > 0:15:09And one of these in close quarters, you'd probably shoot two or three people with them,
0:15:09 > 0:15:15and that would give you a hell of an advantage in a situation where you were faced with several attackers.
0:15:15 > 0:15:22They date from about 1820 and they have on the bottom these little marks there,
0:15:22 > 0:15:27those are from the Birmingham proof house and that was consumer safety -
0:15:27 > 0:15:32one of the earliest ones. And every gun had to go there and be test fired with a whopping great load,
0:15:32 > 0:15:34double the charge, full of powder.
0:15:34 > 0:15:39Whack a whole load of shot on the top of it and if it stood that then it would stand a normal load.
0:15:39 > 0:15:43At the moment because things like this are so unusual
0:15:43 > 0:15:47and the market's very, very strong, I think about £3,000.
0:15:47 > 0:15:51- Fantastic.- Yeah, they are fantastic. Thanks for bringing them.- Excellent.
0:15:52 > 0:15:56As you'll know by now, this is a series with a mission.
0:15:56 > 0:15:59We are scouring the country for champion collectors,
0:15:59 > 0:16:03the men, women and children who've worked hardest putting a collection together,
0:16:03 > 0:16:09and we're finding that there's a fisherman with over 3,000 flies, a woman with 200 egg timers.
0:16:09 > 0:16:11They're a passionate lot out there.
0:16:11 > 0:16:13But we're moving up a gear today, literally.
0:16:13 > 0:16:19The owner of this collection can't come to us, so I'm leaving the Roadshow just for a little while.
0:16:19 > 0:16:25- The owner and driver of this magnificent machine is Alan Marshall. Morning, Alan.- Morning.
0:16:27 > 0:16:30We'll be back at the Roadshow very soon.
0:16:35 > 0:16:39Well, I'd love to be asked to pass the toast in this,
0:16:39 > 0:16:40I think that's great fun.
0:16:40 > 0:16:43Tell me what you know about it and where it came from.
0:16:43 > 0:16:50It belongs to my daughter-in-law Sarah and it was given to her by her grandma,
0:16:50 > 0:16:53she got it as a wedding present in the 1930s,
0:16:53 > 0:16:56and all my daughter-in-law knows it's a toast rack
0:16:56 > 0:17:01and it's based on the replica of Amy Johnson's plane.
0:17:01 > 0:17:05Of course, these aeronautical things are very sought-after,
0:17:05 > 0:17:08but I slightly query the date of it,
0:17:08 > 0:17:13because, in fact, I think it's much earlier. You see, here you've got a design registry mark,
0:17:13 > 0:17:19but this design registry mark comes within a range that finished in 1919.
0:17:19 > 0:17:23- Oh.- So this was probably actually made during the First World War,
0:17:23 > 0:17:29but I could see this being worth anything between £500 on a bad day to about £1,500 on a really good day.
0:17:29 > 0:17:32- Well, that'll cheer her up no end. - Yeah.
0:17:32 > 0:17:37You're going to take these home and take these horrible wires off. They are very bad for the plate.
0:17:37 > 0:17:41They were on... Always been on.
0:17:41 > 0:17:44That is no excuse.
0:17:46 > 0:17:50Our contender for most devoted collector this week, Alan Marshall,
0:17:50 > 0:17:53has a passion for Humber vintage motor cars.
0:17:53 > 0:17:56He's rescued 40 of them from going on the scrap heap.
0:17:56 > 0:18:00They were once the monarch's favourite mode of transport.
0:18:00 > 0:18:02George VI once owned 47 of them.
0:18:12 > 0:18:14This is Humber heaven.
0:18:14 > 0:18:19# Heaven I'm in heaven
0:18:19 > 0:18:24# And my heart beats so that I can hardly speak... #
0:18:24 > 0:18:29So this is what started your love affair with Humber?
0:18:29 > 0:18:34This was the first car my father bought for the princely sum of £90 in 1960.
0:18:34 > 0:18:36After that, he learned me how to drive in this car.
0:18:36 > 0:18:39It became my own personal wedding car for me and my wife,
0:18:39 > 0:18:44and I brought my children up from the maternity home in it and took them to the christening,
0:18:44 > 0:18:46so she really was a family car.
0:18:46 > 0:18:50They were always known as the poor man's Rolls Royce in some respects,
0:18:50 > 0:18:53and never really got to the esteem of Rolls Royce,
0:18:53 > 0:18:58but certainly the gentry loved the cars. Every prime minister of the day would have a Humber Pullman.
0:18:58 > 0:19:00Grand cars for grand people.
0:19:00 > 0:19:06Certainly. 50 years ago, ladies went out every evening with large gowns and hats, and high hairstyles.
