0:00:31 > 0:00:34In an ideal world, the Antiques Roadshow would be filmed
0:00:34 > 0:00:36in a beautiful location
0:00:36 > 0:00:39with a great country house in the background,
0:00:39 > 0:00:41an eager crowd of visitors,
0:00:41 > 0:00:43and to top it all...fine weather.
0:00:43 > 0:00:45We stepped into that ideal world
0:00:45 > 0:00:48when we came to Coughton Court in Warwickshire.
0:00:48 > 0:00:51We quickly filmed enough lovely things to fill one programme, and
0:00:51 > 0:00:54when we'd done that, we let the cameras roll on.
0:00:54 > 0:00:58The result, Coughton Court Episode Two.
0:00:58 > 0:01:02Well, it's wonderful to come and see a Welsh dresser
0:01:02 > 0:01:04laden with Gaudy Welsh blue and white.
0:01:04 > 0:01:08This is the way which one imagines Welsh dressers ought to look.
0:01:08 > 0:01:10This is from South Wales, is it?
0:01:10 > 0:01:13It is. It was my grandmother's, my father's mother.
0:01:13 > 0:01:16And we went down to Wales to collect it.
0:01:16 > 0:01:21- And it's come up here to the Midlands.- Yes, it's been in the Midlands for about 28 years.
0:01:21 > 0:01:23Yes, great isn't it, really?
0:01:23 > 0:01:29But a traditional Welsh dresser, although not always made in Wales.
0:01:29 > 0:01:32Many of them made up in the North of England and taken down to Wales.
0:01:32 > 0:01:35And the Welsh, Gaudy Welsh,
0:01:35 > 0:01:41these sorts of things are very much not Welsh at all.
0:01:41 > 0:01:45- Are they not?- They're probably made by Allertons in Stoke on Trent. - Oh, I didn't realise that.
0:01:45 > 0:01:49But they were very popular down in Wales because they were cheap and
0:01:49 > 0:01:55lustrous and this copper lustre glowed in the fireplace and looked terrific.
0:01:55 > 0:01:59- And the name "Gaudy Welsh" actually comes from America.- Oh, right.
0:01:59 > 0:02:05They called this Gaudy Dutch or Gaudy Welsh, and the name stuck really.
0:02:05 > 0:02:09- But very little of this is actually Welsh.- I didn't realise that.
0:02:09 > 0:02:15- We collected the furniture and the pots and brought it back with us. - Yes, I'm sure they look wonderful.
0:02:15 > 0:02:19- What about the plates?- Well, the plates can be Staffordshire.
0:02:19 > 0:02:22Although they did make them down in South Wales -
0:02:22 > 0:02:27Swansea area made blue and white willow pattern scenes like these.
0:02:27 > 0:02:31But a jug is going to be anywhere from £50 to £100
0:02:31 > 0:02:34depending on its quality and things.
0:02:34 > 0:02:39- For one jug?- Yes, and the plates are going to be £20, £30, £50.
0:02:39 > 0:02:42More for the dishes. So you've got to add up those
0:02:42 > 0:02:44- because there's lots more as well, isn't there?- Yes.
0:02:44 > 0:02:46And the piece of furniture
0:02:46 > 0:02:52is a gem, and for insurance purposes, £5,000.
0:02:53 > 0:02:56- Right.- So that's...
0:02:56 > 0:02:57That's a lot more than I thought.
0:02:57 > 0:03:00- So enjoy it and look after it. - Thank you.
0:03:00 > 0:03:04Well, this is a toy that does exactly what it says on the tin.
0:03:04 > 0:03:08It's a Louis Marx Merrymakers,
0:03:08 > 0:03:09and here we go.
0:03:09 > 0:03:13Here they are, the Marx Merrymakers Orchestra
0:03:13 > 0:03:16and what merry little mice they are.
0:03:16 > 0:03:19Let's give them a go and put them through their paces
0:03:19 > 0:03:23because we want to see what you get for your money.
