0:00:31 > 0:00:36We are being allowed a brief glimpse into the nerve centre of the Roadshow...
0:00:36 > 0:00:39the scanner. Inside this small vehicle, parked in a corner of
0:00:39 > 0:00:45the location, the directors are calling the shots on the items being recorded by the experts.
0:00:45 > 0:00:49DIRECTOR: Can we have a shot on camera three, please, and come in camera one next.
0:00:49 > 0:00:53With up to six people in there, I can tell you you'll find out
0:00:53 > 0:00:56who your friends are... it can get very cosy.
0:00:56 > 0:01:01It's a lovely move. Two, can I just have a look at close-ups of medallion, please, on the table?
0:01:01 > 0:01:05Well, while they get a sneak preview of the day's best finds,
0:01:05 > 0:01:08let me show you some unscreened gems from recent shows.
0:01:08 > 0:01:14Tonight we visit England, Scotland and Wales in our quest for prize pieces, a journey that begins
0:01:14 > 0:01:18in the time warp that is Beamish Open Air Museum in County Durham.
0:01:21 > 0:01:27Well, I don't know Newcastle particularly well but this seems quite familiar somehow.
0:01:27 > 0:01:31- Can you tell me where it is?- Well, this is the Black Middens Rocks.
0:01:31 > 0:01:36- Notorious to seafarers in Victorian periods.- Yes.
0:01:36 > 0:01:40It's the entrance of the Tyne, we're looking through the piers.
0:01:40 > 0:01:43Black Middens is here which the people are standing on,
0:01:43 > 0:01:46- er, you've got South Shields on the left here.- Right.
0:01:46 > 0:01:51You've got North Shields with the two lighthouses, one at the bottom.
0:01:51 > 0:01:55Oh, yes, and has it changed a lot in 150 years or so?
0:01:55 > 0:02:01- I think it has, it has, yes. - Are there houses in the Middens like this now?
0:02:01 > 0:02:04The Middens, you can still go there, I do believe...
0:02:04 > 0:02:07me wife and I have been there and we can still see this rock.
0:02:07 > 0:02:10- This rock?- This rock is still... - Has been weathered.
0:02:10 > 0:02:14Yes, a bit but it was a big rock and we believe it's still there.
0:02:14 > 0:02:17Marvellous, yes, so the artist has really got it right.
0:02:17 > 0:02:20He's captured the moment.
0:02:20 > 0:02:23Well, what I like about this picture is that it is a local scene,
0:02:23 > 0:02:28but you know, when you look on the front it's not signed and who's it by?
0:02:28 > 0:02:33We know vaguely, don't we, because if you look on the back, just round here
0:02:33 > 0:02:35there's this lovely old label
0:02:35 > 0:02:38which says "Matthew White Ridley",
0:02:38 > 0:02:40the painter, but Matthew White Ridley
0:02:40 > 0:02:46is not that well known. He was born in Newcastle on Tyne, and then I think he came to London
0:02:46 > 0:02:49to make his fame and fortune and he exhibited at the Royal Academy.
0:02:49 > 0:02:55- That's right.- And this was exhibited in the Royal Academy, I think in 1863, something like that.- Correct.
0:02:55 > 0:02:57And the title of the picture is...
0:02:57 > 0:02:59"Two strings to the bow".
0:02:59 > 0:03:03..To the bow, so he's got two friends...
0:03:03 > 0:03:07Perfect, perfect. I think it's got great charm and I think,
0:03:07 > 0:03:10actually, for me, the value is in the fact that it's a local scene.
0:03:10 > 0:03:14The best bit of the picture I think is the landscape in the background.
0:03:14 > 0:03:19- Yes.- Although the figures are well done, they're not as good as perhaps
0:03:19 > 0:03:22this sort of area here. It's just so beautifully done...
0:03:22 > 0:03:24Have you ever had it valued?
0:03:24 > 0:03:29- Not really, no, I'm not particularly interested...- In the value.
0:03:29 > 0:03:33In the value, I've always wanted a north-east oil painting
0:03:33 > 0:03:37and one that displayed that vista of the Tyne.
0:03:37 > 0:03:41- Yeah.- And when I seen it, I was standing with me back to it,
0:03:41 > 0:03:44and me wife says, "Have you seen this picture?"
0:03:44 > 0:03:48- And I turned round and I couldn't believe it.- Amazing.- I fell in love with it.- Yeah.
0:03:48 > 0:03:52That's the best reason for buying anything. When was this?
0:03:52 > 0:03:54It was about three or four year ago.
0:03:54 > 0:03:57- OK.- It was in an auction. - Tell us what you paid.
0:03:57 > 0:04:00I paid at the time, I believe...
0:04:00 > 0:04:03- A world record price(!)- £3,000.
0:04:03 > 0:04:09Oh £3,000, oh, well I think that's good. I mean, I honestly, without knowing that,
0:04:09 > 0:04:15I was going to say £5,000 or £6,000 now because I just think that, you know, because of the local
0:04:15 > 0:04:20interest and because of the topography of this picture, you've got a wonderful work.
0:04:21 > 0:04:23So a musical jug...
0:04:23 > 0:04:25It plays Here's A Health Unto His Majesty.
0:04:25 > 0:04:27The words are round the back.
0:04:27 > 0:04:30The words... Oh, the words here. Yes, Here's A Health Unto...
0:04:30 > 0:04:36You can join in if you like. With a fa-la-la-la-la. Great, isn't it?
0:04:36 > 0:04:40Made to commemorate the coronation of King Edward VIII...
0:04:40 > 0:04:42How did you come by the jug then?
0:04:42 > 0:04:46It belonged to my great-grandmother and came down through the family to my mother.
0:04:46 > 0:04:49- And now it passed to you? - It will do, yes.
0:04:49 > 0:04:51It will do to you. It's jolly nice,
0:04:51 > 0:04:55made by Fieldings of Crown Devon Pottery
0:04:55 > 0:04:59and of course 1937 but of course the...
0:04:59 > 0:05:02Although, "long may he reign"...!
0:05:02 > 0:05:05He hardly ever reigned at all, did he?
0:05:05 > 0:05:10I mean, he sort of abdicated and people think therefore that
0:05:10 > 0:05:14things that show the coronation of Edward VIII are very, very rare...
0:05:14 > 0:05:16Mostly they're very common.
0:05:16 > 0:05:22But the fascinating thing about this one is that it says here
0:05:22 > 0:05:25"abdicated December 10th 1936".
0:05:25 > 0:05:29That was when he went off with his love affair, didn't he, really?