0:19:06 > 0:19:10This sort of coachwork really suited the fashions of the day.
0:19:15 > 0:19:20If you were looking for privacy in 1932, you'd buy yourself a Snipe 80.
0:19:20 > 0:19:23This one belonged to Edward VIII and Mrs Simpson.
0:19:25 > 0:19:28Humbers have got the lowest survival rate of any make of car.
0:19:28 > 0:19:32Whereas perhaps 80% of Rolls Royces survived, only 1% of Humbers survived,
0:19:32 > 0:19:36so I've built up the collection. People have actually almost donated cars to me
0:19:36 > 0:19:39because they know I have a passion for them,
0:19:39 > 0:19:42and they know I'll never sell them or give them up to anybody else.
0:19:51 > 0:19:56This looks almost unrecognisable as a Humber - it's a bit flash, a bit American.
0:19:56 > 0:19:59Well, certainly, by... This is a 1967 Humber Imperial,
0:19:59 > 0:20:04and at this time the American Chrysler Corporation had taken over shares in the company.
0:20:04 > 0:20:10They do have that American look to them on the outside but I think you'll agree it's a very...
0:20:10 > 0:20:13It's like an English boardroom, the interior of the car.
0:20:13 > 0:20:18We have Connolly hide, mahogany cappings, West of England cloth-roof linings.
0:20:18 > 0:20:19Room for a bowler hat?
0:20:19 > 0:20:21Certainly room for a bowler hat.
0:20:21 > 0:20:23And what exactly is this?
0:20:23 > 0:20:26Oh, this was the latest innovation in 1967
0:20:26 > 0:20:31which was a Phillips radio cassette with fitted Dictaphone.
0:20:31 > 0:20:35You were perhaps stuck in a traffic jam, you could still put your cassette into the radio
0:20:35 > 0:20:39and dictate messages for your secretary to type at a later time.
0:20:39 > 0:20:41Who'd have thought it!
0:20:41 > 0:20:46Michael Aspel in a Humber Imperial, and now back to the Antiques Roadshow.
0:20:50 > 0:20:55I have to say, the first inkling that I got that this was something other than it appears
0:20:55 > 0:20:58- was when it was lifted from there down to here.- Right.
0:20:58 > 0:21:00- And it took three people. - Very heavy.
0:21:00 > 0:21:05- Very heavy and unusual for what really looks like a bedside cupboard. - Yes.
0:21:05 > 0:21:06So...
0:21:06 > 0:21:10inside you've got this extraordinary mirror...
0:21:10 > 0:21:12- Yeah.- ..with a lock in the middle.
0:21:12 > 0:21:15When you pull it open...
0:21:15 > 0:21:16it's a safe.
0:21:16 > 0:21:19And the interior's absolutely gorgeous.
0:21:19 > 0:21:22The most wonderful purple silk velvet interior.
0:21:22 > 0:21:28And really because it's been protected from the light, it's as rich and as strong as it was...
0:21:28 > 0:21:31And the drawers themselves are made of metal - they're very heavy.
0:21:31 > 0:21:34- They are heavy.- And this would have been a domestic safe -
0:21:34 > 0:21:38something somebody would have had in their bedroom with jewellery in it.
0:21:38 > 0:21:43It's not an industrial-looking piece. It's meant to blend in with the household.
0:21:43 > 0:21:45- Do you use it yourself?- I do.
0:21:45 > 0:21:47- For its proper purpose?- I do, yes.
0:21:47 > 0:21:50That's very good. That's excellent. How did you come by it?
0:21:50 > 0:21:56- Um, it was a wedding present from my parents to my husband and I about 12 years ago.- Right.
0:21:56 > 0:22:02- I've always loved it. Dad bought it a while ago, in about the 1960s, I think.- Yes.
0:22:02 > 0:22:04It's just always been there and...
0:22:04 > 0:22:07So you know of no earlier history? It was acquired in the '60s...
0:22:07 > 0:22:13None at all, no, nothing other than that and because it has the initials on the inside door,
0:22:13 > 0:22:16that's something I've always wondered about as well.
0:22:16 > 0:22:18I noticed this - very interesting.
0:22:18 > 0:22:23It's got the initials here which look to me to be an "I" probably a "G",
0:22:23 > 0:22:25- and the main initial... - I couldn't make it out.
0:22:25 > 0:22:27..is an "A" so I think it's "IGA".
0:22:27 > 0:22:29- Right.- Or something like that.
0:22:29 > 0:22:34And done in enamel and that would undoubtedly have been for the person it was made for,
0:22:34 > 0:22:38and this here is not mirror glass but it's actually polished steel.
0:22:38 > 0:22:40And then it's been etched,
0:22:40 > 0:22:42so it gets a very high shine.
0:22:42 > 0:22:46But the piece itself dates from the 1860s.
0:22:46 > 0:22:49There was a man called Henry Lawford
0:22:49 > 0:22:54who published designs of marquetry furniture and boulle furniture at around that date,
0:22:54 > 0:22:59and it's typical of the sort of thing that was seen in the 1862 exhibition in London.
0:22:59 > 0:23:04- And it's clearly French influenced, but made in England.- Right.
0:23:04 > 0:23:08- Um, you've got these very pretty mounts going down the side here. - Yes.
0:23:08 > 0:23:14This inlay and then here a Sevres, or an imitation probably Sevres plaque -
0:23:14 > 0:23:17so a French plaque of two lovers,
0:23:17 > 0:23:20but imported and then incorporated into the piece of furniture.
0:23:20 > 0:23:28- And underneath here, interestingly, can you see it says "IG Appleby".- Oh.
0:23:28 > 0:23:30And those are the initials on the inside.
0:23:30 > 0:23:33Oh, gosh! I didn't even realise.
0:23:33 > 0:23:37- So I think that whoever Mr Appleby was...- Yes.
0:23:37 > 0:23:40..is the person for whom the piece of furniture was made.
0:23:40 > 0:23:43- Right.- And I think also whilst we have this off,
0:23:43 > 0:23:47there's a label here from a depository in Kingston-on-Thames.
0:23:47 > 0:23:52So it's the sort of thing one could probably find out if there was a family called Appleby in that area.
0:23:52 > 0:23:54And this is dated 1924,
0:23:54 > 0:23:58- so at some stage maybe a big house was broken up and the things went into storage.- Yes.
0:23:58 > 0:24:03- Oh, gosh.- But it's an exceptionally fine piece of furniture,
0:24:03 > 0:24:05but it's obviously something to treasure for ever.
0:24:05 > 0:24:09It's just something that I've loved and I've been fascinated by.
0:24:09 > 0:24:12Well, as an indication, from an insurance point of view,
0:24:12 > 0:24:16it's something you should insure because it's so unusual.
0:24:16 > 0:24:18I have never seen an elaborate safe like this,
0:24:18 > 0:24:24- and it's a dual purpose thing because it's a very useful cabinet which I'm sure you use.- Yeah, I do use it.
0:24:24 > 0:24:32- But from an insurance point of view I would say a figure of something like £6,000 would be sensible.- Gosh.
0:24:32 > 0:24:34This is a lovely rarity for the Roadshow,
0:24:34 > 0:24:37we've got someone who was at a pottery factory at the beginning,
0:24:37 > 0:24:41or more or less, and someone who was there when it finished.
0:24:41 > 0:24:44- You were both at the Hornsea.- Yes. Yes.- Did you work together?- No.- No.
0:24:44 > 0:24:47Tell me how it started for you.
0:24:47 > 0:24:53I left school, had to get a job, Hornsea pottery was the main thing in those days.
0:24:53 > 0:24:57It was late '50s so I went there when I was 15.
0:24:57 > 0:25:01- Because the pottery itself started in 1949.- Yes.
0:25:01 > 0:25:06Two brothers starting painting plaster-of-Paris souvenirs,
0:25:06 > 0:25:10and then somebody had the bright idea that they could do it in pottery instead.
0:25:10 > 0:25:14And then you joined at a time... just when it was all...
0:25:14 > 0:25:17- When it was all coming together. - Now, what did you do?
0:25:17 > 0:25:21Most jobs in the factory, but I started at sponge and fettling.
0:25:21 > 0:25:23Now, you're going to have to explain that.
0:25:23 > 0:25:27- When the items come out of the mould, after they've been cast... - Like this?
0:25:27 > 0:25:32- Like that one, for instance.- Yes, OK.- Where the moulds are joined, they have a ridge,
0:25:32 > 0:25:36and that has to be gently lifted off with a knife and sponged with an actual sponge.
0:25:36 > 0:25:38Where were the mould lines? Can we see them?
0:25:38 > 0:25:43- I hope not! If I've done my job properly you won't be able to see them!- Absolutely.
0:25:43 > 0:25:48- There, you can't see them. - You've got the good job.- They were stuck on with slip afterwards.
0:25:48 > 0:25:52- No, so probably there, but you can't see those. - No, you've done a good job.
0:25:52 > 0:25:57- I must have done, yes. - So that was made in the late 1950s. - Yes, 1950s-60s.
0:25:57 > 0:26:01- And the rest of these pieces on this side of the table belong to you? - Well, yes.
0:26:01 > 0:26:07- Do you have any fond feelings for any of them in particular?- This one, called a doe jug.- A doe jug?