0:05:29 > 0:05:31Mrs Simpson, wasn't it?
0:05:31 > 0:05:36- It was, yes.- But it's wonderful to have that, that is terribly unusual.
0:05:36 > 0:05:43Well, I suppose if this was just a normal coronation jug in good condition, it would be worth
0:05:43 > 0:05:46something about £400 to £500,
0:05:46 > 0:05:51but this abdication detail puts it into a different league altogether
0:05:51 > 0:05:54and I suppose we're looking at £700 to £800 for it.
0:05:54 > 0:05:58- Really?- So that's the important thing to know.
0:05:58 > 0:06:01- I thought about £20.- Whoa...
0:06:01 > 0:06:03those days are past.
0:06:04 > 0:06:10- Now you called it a wine cabinet. - Yes.- Because if I open this door...
0:06:10 > 0:06:14It's interesting because we can see that it's actually fitted out
0:06:14 > 0:06:19for wine bottles and an interesting circle in the middle -
0:06:19 > 0:06:22which I suspect was for a soda siphon.
0:06:22 > 0:06:25That's right, that's what we normally have in.
0:06:25 > 0:06:30- Because I wouldn't call it a wine cabinet.- What would you call it?
0:06:30 > 0:06:32Well, opening up the top here,
0:06:33 > 0:06:36I call that a cocktail cabinet.
0:06:36 > 0:06:39- Exactly, you've got your cocktail sticks.- Absolutely.
0:06:39 > 0:06:43For me to call it a cocktail cabinet puts it into a different period,
0:06:43 > 0:06:49- it puts it between the wars, between the First and Second World Wars to me.- Yes.
0:06:49 > 0:06:53That was the jazz age, that was the age of the bright young things...
0:06:53 > 0:06:56I'm not quite sure when Thoroughly Modern Millie was,
0:06:56 > 0:07:00but it kind of suggests that idea. Did it come with glasses?
0:07:00 > 0:07:02Just odd glasses. Not very...
0:07:02 > 0:07:07- Didn't have all its original glasses? - No.- But it... Was this inside it?
0:07:07 > 0:07:11- Yes, I bought these...- Cocktail sticks.- Yes, these were all with it.
0:07:11 > 0:07:16- Lemon squeezer and strainer - all essential for making cocktails.- Yes.
0:07:16 > 0:07:19Something missing here. Was there ever anything there?
0:07:19 > 0:07:22No, and I've always wondered what it should be.
0:07:22 > 0:07:24Well, I'm not absolutely sure.
0:07:24 > 0:07:28I know that the essential bits of kit were a nutmeg grater, measuring cups,
0:07:28 > 0:07:36but also long-handled spoons, they would have been certainly around somewhere in this, in this piece.
0:07:36 > 0:07:39- Yes.- But what's so fascinating in a way is that when you look at it
0:07:39 > 0:07:43- close up, you don't know it's a cocktail cabinet.- No.
0:07:43 > 0:07:46It's only really when you open it up that everything
0:07:46 > 0:07:50becomes revealed and so it's not being absolutely modern
0:07:50 > 0:07:53in terms of its presentation on the outside,
0:07:53 > 0:08:00but on the inside it's saying "We're very much up to date, we know how to have a good time in a modern way".
0:08:00 > 0:08:03In 1930, the Savoy Cocktail Book came out
0:08:03 > 0:08:08and it was absolutely, you know, the height of modernity and jazziness to have that.
0:08:08 > 0:08:12Now do you enjoy this? Do you have... enjoy a little bit of a tipple?
0:08:12 > 0:08:16Not really, it's not used to its full potential, no.
0:08:16 > 0:08:22Well, I think it's a great thing, I have to say that it's a bit of a problem because there are people
0:08:22 > 0:08:28who collect cocktail cabinets but often they will want that to reflect the Deco period,
0:08:28 > 0:08:32that between-the-wars period, and this in a sense doesn't do that,
0:08:32 > 0:08:37this is more conventional, so it wouldn't necessarily fetch
0:08:37 > 0:08:40an enormous amount on the open market.
0:08:40 > 0:08:44We're perhaps looking at around £300 which is maybe a bit disappointing,
0:08:44 > 0:08:45but I think it's a great thing.
0:08:45 > 0:08:48I wasn't really interested in the value,
0:08:48 > 0:08:54just what it was all about really, that I wanted it to come on the show.
0:08:54 > 0:08:57So had your bananas in this bowl this morning?
0:08:57 > 0:09:00Yes, I did, I had to take them out to bring it down here.
0:09:00 > 0:09:02- And that's what you usually use it for?- Oh, yes.
0:09:02 > 0:09:06And how do you come to own it?
0:09:06 > 0:09:10My mum bought it from a charity shop and one of her friends was wanting
0:09:10 > 0:09:15to buy it, to have it, and when I'd seen it, I said, "No, I like it",
0:09:15 > 0:09:18- so I won.- And why do you like it?
0:09:18 > 0:09:22The colours, the green and the gold fleck's lovely and when you hold it
0:09:22 > 0:09:25up to the light you can see through it. And, and...
0:09:25 > 0:09:28- Can I, can I do that?- Yes.
0:09:28 > 0:09:30Because it is a wonderful design,
0:09:30 > 0:09:35with the gold, which is actually not gold, it's filings, so with
0:09:35 > 0:09:41the light passing through, you can see this gold effect which you like and this imitates a natural stone
0:09:41 > 0:09:48called aventurine, and the gold flecks in aventurine normally are on a green ground rather like this.
0:09:48 > 0:09:50The effect is lovely, I think.
0:09:50 > 0:09:56And here you can see the pontil mark which shows that it's been handmade.
0:09:56 > 0:10:02The maker of this glass is a man called Augustine Ysart
0:10:02 > 0:10:10and he came to work for the Moncrieff family and they traded under Monart
0:10:10 > 0:10:15- for selling this type of Scottish glass before the war.- Right. - The Second World War.- So it is old.
0:10:15 > 0:10:22It is old, it is old and they achieved all sorts of wonderful effects in this glass
0:10:22 > 0:10:25and it's very much collected.
0:10:25 > 0:10:31- If this went to auction, it would make between £150 and £250.- Right.
0:10:31 > 0:10:34So are the bananas going back into it this evening?
0:10:34 > 0:10:36No!
0:10:36 > 0:10:38- So what do you keep in this? - Nothing.
0:10:38 > 0:10:40- Nothing?- Nothing.
0:10:40 > 0:10:42That's a waste of a box that, isn't it?
0:10:42 > 0:10:47I say a waste of a box, I suppose it's too grand to be called a box, wouldn't you agree?
0:10:47 > 0:10:50- I think it's grand.- I don't. - You don't care for it too much?
0:10:50 > 0:10:54- No.- You don't? I'm dying to have a look inside.- Oh, right.
0:10:54 > 0:10:58- OK, and it's not good news, is it? When you look in there.- No.
0:10:58 > 0:11:02It's in a bit of a state, but at least it's the original lining
0:11:02 > 0:11:05with the original sort of pea green silk
0:11:05 > 0:11:09and I agree, that's not everybody's favourite colour.
0:11:09 > 0:11:14- No.- So let's have a look at the construction of it.
0:11:14 > 0:11:18- It's a strange looking thing, isn't it?- It is.- In every respect
0:11:18 > 0:11:23because technically this is something that goes by the name of Jugendstill.
0:11:23 > 0:11:29Now Jugendstill is the German and Austrian approach to Art Nouveau.
0:11:29 > 0:11:31- This is their interpretation.- Yes.
0:11:31 > 0:11:34So it makes use of lots of angularity
0:11:34 > 0:11:39and it also includes sort of very stylised features rather like these,
0:11:39 > 0:11:41these flower heads
0:11:41 > 0:11:46and then you've got this amazing frieze here which is totally...
0:11:46 > 0:11:48- The only bit I like about it. - You like that?- Yes.
0:11:48 > 0:11:50- The children's faces.- Yes.
0:11:50 > 0:11:53Which is almost like a contradiction to the rest of it
0:11:53 > 0:12:00and then at the sides you've got these panels with very sort of stylised organic ornament.
0:12:00 > 0:12:03Now the people who almost certainly made this
0:12:03 > 0:12:08were the Wurttemberg metal workshops and they used to put a tiny mark -
0:12:08 > 0:12:11it's so tiny that often you miss it. And I've missed it...
0:12:11 > 0:12:14so I'm hoping that I've got it right.
0:12:14 > 0:12:19So, there are plenty of collectors out there
0:12:19 > 0:12:24- who would be happy to take that off your hands for £500.- Ooh!
0:12:24 > 0:12:29It's nothing to you people from Beamish, I realise that, but you know, that is a desirable casket.
0:12:29 > 0:12:33- Is it?- Yes, do you like it any more? For it being worth that bit more?
0:12:33 > 0:12:36I like the £500.
0:12:38 > 0:12:42We've got a lot of jewellery here, so is there a period of rest between
0:12:42 > 0:12:45buying pieces of jewellery or do you just...?
0:12:45 > 0:12:50I only rest as long as it takes me to save up enough cash to go out and buy the next thing, yes.
0:12:50 > 0:12:55- So when she falls in love with a piece she's just got to have it?- Yes.
0:12:55 > 0:13:00Well, I think she asks me to be the little voice of reason, but I don't try very hard.
0:13:00 > 0:13:05But she asks when she's already bought them and then she shows me.
0:13:05 > 0:13:09And I just leave her to say yes. You have to have it.
0:13:09 > 0:13:12Now one thing about it all, she's got unfailingly good taste hasn't she?
0:13:12 > 0:13:16- Absolutely.- She knows what she's going for so if I was to ask you
0:13:16 > 0:13:18which piece has got the greatest age, would you know?
0:13:18 > 0:13:21I think that.
0:13:21 > 0:13:26Well, it's a collection that spans something in the region of about 50 years.
0:13:26 > 0:13:32- Oh, really?- That is, I would say, made in around about the 1880s with a cluster of diamonds
0:13:32 > 0:13:35in the centre on a typical gold narrow knife-edge back,
0:13:35 > 0:13:39made in this country, very much a late-Victorian piece,
0:13:39 > 0:13:42as incidentally is our swallow-in-flight brooch.
0:13:42 > 0:13:46Did the swallow have a significance in the Victorian period?
0:13:46 > 0:13:49Well, they were one of the most potently sentimental things.
0:13:49 > 0:13:52If you give a swallow... What do swallows do?
0:13:52 > 0:13:53- They always come back.- Yeah.
0:13:53 > 0:13:57So if I give you a diamond swallow it means you're going to come back.
0:13:57 > 0:14:03- You hope.- Um, this piece here, this is continental, made in around
0:14:03 > 0:14:07the 1890s. Now tell me about this piece here
0:14:07 > 0:14:10- because this is not the original necklace for this piece.- No.
0:14:10 > 0:14:13That came on a sort of silver chain but I thought it looked
0:14:13 > 0:14:17particularly attractive worn on the pearls, I wear a lot of pearls.
0:14:17 > 0:14:22Yes, well this is a piece that we call, it goes by the
0:14:22 > 0:14:26style of the Garland look, belle epoch, as we call it.
0:14:26 > 0:14:29And it's that Art Nouveau period of around about 1910-1915.
0:14:29 > 0:14:34Typified by these swirly scrolly flowery pieces.
0:14:34 > 0:14:38Then you move through into the 20th century
0:14:38 > 0:14:43and this piece here is 1915, a straightforward, very standard
0:14:43 > 0:14:49- almost utilitarian looking diamond bar brooch.- I think it's stylish though in its simplicity.- Yes.
0:14:49 > 0:14:52I feel the passion you have for jewellery.
0:14:52 > 0:14:55- Oh, yes, I love it.- You would wear that on the slant on your lapel.
0:14:55 > 0:15:01- Yeah.- Then right straight forward into Deco, Art Deco which are these
0:15:01 > 0:15:08two pieces here, now this one at the front is a rigid diamond plaque,
0:15:08 > 0:15:13but this one has got the feature of so much of the Art Deco period,
0:15:13 > 0:15:17which means it's a double clip that you can split into two
0:15:17 > 0:15:20and wear one on each lapel of your jacket.
0:15:20 > 0:15:28Imagine that nipped-in jacket and on each lapel you've got a diamond clip and that is a very, very nice clip.
0:15:28 > 0:15:32Now if you've bought all this jewellery over the past
0:15:32 > 0:15:3510 or 15 years... I'm assuming you keep it all safely.
0:15:35 > 0:15:38Absolutely, it's kept in a safety deposit box in the bank.
0:15:38 > 0:15:44- Good, that's very important because that's the best place for it.- Yes.
0:15:44 > 0:15:47So let's just talk a little bit about what you paid for them.
0:15:47 > 0:15:51- This is the first piece you bought? - Yes.- And you paid? Do you remember?
0:15:51 > 0:15:54£2,200 I think.