0:26:07 > 0:26:10- A doe jug.- And there's the doe in the bottom.- Yes,
0:26:10 > 0:26:15and I bought that with my first week's wages - it cost me seven and six, and that was with a discount.
0:26:15 > 0:26:20And these pieces on this side of the table were made under your period there?
0:26:20 > 0:26:25Under my dad's period, actually. I mean, which was in the '70s,
0:26:25 > 0:26:28- and that mug especially, there isn't many of them.- This mug here?
0:26:28 > 0:26:32- Yes, they were made for the Jubilee. - Yes.- But they were...
0:26:32 > 0:26:37If I remember right, they only had one handle, whereas that one was actually made for my brother.
0:26:37 > 0:26:43- But it didn't go into production? - No, not the double-handed one, no. I think they only made five or six.
0:26:43 > 0:26:45- This is a real rarity.- Yes.
0:26:45 > 0:26:49But I think something that's even rarer is these... I've never seen these boxes.
0:26:49 > 0:26:54Yes, they were never released for sale, as far as I know.
0:26:54 > 0:26:57- And why was that, do you suppose? - I think it was too modern for its time.
0:26:57 > 0:27:00I'm going to disagree with you there,
0:27:00 > 0:27:05I think that Hornsea at its really best, was absolutely at the cutting edge of modern design.
0:27:05 > 0:27:09They made a lot of things which would fall into the sentimental souvenir bracket,
0:27:09 > 0:27:12- let's be honest about it.- Yes.- Yes.
0:27:12 > 0:27:17But they did, when they were really good, they came top-notch designers.
0:27:17 > 0:27:21I think the reason they didn't make this is it is incredibly difficult to do.
0:27:21 > 0:27:25- Yes.- This is basically like making a stick of rock, isn't it?
0:27:25 > 0:27:28Um, and that would have been a very expensive process,
0:27:28 > 0:27:35so I suspect these are really probably quite expensive objects to a Hornsea collector
0:27:35 > 0:27:38- because they never came on the market.- Yes.- Mm-hmm.
0:27:38 > 0:27:43Um, I have a particular soft spot for the period that YOU were there,
0:27:43 > 0:27:46because I don't know if you knew him... Did you know John Clappison?
0:27:46 > 0:27:50- John Clappison. Yes, I did. - Well, John Clappison was one of the leading lights.
0:27:50 > 0:27:55- He was, definitely, yes.- And I fished out of the queue something that really did appeal to me.
0:27:55 > 0:27:57- Oh, yes.- And here it is.
0:27:57 > 0:28:01- And this was actually designed by John Clappison.- Yes, yes.
0:28:01 > 0:28:04- Now, isn't that fantastic?- Lovely. - Yes.
0:28:04 > 0:28:08Now, some people say, "What?! I wouldn't give that house room!"
0:28:08 > 0:28:12But it's... One of the questions we really get asked on the Roadshow is,
0:28:12 > 0:28:17"What do you recommend that we buy for a future investment?"
0:28:17 > 0:28:22I say, "Buy something that speaks of its period".
0:28:22 > 0:28:27Now, we know that Clappison designed this in 1959, it went into production in...
0:28:27 > 0:28:29Yes, I remember, I've fettled a few of those.
0:28:29 > 0:28:31- You might even have fettled these? - Yes.
0:28:31 > 0:28:34- Good heavens, isn't that wonderful? - Yes.
0:28:34 > 0:28:38And they are typical of the early '60s when they were in production.
0:28:38 > 0:28:40They were in production for about three years.
0:28:40 > 0:28:44That conical shape, that sort of abstracted tree design,
0:28:44 > 0:28:49alpine and spruce are the two patterns, and I think that's a really glorious design.
0:28:49 > 0:28:52- Yes.- I think that's where the money should go.- Yes.
0:28:52 > 0:28:56- Do you remember what this retailed for? Early '60s.- Now you're asking.
0:28:56 > 0:29:00- Give it a guess.- No, I can't. Well, if that was seven and six...
0:29:00 > 0:29:04- That would be...- A bit more. - £1 10 shillings or something?
0:29:04 > 0:29:06£1, something like that, yes.
0:29:06 > 0:29:09£1 10 shillings. That would be £1.50...
0:29:09 > 0:29:11in 1960-63.
0:29:12 > 0:29:17Stick two noughts on the end and today you'd have £150.
0:29:17 > 0:29:23But it shows you what a tremendous variety Hornsea was responsible for producing.
0:29:23 > 0:29:30My son had stored quite a bit of stuff in his loft in the house he'd lived in for what, 10-15 years.
0:29:30 > 0:29:32- They found another house, they were moving.- Yes.
0:29:32 > 0:29:36And as they went to empty the loft they saw a black bag.