0:15:54 > 0:16:00OK, well, it's unlikely you might get quite as much as you paid for it, curiously enough.
0:16:00 > 0:16:05- What about the belle epoch diamond brooch here?- I think that was £950.
0:16:05 > 0:16:09That would make £1,200 today. Now my personal favourite.
0:16:09 > 0:16:12I love that, I love the shape of the stones.
0:16:12 > 0:16:16We both share the same feeling about Art Deco diamond jewellery you see.
0:16:16 > 0:16:19- Oh, yes.- So, what did you pay? - £1,450.
0:16:19 > 0:16:22- £2,500.- Oh, lovely.
0:16:22 > 0:16:27Now if we top that up, very, very approximately, I think therefore
0:16:27 > 0:16:30you're talking about the best level of around about...
0:16:30 > 0:16:33- £10,000 to £15,000.- That's great. - Well done.
0:16:33 > 0:16:38- What a pleasure to see someone who is so avid about jewellery.- Oh, yes, I do.
0:16:38 > 0:16:40She gets so much joy out of it.
0:16:40 > 0:16:44- Well, we all enjoy it.- I can see that, thank you ladies, thank you.
0:16:44 > 0:16:46- Thank you.- Thank you.
0:16:48 > 0:16:51More absolute gems came to light in the sunshine that welcomed us
0:16:51 > 0:16:55recently to the University of Wales in Lampeter.
0:16:55 > 0:17:00It was handed down from my great grandfather and he died in 1900
0:17:00 > 0:17:04and it's been coming down through the family all the way down.
0:17:04 > 0:17:09There are lots and lots of different periods represented which in some senses perhaps relates to, you know,
0:17:09 > 0:17:15the way it's come through the family, but if you start at the bottom, it kind of goes right back
0:17:15 > 0:17:18to the later part of the 17th century, the shape of the legs,
0:17:18 > 0:17:22the turning here, these mushroom caps there,
0:17:22 > 0:17:25it's very sort of 17th century in character
0:17:25 > 0:17:32and then you come up to the stand, it's almost a sort of Gothic feature in the middle there
0:17:32 > 0:17:35which perhaps takes you into the 18th century.
0:17:35 > 0:17:39And then the chest with its cross banding is also very 18th century,
0:17:39 > 0:17:42- and then you have these curious handles.- Yes.
0:17:42 > 0:17:46- Do you know anything about the handles?- No, I don't, I'm sorry.
0:17:46 > 0:17:50That doesn't matter, but they're just very incongruous
0:17:50 > 0:17:53because they come from the late 19th century,
0:17:53 > 0:17:56they're slightly aesthetic movement in character, very angular,
0:17:56 > 0:18:02they don't stylistically go with the piece. When I first looked at it, I thought it was quite
0:18:02 > 0:18:07complicated and if you look at the top drawers here, you've got the little black sort of arrowhead
0:18:07 > 0:18:11into the scroll and then these little dots of inlay,
0:18:11 > 0:18:15and then I realised, hang on, those aren't part of the inlay originally,
0:18:15 > 0:18:20they're little plugs that have been put in, to show where handles have been changed.
0:18:20 > 0:18:24- Oh.- We know these are not original handles.- Yes.
0:18:24 > 0:18:27And actually you can see there are handles there,
0:18:27 > 0:18:30and the pairs there,
0:18:30 > 0:18:36and on another one you can see there was another handle in the middle somewhere.
0:18:36 > 0:18:44Here you can see that there were handles there, so I was thinking that this in a way,
0:18:44 > 0:18:50it's a bit like modern kitchens, the doors of the cabinets date terribly quickly, so in order
0:18:50 > 0:18:54to update your kitchen, you change the doors of the units.
0:18:54 > 0:18:57Here they've changed the handles fairly consistently through time,
0:18:57 > 0:19:01- to give it a slightly more, up-to-date look.- Yes.
0:19:01 > 0:19:07Lovely colour, it's looked after and loved by the looks of it.
0:19:07 > 0:19:10Yes, my mother used to polish it regularly.
0:19:10 > 0:19:15Brilliant, yes, well, she obviously cherished it and I think that's paid off.
0:19:15 > 0:19:23In terms of valuation, well, I think because it's so decorative,
0:19:23 > 0:19:26£6,000... £7,000 at a sale.
0:19:26 > 0:19:29Fancy, my father was offered £100 for it in the 1940s.
0:19:29 > 0:19:33- It's a long time ago... £100 could buy a house actually.- Yes.
0:19:33 > 0:19:40- So somebody appreciated it then, and I'm sure there are lots of people who would appreciate it now.- Yes.
0:19:40 > 0:19:44"As there is no Elton John fan club and no future plans to officiate one,
0:19:44 > 0:19:47"I am writing on Elton's behalf to thank you for showing
0:19:47 > 0:19:53"such an interest in his music. I have enclosed an autographed photo. Yours sincerely, Helen Walters.
0:19:53 > 0:19:56"PS: Elton will be touring America until early July."
0:19:56 > 0:20:01- Now I kind of can't quite envisage Elton John not having a fan club really.- No, that's right.
0:20:01 > 0:20:04- So this shows how early on we are in his career.- Absolutely.
0:20:04 > 0:20:08It also shows obviously... That's why he looks the way he does, I suppose.
0:20:08 > 0:20:14Far less follicly challenged than he is today and also much slimmer,
0:20:14 > 0:20:18so I mean, had you always been an Elton John fan from the early days?
0:20:18 > 0:20:21I mean, what prompted you into writing off?
0:20:21 > 0:20:24- I actually met Elton John. I grew up in Portobello Road.- Right.
0:20:24 > 0:20:30And I came home from work one day and it was raining and himself and Bernie Taupin were standing
0:20:30 > 0:20:35in my porchway I had at the time, sheltering from the rain and we got talking.
0:20:35 > 0:20:39- So you had to push past him to get into your house, did you? - Almost yes, yes.
0:20:39 > 0:20:43- So what did you say, "Oh, Elton I'm a fan of yours".- Well, I wasn't at the time.
0:20:43 > 0:20:47- Oh, I see.- But he said to me they were into music, both of them.
0:20:47 > 0:20:52- So at that point you didn't actually realise who he was.- No, he was virtually unheard of then.
0:20:52 > 0:20:56Oh, how amazing, so that was your kind of first encounter.
0:20:56 > 0:20:59- Mm, that's it.- Have you met him again since?- No.
0:20:59 > 0:21:03- Or was that the one and only meeting? - The one and only.- You've watched him progress through his career.
0:21:03 > 0:21:10My friend and I used to go to all the concerts. This is a Crystal Palace one in July '71...
0:21:10 > 0:21:15- that's the programme.- Well, that's interesting because I actually
0:21:15 > 0:21:20lived just next to Crystal Palace for many years and I see it's Crystal Palace Bowl Garden Party '71.
0:21:20 > 0:21:26- In fact the Crystal Palace Bowl is still there, um, but it wouldn't be hosting this kind of event.- No, no.
0:21:26 > 0:21:32It's generally classical music now, but it's still there and it looks exactly the same as this.
0:21:32 > 0:21:35- Exactly the same.- It's got the lake in front of it, fascinating.
0:21:35 > 0:21:40At the end of the day it's quite difficult pricing things like this
0:21:40 > 0:21:44but because it's early and it's at the beginning of his career,
0:21:44 > 0:21:49I find that more interesting. I mean, the fact that he hasn't got a fan club here I think is, is fascinating.
0:21:49 > 0:21:51Well, that's one of the reasons I brought it to you.
0:21:51 > 0:21:56- Yeah, and I suspect... I mean this is actually really only a cheap reproduction.- That's right.
0:21:56 > 0:21:58It's not even a well produced...
0:21:58 > 0:22:01- A proper copy. - Copy glossy photograph.
0:22:01 > 0:22:06But it is actually signed by him. that's fine, there's no problem with that and I suspect that if
0:22:06 > 0:22:11you were to sell this as a package, we'd be looking at maybe around about £100... £150 at auction.
0:22:11 > 0:22:16- Right.- Not enormously high value but interesting to a collector. - They're value to me too.
0:22:16 > 0:22:17- Absolutely.- So I'm not so sure I'd sell them anyway.
0:22:17 > 0:22:22- What's your favourite album, by the way?- It's Tumbleweed Connection.
0:22:22 > 0:22:25Yeah, the early Elton John was my favourite, no doubt about that.
0:22:25 > 0:22:28Good, good, well fascinating little item and nice to see Elton there.
0:22:28 > 0:22:31- Yes.- Thanks for bringing it along. You're welcome.
0:22:32 > 0:22:38- You inherited these watercolours from your great aunts.- Yes. - And then looked into their lives.
0:22:38 > 0:22:42Yes, I had them for about 30 years and framed a few up that I liked.
0:22:42 > 0:22:48They were spinster artists who probably had a small income
0:22:48 > 0:22:55but basically painted for their living. One of them, Eta, the family history said she studied
0:22:55 > 0:23:01at the Sorbonne. The other one, Bridget... I think probably, both, started off studying at Glasgow.
0:23:01 > 0:23:07We have a letter which shows that Eta Jardine who was the more conventional watercolourist
0:23:07 > 0:23:13of the two, was commissioned by the North East London Railways, I think it was,
0:23:13 > 0:23:16to provide pictures for their first-class carriages.
0:23:16 > 0:23:19Well, I've never heard of the Jardine sisters,
0:23:19 > 0:23:23but I'm absolutely delighted to have seen these works because
0:23:23 > 0:23:30they're really very, very good, and emerging are two unknown artists, well, relatively unknown,
0:23:30 > 0:23:34spinster sisters living on their own who are producing exciting things.
0:23:34 > 0:23:39Now I take it that this one is a bit of the railway aunt?
0:23:39 > 0:23:42Well, I don't know exactly what they did provide, but I think
0:23:42 > 0:23:45all Eta Jardine's work was of this character
0:23:45 > 0:23:48of being watercolours of scenery,
0:23:48 > 0:23:51I don't think she went into figurative art or details.
0:23:51 > 0:23:55- So if we call Eta the railway sister then...- Yes, perhaps we should.
0:23:55 > 0:24:00You can imagine jolting along, can't you, long journeys, seeing this up
0:24:00 > 0:24:03- in an old railway track, railway station.- Yes.
0:24:03 > 0:24:05But where life gets really interesting is with the sister
0:24:05 > 0:24:09and I think we have a watercolour of the sister, or at least one of them.
0:24:09 > 0:24:12It's... Well, we're guessing here.
0:24:12 > 0:24:14So we think this one might be by Eta?
0:24:14 > 0:24:18This one might be by Eta and it maybe of her sister Jez.
0:24:18 > 0:24:23It would be interesting to know because I think she's beginning to emerge as a very significant artist.
0:24:23 > 0:24:27- Yes.- Because there's sides to her character which come out in her art.
0:24:27 > 0:24:30- This is a particularly good example of it here.- Yes.
0:24:30 > 0:24:34This is not a cosy old lady sitting at home doing watercolours of roses,
0:24:34 > 0:24:38these are vicious gossips that she's decided to...
0:24:38 > 0:24:41Yes, absolutely and they're all sepia, they're all in
0:24:41 > 0:24:44these awful neutral colours, I think it's a very judgmental picture.
0:24:44 > 0:24:47- It is, they look deeply malevolent.- Yes.
0:24:47 > 0:24:50And then you've got this one, also by Bridget -
0:24:50 > 0:24:54a very subversive looking image of motherhood.
0:24:54 > 0:24:56Indeed, entitled "Modern Ma"
0:24:56 > 0:24:59and with the cigarette, not exactly drooping...
0:24:59 > 0:25:01Even the cat has an extremely malign appearance
0:25:01 > 0:25:04and might easily jump onto the baby.
0:25:04 > 0:25:08But I think she occupied a world which was full of lateral thinking.
0:25:08 > 0:25:10Some shades of Little Britain here, isn't it?
0:25:10 > 0:25:15But where it all seems to come together really well is in the watercolours
0:25:15 > 0:25:21that she produced simultaneously which is so arresting, so enticing.
0:25:21 > 0:25:23Yes, but you either hate or love.
0:25:23 > 0:25:25And do you love or hate?
0:25:25 > 0:25:30Well, I rather like them but all the members of the family probably have at least a few goblins
0:25:30 > 0:25:36and amongst my uncles and aunts they were equally divided between the loathers and the lovers.
0:25:36 > 0:25:42In this work here, entitled rather appropriately, Full House,
0:25:42 > 0:25:46you see I think real accomplishment, you're getting a combination here
0:25:46 > 0:25:49of the softer illustrative side of her character
0:25:49 > 0:25:55and also the subversive malevolent side that comes out in those satirical images that
0:25:55 > 0:25:58we've just been talking about, but here it blends together beautifully.
0:25:58 > 0:26:02These are wonderful watercolours and were you to exhibit them as a whole,
0:26:02 > 0:26:05I think you would really put Bridget on the map.