0:29:36 > 0:29:39"What's that?" "I don't know." And there we are.
0:29:39 > 0:29:43And there it was, voila, as they say. But it never belonged to your family?
0:29:43 > 0:29:47- No.- How brilliant! Well, let me tell you a little bit about this picture.
0:29:47 > 0:29:49Now, have you noticed that it's signed or anything?
0:29:49 > 0:29:54- No, I've looked for a signature. I can't see anything.- It's just here.
0:29:56 > 0:29:57It's Edmund Gill.
0:29:57 > 0:30:00- 1879, it looks like there.- Oh.
0:30:00 > 0:30:04Now, Edmund Gill was called Waterfall Gill because he only...
0:30:04 > 0:30:06by and large...painted waterfalls
0:30:06 > 0:30:10and he painted mainly in Wales and Yorkshire.
0:30:10 > 0:30:13But, funnily enough, according to an old label on the back,
0:30:13 > 0:30:15this is in fact North Wales, it says.
0:30:17 > 0:30:19So we have a wonderfully typical work
0:30:19 > 0:30:23by this Victorian artist, Edmund "Waterfall" Gill.
0:30:23 > 0:30:26But it has been a bit battered, hasn't it?
0:30:26 > 0:30:28Oh, yes, forgotten.
0:30:28 > 0:30:30- Forgotten.- Mice?
0:30:30 > 0:30:33Mice, scratches, we don't know what it was.
0:30:33 > 0:30:36I think you're going to get a bit of a windfall from a waterfall,
0:30:36 > 0:30:39- if you...if you excuse the pun.- Yes.
0:30:39 > 0:30:46- But I would say something like this was worth between £1,500 and £2,000. - Good heavens!
0:30:46 > 0:30:48- So, not bad.- Not bad.
0:30:48 > 0:30:51- So you'd do, like, a handkerchief or...?- Yeah. And dusters.
0:30:51 > 0:30:56- Dusters?- Yes.- Dusters?! This is just fantastic.
0:30:56 > 0:31:00So this is a sewing machine... We can tell the age of it.
0:31:00 > 0:31:03- It's got the patent details on the side here.- Yes.
0:31:03 > 0:31:08- So, 18... "Patented in 1875." - Was it?- Yes.
0:31:08 > 0:31:11So you are using a sewing machine from 1875,
0:31:11 > 0:31:15over 100 years ago, to do your hemming on your dusters.
0:31:15 > 0:31:17- Yes.- Right.
0:31:17 > 0:31:21Most people who have these are avid collectors of sewing machines.
0:31:21 > 0:31:24- They don't necessarily still use them.- No.
0:31:24 > 0:31:26- It's actually got the maker's name on it.- Yes.
0:31:26 > 0:31:31- Taylor's of Driffield, which is near here, isn't it?- Yes, not far.
0:31:31 > 0:31:33Only about 10 mile up the road.
0:31:33 > 0:31:37And then, of course, it was... also made for a Cheapside firm.
0:31:37 > 0:31:40That was a big centre for tailoring.
0:31:40 > 0:31:42- We need to see the sewing in action. - Well, I'll try.
0:31:42 > 0:31:45- Can you give us a demonstration? - I'll try.
0:31:45 > 0:31:48- Here goes.- Here goes.
0:31:50 > 0:31:52That's it.
0:31:52 > 0:31:54That's tremendous.
0:31:54 > 0:31:58Look at that long stitch, that's wonderful.
0:31:58 > 0:32:00I'm not sure how straight you're going there.
0:32:00 > 0:32:03Oh, no, just left of the mark.
0:32:03 > 0:32:06That's brilliant. So, still in use today.
0:32:06 > 0:32:09Value-wise to a collector of sewing machines,
0:32:09 > 0:32:14I expect they'd be happy to part with as much as £100 for it.
0:32:14 > 0:32:16Ah! Oh, I like that.
0:32:16 > 0:32:20But I think they'd pay more if it came with one of your pre-sewn dusters.
0:32:20 > 0:32:22Maybe!
0:32:25 > 0:32:30Bill, if someone inherits an old firearm and it's been lying around for ages,
0:32:30 > 0:32:32how do they know that it's safe to handle?
0:32:32 > 0:32:36Well, the first thing that you should do whenever you pick up any firearm
0:32:36 > 0:32:39is to assume that it's loaded.
0:32:39 > 0:32:43It's not very easy to tell with a muzzle-loading firearm.
0:32:43 > 0:32:48A sure-fire way of doing it is to use the ramrod,
0:32:48 > 0:32:52or another rod if it hasn't got one, and to drop it down the barrel.