0:26:05 > 0:26:09- Right.- I don't know about her sister at the moment, I think we need to know more about her.- Yes.
0:26:09 > 0:26:15These drawings that you've shown me are worth, probably, £500, £600, £700, £800 each - the goblins.
0:26:15 > 0:26:19- Good heavens!- If we could put the whole lot together and build her up.
0:26:19 > 0:26:24- Yes.- Because I think she deserves a voice, we could be talking up to £1,000 each.- Really?- Yes.
0:26:24 > 0:26:29- I'm really delighted to have seen them, thank you.- Thank you very much.
0:26:29 > 0:26:32So what's all this blue sticky stuff up here?
0:26:32 > 0:26:36I had a wooden plug made up for a lampshade to turn it into a light.
0:26:36 > 0:26:41I didn't have the hole drilled in the bottom, to keep its value up.
0:26:41 > 0:26:43Well, that's good thinking.
0:26:43 > 0:26:46Drilling a hole in a good vase is a bad idea, but the other problem
0:26:46 > 0:26:53with adhesives is that adhesives very often take off gilding, and that's what's happened on the rim.
0:26:53 > 0:26:57- Right.- So I mean you win some, you lose some.
0:26:57 > 0:27:01Now what do you know about this piece? My father brought it back from the Far East during...
0:27:01 > 0:27:06at the end of the war, he brought a big big box of stuff, that's just one bit I picked up.
0:27:06 > 0:27:09Where from out there I've no idea.
0:27:09 > 0:27:12- Right, and you haven't done any research on this since then?- No.
0:27:12 > 0:27:15- OK, well that's why we're here. - Lovely, thank you.
0:27:15 > 0:27:20First of all I'm going to look at the design. I decided to have a look at it
0:27:20 > 0:27:26because I am fascinated by how a two-dimensional graphic design
0:27:26 > 0:27:28gets put onto a vase.
0:27:28 > 0:27:32- Right.- And my judgement of what is a good design
0:27:32 > 0:27:37is a design that makes you want to rotate the vase,
0:27:37 > 0:27:38and the Japanese...
0:27:38 > 0:27:41because this is Japanese... the Japanese are great masters
0:27:41 > 0:27:45at doing this. The scene we've got here is a group
0:27:45 > 0:27:51of elderly gentlemen, bewhiskered gentlemen all studying hard a text...
0:27:51 > 0:27:56there it is, it's impossible to read it, it's written in a cursive script,
0:27:56 > 0:28:00now then, we instantly, looking at that, we see
0:28:00 > 0:28:04that there are two levels of design, there's underglazed blue -
0:28:04 > 0:28:10the blue pigment, all of the blue pigment here was put onto the vase before they put a glaze on.
0:28:10 > 0:28:13- Right.- But it was fired, it came out as a blue and white vase.
0:28:13 > 0:28:19It was then sent to the enamelling workshops and then the other colours were added on top of the glaze
0:28:19 > 0:28:26and the result is that you have a depth of colour which your eye senses, you get a sense of depth
0:28:26 > 0:28:29in the design and it's something you only expect to see
0:28:29 > 0:28:33on the best factories when you see it of this quality.
0:28:33 > 0:28:37So there they are, the sages, one, two, three, four sages
0:28:37 > 0:28:40studying their scroll and behind them a wee laddie, an acolyte
0:28:40 > 0:28:45bringing a dish of pomegranates or apples, some sort of fruit.
0:28:45 > 0:28:50Another acolyte here is arriving with another group of, in this case,
0:28:50 > 0:28:55three sages who are also studying a script.
0:28:55 > 0:29:02And then another acolyte brings a musical instrument, this is a koto.
0:29:02 > 0:29:07- A koto?- Yes, so it's basically a scholars' party, they're enjoying scholarly scripts, they're going
0:29:07 > 0:29:14to enjoy music and they all live in a bamboo grove.
0:29:14 > 0:29:18These are the seven sages of the bamboo grove beautifully rendered
0:29:18 > 0:29:22and then to add to all of that you've got the difference of the
0:29:22 > 0:29:27glazed surface, this lovely glassy surface, with the ground colour,
0:29:27 > 0:29:29which is matt. You've felt this?
0:29:29 > 0:29:33- Oh, yes, it's beautiful. Very tactile.- Isn't it, so you've got everything going for this.
0:29:33 > 0:29:37This is a really good piece of design.
0:29:37 > 0:29:42It makes you want to rotate it and it tells a story
0:29:42 > 0:29:48and we're almost participants in the party,
0:29:48 > 0:29:54- so the vase is just getting on for 100 years old. It may have been one of a pair.- Right.
0:29:54 > 0:29:55But it works in its own right.
0:29:55 > 0:30:02- Yes.- I would not want to see another one quite frankly, I think this works on its own and what's it worth?
0:30:02 > 0:30:08I think that if you were to put it up for auction today, it would fetch somewhere in the region of
0:30:08 > 0:30:14- £1,200 to £1,800.- Would it? Ohh...
0:30:14 > 0:30:17- You almost look surprised. - I AM surprised actually.
0:30:17 > 0:30:22It frightens me what I've done with it now, in the past.
0:30:22 > 0:30:25This really is a pretty gorgeous looking album, isn't it?
0:30:25 > 0:30:30It says everything about the Art Nouveau period with these swirls and what not.
0:30:30 > 0:30:32How did it come into your possession?
0:30:32 > 0:30:36My mum and dad decided to move into a house, back in 1973.
0:30:36 > 0:30:41The house was built in 1897 and when they moved in, this was in the attic.
0:30:41 > 0:30:44- So it came free with the house, did it?- It did.
0:30:44 > 0:30:48Well, the amazing thing about postcards as a collectable is
0:30:48 > 0:30:54that they come in all forms, so you could, for example, like saucy ones, or you could like
0:30:54 > 0:31:00ones with animals, or buildings, or you could do perhaps military
0:31:00 > 0:31:03collections, or seaside collections,
0:31:03 > 0:31:08collections of lovers, collections of flowers, babies, trains,
0:31:08 > 0:31:13almost any subject is a collectable within the postcard genre,
0:31:13 > 0:31:16which is what makes it really interesting.
0:31:16 > 0:31:20Now in a mixed bag like this, some of these postcards are going to be worth
0:31:20 > 0:31:2710p, 50p, £1, but for the more unusual ones, you really need to find something like this...
0:31:27 > 0:31:32Here we've got a postcard in mint condition of the Lusitania.
0:31:32 > 0:31:34Now this postcard dates from 1911
0:31:34 > 0:31:39and the Lusitania was sunk during the First World War so it's when it was
0:31:39 > 0:31:46- still sailing perfectly happily, but a collector would pay perhaps £15 or £20 for that card.- Oh.
0:31:46 > 0:31:53But what I particularly like about this series of cards is the story that it tells about one young girl,
0:31:53 > 0:31:58and this particular postcard is what they call a suggestive card.
0:31:58 > 0:32:01I mean it's very risky and daring
0:32:01 > 0:32:04because before the First World War if you got a glimpse of a girl's ankle
0:32:04 > 0:32:10you were very, very lucky and here we've got almost her entire lower leg
0:32:10 > 0:32:13and the gentleman is enjoying it very much.
0:32:13 > 0:32:18Anyway, it's sent to a Miss Evans of Buck Cottage in Liverpool
0:32:18 > 0:32:23and the message on it says, "Dear Miss Evans. I have just received your postcard
0:32:23 > 0:32:25"and pleased to hear you are well
0:32:25 > 0:32:29"and will meet you this evening in Holt Road about six.
0:32:29 > 0:32:33"I'm longing to see you and it seems ages since we met."
0:32:33 > 0:32:35This earnest young man called J Pye
0:32:35 > 0:32:40can't wait to get his hands on Miss Evans...
0:32:40 > 0:32:44Here we've got another one, this is looking pretty dodgy too.
0:32:44 > 0:32:47"Yours always". The relationship is progressing.
0:32:47 > 0:32:51"Two heads with but a single thought, two hearts that beat as one."
0:32:51 > 0:32:57As they have a session underneath the silver birch down by the river side,
0:32:57 > 0:33:02a particularly special card that she received is this one which in a jokey way says,
0:33:02 > 0:33:04"a Welsh rarebit".
0:33:04 > 0:33:06Quite appropriate as we're in Wales.
0:33:06 > 0:33:09- Yes.- And if I turn it over, here we go,
0:33:09 > 0:33:16"Dear Em, I hope you will have one of these ready when I return, hoping you're well."
0:33:16 > 0:33:20- And I presume what he's talking about is a bit of toasted cheese.- Yes.
0:33:20 > 0:33:24- Pretty naughty though, isn't it? - It is!
0:33:24 > 0:33:28From Welsh Rarebit to Scottish splendour now. Manderston, the ancestral home of
0:33:28 > 0:33:36Lord Palmer, near Berwick on Tweed provided a stunning backdrop for some more great Roadshow finds.
0:33:36 > 0:33:40A relatively plain box, but lovely opening inside,
0:33:40 > 0:33:44look at that, splendid Royal Worcester coffee set.
0:33:44 > 0:33:47Normally these were given as wedding presents. Do you know...?
0:33:47 > 0:33:53Yes, this was a wedding gift to my mother in 1930, she was married.
0:33:53 > 0:33:58That fits in. These were the popular gift at that time in the 1920s.
0:33:58 > 0:34:03Royal Worcester specialised in beautifully painted sets.
0:34:03 > 0:34:06When this was made, hand-painted here by Walter Sedgeley
0:34:06 > 0:34:13all individual birds, a lot of work went into this and it would have been quite expensive and costly
0:34:13 > 0:34:18and over the years people neglected them but now Royal Worcester collectors love these sets,
0:34:18 > 0:34:21they're actually quite precious to collectors.
0:34:21 > 0:34:24Having the whole set together makes it actually quite expensive,
0:34:24 > 0:34:32so you've got one broken one there but apart from that, each cup and saucer today is worth £400 or £500.
0:34:32 > 0:34:38- Oh, my goodness.- So that adds up to a set worth £2,000...
0:34:38 > 0:34:40- £2,500.- It is very beautiful.
0:34:40 > 0:34:44And nice that it's been used and enjoyed, thank you.
0:34:44 > 0:34:48- I'm pretty certain this is a marine chronometer, am I right? - You are indeed.
0:34:48 > 0:34:54Indeed I am, look at that, Ellicot and Smith, Royal Exchange, London. But they were only working for about
0:34:54 > 0:34:58ten years - 1830-ish to 1840-ish is absolutely it,
0:34:58 > 0:35:03and I'm going to give you that key and then the easiest way
0:35:03 > 0:35:11to get this out of its box is just to invert it like that, having of course clamped the gimbal up,
0:35:11 > 0:35:18and there we can see that absolutely lovely movement and I'll just pop it there upside down,
0:35:18 > 0:35:20again signed, numbered,
0:35:20 > 0:35:23in good condition. Have you had this restored recently?
0:35:23 > 0:35:26- About 20 years ago.- Uh-huh.
0:35:26 > 0:35:28Before that it had been in a vertical case.
0:35:28 > 0:35:34- Because that brings me on the fact that in my humble opinion this is not the original box.- No, it isn't.
0:35:34 > 0:35:37Do you know what happened to the original box?
0:35:37 > 0:35:42Well, it was taken to Australia in 1882
0:35:42 > 0:35:46then brought back from there and then it was used in an observatory
0:35:46 > 0:35:50- in Rousdon in Devon for 40 years or so.- Why did it go to Australia?
0:35:50 > 0:35:54Ah, well it went to observe the transit of Venus in 1882,
0:35:54 > 0:36:00my great-grandfather went on it and they went round the Cape and to Sydney and up to Brisbane
0:36:00 > 0:36:06and then up by train and then by dray and horse cart to a big house
0:36:06 > 0:36:12on the Darling Downs in Queensland and they set up two observatories there to watch the transit.
0:36:12 > 0:36:15Did they see it?
0:36:15 > 0:36:20Well, unfortunately, they had beautiful weather until the morning
0:36:20 > 0:36:25of the transit and then it poured with rain and it was cloudy and they didn't
0:36:25 > 0:36:28see a thing and they'd gone all the way to Australia to see this.
0:36:28 > 0:36:30So this photograph you have...
0:36:30 > 0:36:34Oh, look at that, that looks like the whole thing's set up doesn't it?
0:36:34 > 0:36:38That's in the grounds of the house at Jimbo in Australia.
0:36:38 > 0:36:40Do you think that's the chronometer?
0:36:40 > 0:36:45- I should think it is, yes. - And I can see quite clearly that this has got proper drop handles
0:36:45 > 0:36:48of the period and that is definitely the instrument.
0:36:48 > 0:36:50Tell me what this other photograph is, here.