0:32:52 > 0:32:54If it goes in a good, long way
0:32:54 > 0:32:57and you then pull it out and measure it off against the barrel,
0:32:57 > 0:33:00you can see that's gone right down to the bottom,
0:33:00 > 0:33:02so there's nothing in there.
0:33:02 > 0:33:08Now, if I take this one and drop it in, you see it sticks out.
0:33:08 > 0:33:11- Are you telling me that's loaded? - Yes, it is.
0:33:11 > 0:33:13I loaded it with lavatory paper
0:33:13 > 0:33:16to give the impression that there was a charge in there.
0:33:16 > 0:33:20That sticking out the top should ring some alarm bells.
0:33:20 > 0:33:23If you have a firearm that you think is loaded,
0:33:23 > 0:33:28you must always keep your fingers away from the trigger and the mechanism
0:33:28 > 0:33:33until you can find some way of unloading it or getting someone to unload it.
0:33:33 > 0:33:37As a general principle, guns don't go off until you pull the triggers.
0:33:37 > 0:33:39If I was suspicious about this,
0:33:39 > 0:33:43I would make sure this was put somewhere it wouldn't do any harm,
0:33:43 > 0:33:46locked away. And, you see, I'm always pointing it
0:33:46 > 0:33:50in a way where the worst that's going to suffer is a light if it goes off.
0:33:50 > 0:33:55But suppose, after all these reassurances, they simply are too worried to keep it,
0:33:55 > 0:33:59- how do they get rid of it?- You can own antique firearms legitimately
0:33:59 > 0:34:05and there are plenty of ways of disposing it, through auctions, through the local gunsmith.
0:34:05 > 0:34:09Local gunsmiths are very useful for working out whether things are loaded,
0:34:09 > 0:34:12because they do it on a daily basis.
0:34:12 > 0:34:17If you have any doubts, look in the telephone directory, find the local gunsmith.
0:34:17 > 0:34:21You could also try and get in touch with a local shooting club
0:34:21 > 0:34:24or phone the police firearms licensing department.
0:34:24 > 0:34:29When I was doing my National Service, I always kept the musket clean, no spiders down the barrel.
0:34:29 > 0:34:33What's the feeling about cleaning weapons? I mean swords and guns?
0:34:33 > 0:34:35I have very mixed views about cleaning it.
0:34:35 > 0:34:39If we look at this rather nice Prussian bayonet.
0:34:39 > 0:34:42It's got a brass hilt and I haven't cleaned that deliberately
0:34:42 > 0:34:46and it's got what is very clearly the sort of patina of ages on it,
0:34:46 > 0:34:49and I've left that because I like that colour.
0:34:49 > 0:34:52Rather than that shiny brass on this modern replica.
0:34:52 > 0:34:57And I don't intend to clean that. The best, I think, that you can do
0:34:57 > 0:35:01if you are uncertain as to whether to clean something is don't clean it.
0:35:01 > 0:35:06We get people bringing Grandad's medals and they say, "We cleaned them specially last night."
0:35:06 > 0:35:08And I say, "Oh, I wish you hadn't."
0:35:08 > 0:35:11Every time you clean metal, you actually take some of it away.
0:35:11 > 0:35:15Modern pastes and polishes are highly abrasive.
0:35:15 > 0:35:20The only thing that I would consider using on metalwork like this
0:35:20 > 0:35:23is this very fine chalk paste.
0:35:23 > 0:35:27It takes it off very, very slowly and you can control the process.
0:35:27 > 0:35:30That's about as abrasive as talcum powder.
0:35:30 > 0:35:33That's conservation-grade paste that's used in museums.
0:35:33 > 0:35:37- You're going to make someone a wonderful housewife.- Thank you!
0:35:37 > 0:35:41Kind of you to say so. I have been known to hoover on one occasion.
0:35:41 > 0:35:45Very rare. But I do enjoy a bit of dusting.
0:35:45 > 0:35:49My grandfather bought a raffle ticket
0:35:49 > 0:35:53at a church garden party in about...
0:35:54 > 0:35:57- ..1880, I would think.- No!
0:35:57 > 0:36:01I wasn't there but I think it would be about 1880.
0:36:03 > 0:36:05And...it...was a prize...
0:36:05 > 0:36:09that had been donated to the garden party
0:36:09 > 0:36:14by a missionary from Japan who was home on leave.
0:36:15 > 0:36:17What puzzles me slightly
0:36:17 > 0:36:23is that these prints are not on Japanese paper, as you would expect,
0:36:23 > 0:36:26they are on crepe paper.
0:36:26 > 0:36:32- Mm.- Now, the crepe paper was generally for export.
0:36:32 > 0:36:33Yes.
0:36:33 > 0:36:36Now, I would suspect one of two things -
0:36:36 > 0:36:42either they got hold of, in Japan, some crepe-paper prints
0:36:42 > 0:36:49and that this lacework was done by Japanese in the mission,
0:36:49 > 0:36:54and being taught to do lace in the mission,
0:36:54 > 0:36:58or that the prints came back with the missionary
0:36:58 > 0:37:02- and the whole thing was put together in England.- Oh.
0:37:02 > 0:37:05I wonder whether we've got anything on the...?
0:37:06 > 0:37:09Now, you see, this IS Japanese.
0:37:09 > 0:37:13- This whole thing was put together in Japan.- Ah, yes?- Undoubtedly, yeah.
0:37:13 > 0:37:15Right. Now, that's fascinating.
0:37:15 > 0:37:19- 1880, we can go back to. - Well, round about 1880...
0:37:19 > 0:37:21Well, that's as early as it could be.
0:37:21 > 0:37:25You don't get these crepe paper much earlier than that.
0:37:25 > 0:37:31This would have appealed enormously to somebody in England in 1880.
0:37:31 > 0:37:34We are in the Aesthetic Movement period
0:37:34 > 0:37:39when the whole country is Japanese mad.
0:37:39 > 0:37:42Anything Japanese...BIG time.
0:37:42 > 0:37:47The prints are of a late date, as you would expect.
0:37:47 > 0:37:52The only ones I know here are by Kunisada,
0:37:52 > 0:37:55who was a well-known print-maker.
0:37:55 > 0:37:58But they're all of a high standard
0:37:58 > 0:38:01and illustrate scenes of Japanese life
0:38:01 > 0:38:06or from stories, mythology, that sort of thing.
0:38:06 > 0:38:09If I were putting an exhibition on
0:38:09 > 0:38:14at a major London museum
0:38:14 > 0:38:17and I wanted to illustrate
0:38:17 > 0:38:20this period...
0:38:20 > 0:38:23- I'd put this in it.- I see, yes. - This would be in it.
0:38:23 > 0:38:28Putting a value on it is actually jolly difficult because it doesn't fit into any category.
0:38:28 > 0:38:31It's just a novelty.
0:38:31 > 0:38:37But I think it's a novelty which, if it did come up for sale and it were written up properly,
0:38:37 > 0:38:40would make between £2,000 and £3,000.
0:38:40 > 0:38:42Oh.
0:38:42 > 0:38:45- A quite expensive novelty, eh?- Yes.
0:38:45 > 0:38:50"With love and kisses for a happy Geburtstag to Val, (34 today) from Mike".
0:38:50 > 0:38:53Who Val, who Mike?
0:38:53 > 0:38:55I'm Val, Mike McCartney.
0:38:55 > 0:38:57- Brother of Paul.- Yes.
0:38:57 > 0:39:02- This is something that he made for you on your 34th birthday...?! I don't think so.- 19th.
0:39:02 > 0:39:06That sounds more like it. And when was that? What year?
0:39:06 > 0:39:081961.
0:39:08 > 0:39:12Amazing! So, you and Mike were what, girlfriend/boyfriend, friends?
0:39:12 > 0:39:16Well, friends really. We were both students in Liverpool at the same time.
0:39:16 > 0:39:21Fantastic. And this reads through a kind of who's who and what's what
0:39:21 > 0:39:25- in Liverpool in '61 in the Jacaranda Coffee Bar.- Yes.
0:39:25 > 0:39:29Everybody knows about the Cavern probably. But the Jacaranda was a great venue.
0:39:29 > 0:39:33- Bit scruffy, I've been told. - Yes.- And the Cavern.- Yes.
0:39:33 > 0:39:37I mean, one can't look at a Cavern Club membership card
0:39:37 > 0:39:42- without sort of feeling a sort of thrill of excitement.- Yes.
0:39:42 > 0:39:45- And did you go often? - Yes, quite a lot.
0:39:45 > 0:39:46On Mike McCartney's arm?
0:39:46 > 0:39:51- Yes.- Very good.- Sometimes.- You were sort of waved through probably.
0:39:51 > 0:39:56- Yes, yes, absolutely, yes. - And how good were they? - Excellent, wonderful.
0:39:56 > 0:40:00I've spoken to a lot of people who went to those early concerts
0:40:00 > 0:40:05and they've said that, you know, the sort of sexiness of it, the sort of rawness of it
0:40:05 > 0:40:10was something that they kind of lost when they went to bigger venues and were more...
0:40:10 > 0:40:13Because this was originally a jazz club.
0:40:13 > 0:40:18Acker Bilk and Kenny Ball and all those sort of bands played there.
0:40:18 > 0:40:22And did you feel that you were at the sort of start of something big?
0:40:22 > 0:40:25- Yes, definitely. - And how...?- Absolutely, yes.