0:36:50 > 0:36:57Well, when they came back from Australia, my great grandfather was given the job by this man here,
0:36:57 > 0:37:01to be his private astronomer and so he was, if you like,
0:37:01 > 0:37:06a sort of servant on the estate but he was the astronomer. He looked through the telescope
0:37:06 > 0:37:13and measured the rainfall and the temperature and so forth, and this is him at a later age of course,
0:37:13 > 0:37:19looking through the telescope at Rousdon and there is another, there is the chronometer.
0:37:19 > 0:37:22- There is the chronometer without its box.- That's right.
0:37:22 > 0:37:28And there is a marked family resemblance if I might say so.
0:37:28 > 0:37:33There really is. What a wonderful story, it really is.
0:37:33 > 0:37:36There was a recent transit of Venus, did you observe that?
0:37:36 > 0:37:40Well, I shared the experience with my great grandfather
0:37:40 > 0:37:46because I also tried to watch the transit of Venus and it rained and it was cloudy
0:37:46 > 0:37:50and I did not see a thing, but I could watch it on television and he couldn't.
0:37:50 > 0:37:54Well, it's fascinating that this has been down to the Antipodes and back.
0:37:54 > 0:37:58Of course your great grandfather used this on land...
0:37:58 > 0:38:02When I called it a marine chronometer to start with...
0:38:02 > 0:38:05its use was purely naval.
0:38:05 > 0:38:07If I can just grab that key back off you,
0:38:07 > 0:38:14which lives in there, we'll undo the gimbal lock and I can simulate
0:38:14 > 0:38:18the motion of the ship, basically in a rough sea,
0:38:18 > 0:38:23and the whole point of this gimbal is that this wonderfully
0:38:23 > 0:38:29accurate timepiece always remains in the horizontal despite the motion of the ship.
0:38:29 > 0:38:35The officer of the watch was able to open the top lid
0:38:35 > 0:38:40to check the time for his star shots, sextant etc, etc
0:38:40 > 0:38:43and normally the captain was the only key holder.
0:38:43 > 0:38:50If it was in its original box that we saw in that first photograph with the lovely brass drop handles,
0:38:50 > 0:38:54with that history, probably between £4,000 and £5,000,
0:38:54 > 0:38:58but here we are in a later case with these recessed...
0:38:58 > 0:39:02very nice, don't get me wrong, very nice box, but it is re-cased...
0:39:05 > 0:39:07..so £2,000 to £2,500.
0:39:07 > 0:39:10- Ooh, very good.- Still good news, is it?- Yes.- Excellent.
0:39:10 > 0:39:14You won't have seen many of these on the Antiques Roadshow in the past
0:39:14 > 0:39:16and not because they're terribly rare
0:39:16 > 0:39:23but because they're terribly common and a plate like that is worth £40.
0:39:23 > 0:39:25Yeah.
0:39:25 > 0:39:29It's Chinese, made in Jingdezhen,
0:39:29 > 0:39:33the main porcelain centre, brought down by pack mule and on people's
0:39:33 > 0:39:38backs and by river and by donkey and then it arrives in Canton
0:39:38 > 0:39:42and in Canton they put the decoration on.
0:39:42 > 0:39:46Of the 19th century, this is the most common pattern
0:39:46 > 0:39:51and we call it Canton porcelain, but...
0:39:51 > 0:39:58the point about this one is we've got that on the back.
0:39:58 > 0:40:01- Yes.- As I'm sure you are well aware. - Indeed, yes.
0:40:01 > 0:40:03This is a crest...
0:40:03 > 0:40:11now it was common practice from the 17th century onwards to order via
0:40:11 > 0:40:16somebody who went out with a ship, a service with your arms on.
0:40:16 > 0:40:22To find a crest on a second half of the 19th-century dated piece is very rare.
0:40:22 > 0:40:23Is this family?
0:40:23 > 0:40:26Er yes, and no.
0:40:26 > 0:40:28Oh, good.
0:40:28 > 0:40:33Um, the family connection is Mackintosh, my great grandfather
0:40:33 > 0:40:38was Mackintosh. He was a shipping agent, lived near Inverness.
0:40:38 > 0:40:45He had a very close friend who was a sea captain who captained a clipper that traded with the Far East.
0:40:45 > 0:40:51- Ah.- And my great grandfather got married in 1868...
0:40:51 > 0:40:56his very good friend Captain Turner said "Right, next time I'm out
0:40:56 > 0:40:59"in the Far East, I'll bring you back a dinner service".
0:40:59 > 0:41:01- How amazing.- So...
0:41:01 > 0:41:07unfortunately his next trip wasn't until 1869 which is why the date is 1869 rather than 1868.
0:41:07 > 0:41:11- How fascinating.- And by the time he got there, Captain Turner
0:41:11 > 0:41:16couldn't remember exactly what the Mackintosh crest was.
0:41:16 > 0:41:19He knew it was something to do with a cat
0:41:19 > 0:41:24and he knew that the motto was roughly something about taking care,
0:41:24 > 0:41:28the actual motto is "touch not the cat but a glove".
0:41:28 > 0:41:32He didn't know much Latin either, did he? He's got a Y at the end...
0:41:32 > 0:41:37- That's right, yes, it's sort of in between everything, it's not French, it's not Latin.- Exactly.
0:41:37 > 0:41:42- It's nothing.- Well, it's actually difficult to put a price on it,
0:41:42 > 0:41:47to be quite honest because it's out of the normal run of business.
0:41:47 > 0:41:54I think a single plate would make probably £250 to £350.
0:41:54 > 0:41:57- A single plate.- A single plate.- Yes.
0:41:57 > 0:42:00The venison dish...
0:42:02 > 0:42:06I think you know that could easily make
0:42:06 > 0:42:10£800 to £1,200 maybe even a bit more.
0:42:10 > 0:42:13- Yes.- And the two vegetable dishes...
0:42:14 > 0:42:19..I would think would make £1,000 to £3,000.
0:42:19 > 0:42:20Together?
0:42:20 > 0:42:24- The two together, yes, as a pair. - We have a third one as well.
0:42:24 > 0:42:27Well, you would have, wouldn't you?
0:42:27 > 0:42:33- Um, that one would think of as a single and we'd probably put £800 to £1,200 on that.- Right.
0:42:33 > 0:42:37It's a great thing to see and thank you so much for bringing it in.
0:42:37 > 0:42:42- Thank you very much indeed, I'm delighted to have brought it. - Thank you.- Thank you.
0:42:42 > 0:42:46And that's all for today, we'll be back next week I hope with another
0:42:46 > 0:42:51stunning array of finds. Until then, happy antiquing and goodbye.
0:43:01 > 0:43:04Subtitles by Red Bee Media Ltd