0:40:25 > 0:40:28- So they were definitely a cut above everybody else.- Yes.
0:40:28 > 0:40:35Wonderful. And in those early days, of course, they had a completely different line-up.
0:40:35 > 0:40:37This shows you that early line-up.
0:40:37 > 0:40:39You had George Harrison, John Lennon,
0:40:39 > 0:40:43- Paul McCartney and Pete Best, who was the drummer.- Pete Best.
0:40:43 > 0:40:47- How did you get that?- Well, there's a story attached to that.
0:40:47 > 0:40:53I was down in the Cavern with them, with Mike, and they weren't really very famous at the time,
0:40:53 > 0:40:56so for a joke actually
0:40:56 > 0:41:00I picked this old Senior Service packet up from the Cavern floor
0:41:00 > 0:41:04- and said, "Right, boys, sign that for me."- "One day you'll be famous."
0:41:06 > 0:41:09- And...- A true story.
0:41:09 > 0:41:12And it's so sweet the way they've written "The Beatles",
0:41:12 > 0:41:15- just in case you forgot which band it was.- Yes.
0:41:15 > 0:41:18But I like the look of some of these letters here.
0:41:18 > 0:41:20It says here "In the Cavern the other day,
0:41:20 > 0:41:25"660 came to see them in the lunch break..." The Beatles.
0:41:25 > 0:41:31"..while the Shadows got approximately 700 and the Temperance Seven about 800, both at night."
0:41:31 > 0:41:35So suddenly it was a lunch-time venue.
0:41:35 > 0:41:37- Lunch time.- How interesting!
0:41:37 > 0:41:43This is a nice little bit of history. What date's that? July '61. And what else have we got in here?
0:41:43 > 0:41:48I'm waiting... This is like the Holy Grail here, handling these.
0:41:49 > 0:41:50Oh, how sweet!
0:41:50 > 0:41:54"Dad has just found your letter in a bunch of fan mail.
0:41:54 > 0:41:59"You see, Paul gets between 40 and 70 letters a day now and some of it hasn't been sorted."
0:41:59 > 0:42:03I think that's great. From the really early days again, 1961.
0:42:03 > 0:42:06- Yes.- I mean this is just wonderful.
0:42:06 > 0:42:12- And the fact that you were right in there, right at the sort of... in the middle of it all.- Yes.
0:42:12 > 0:42:14This is going to stack up really nicely.
0:42:14 > 0:42:16Let's do a little bit of adding here.
0:42:16 > 0:42:21Well, the poster itself, even though it's got a little bit of damage,
0:42:21 > 0:42:24- that's probably around £250. - Really?- Yes.
0:42:25 > 0:42:27And then these...
0:42:27 > 0:42:30little pieces of printed memorabilia,
0:42:30 > 0:42:32well, these are probably going...
0:42:34 > 0:42:38A ticket like that is probably going to be £250.
0:42:38 > 0:42:41And another £250. Jacaranda Club...
0:42:41 > 0:42:45You very seldom see the Jacaranda, that's probably another £250.
0:42:45 > 0:42:50The Cavern for the 1963 season, THE ultimate season!
0:42:51 > 0:42:53- £400, £500 maybe.- Really?
0:42:55 > 0:43:01- Letters... I mean, not that you could ever think about selling these. - Oh, no.- These are...
0:43:01 > 0:43:03- Hundreds a-piece.- Really? - Hundreds a-piece,
0:43:03 > 0:43:05- because they relate to The Beatles.- Yes.
0:43:05 > 0:43:10And as for this little joke from the floor of the Cavern,
0:43:10 > 0:43:15I would have thought we're talking about probably £3,000...£4,000.
0:43:15 > 0:43:17Gosh, wonderful.
0:43:17 > 0:43:22- So it's a very nice little group of memories really.- Yes.
0:43:22 > 0:43:27- But more than memories.- Absolutely. - Because they actually tell the story of the early days
0:43:27 > 0:43:32- of probably the most important band of the 20th century. - Yes, wonderful.- Good for you.
0:43:32 > 0:43:35Thank you very much. That was really interesting.
0:43:35 > 0:43:38No wonder the streets of Hornsea were empty earlier,
0:43:38 > 0:43:44I think everyone was eager to get out of the cold into the embrace of a nice, warm expert.
0:43:44 > 0:43:47Folk here are very used to fighting the elements.
0:43:47 > 0:43:50This town used to be 14 miles from the sea
0:43:50 > 0:43:53and now it's just a quarter of a mile away. Fingers crossed!
0:43:53 > 0:43:57Until the next time, from the coast of Yorkshire, goodbye.
0:44:07 > 0:44:11Subtitles by Red Bee Media Ltd