0:03:23 > 0:03:25GRINDING
0:03:28 > 0:03:33There we go. So, put them out of their misery.
0:03:33 > 0:03:37There's an awful lot of grinding and groaning. Not much music in there.
0:03:37 > 0:03:40No, there isn't music in that one, very little music.
0:03:40 > 0:03:42Is this a toy that you grew up with?
0:03:42 > 0:03:45It was in the family, but I didn't actually grow up with it.
0:03:45 > 0:03:48When we was young, we'd never seen it.
0:03:48 > 0:03:52All of a sudden it just appeared when we was older, it just appeared.
0:03:52 > 0:03:54- Well, I wonder why that was.- No idea.
0:03:54 > 0:03:59- Did it appear at a time when you were no longer going to wreck it?- Probably.
0:03:59 > 0:04:05- So, it's a lovely lithographed toy, made in around 1930-1931.- Right.
0:04:05 > 0:04:08And I would have said that the company that made it,
0:04:08 > 0:04:13- Louis Marx, were cashing in on the whole Mickey Mouse...- Yes.
0:04:13 > 0:04:15..excitement, because Mickey,
0:04:15 > 0:04:19who first appeared in 1928, was THE character,
0:04:19 > 0:04:24but they sort of got round the very tough Walt Disney copyright rules
0:04:24 > 0:04:26by changing it slightly.
0:04:26 > 0:04:28So he's not exactly Mickey Mouse.
0:04:28 > 0:04:30But there's certainly...
0:04:30 > 0:04:34the hat is being tipped in that direction, don't you think?
0:04:34 > 0:04:37- Yes.- It's survived in amazing condition and I'm going to ask,
0:04:37 > 0:04:39- have you got the original box? - No, we haven't, no.
0:04:39 > 0:04:44That is surprising cos there are so many loose bits that invariably somebody's missing.
0:04:44 > 0:04:47Either it's the dancer or the fiddler or somebody goes.
0:04:47 > 0:04:49But you've got the whole complement.
0:04:49 > 0:04:53And because of that and its condition, it's going to be worth quite a lot of money.
0:04:53 > 0:04:57- Oh, right.- Value I would have said would be around £800.
0:04:57 > 0:05:03Maybe it could get into four figures, so there would be something sizeable
0:05:03 > 0:05:09- there to be split, as long as there aren't 1,000 grandchildren.- Not yet, no.
0:05:09 > 0:05:12You know why I'm cradling this?
0:05:12 > 0:05:14Um, because you like it?
0:05:14 > 0:05:17Yeah, I want to take it home.
0:05:17 > 0:05:19I don't think my mother would agree.
0:05:19 > 0:05:21- It's your mother's, is it? - Yes, it's my mother's.
0:05:21 > 0:05:24- It's a great pot, do you like it too? - Yes, I love it.
0:05:24 > 0:05:26Do you know what it is?
0:05:26 > 0:05:31Well, I thought it was Japanese and that's all I've assumed about it.
0:05:31 > 0:05:33Well, you've got that bit right, it is Japanese.
0:05:33 > 0:05:38In fact, we do have on the bottom here,
0:05:38 > 0:05:43a mark, and this says "Satsuma yaki"
0:05:43 > 0:05:47which means fired in Satsuma, or Satsuma kiln.
0:05:47 > 0:05:54It's a type which actually date from the 1860s-1880s.
0:05:54 > 0:05:56- So that's when it dates from.- Well.
0:05:56 > 0:06:04- The nice thing about this one is the glorious chrysanthemums we've got all over it.- Yes. The colours in it...
0:06:04 > 0:06:06I mean it's spectacular enamelling.
0:06:06 > 0:06:09I think it's a real, real gem.
0:06:11 > 0:06:13What is that?
0:06:15 > 0:06:19A hole my father drilled to turn it into a lamp.
0:06:22 > 0:06:25- Oh, dear.- And my mother went mad.
0:06:25 > 0:06:27- He didn't tell you he was going to do it?- No.- Oh.
0:06:27 > 0:06:33He took it somewhere for a chap to drill it
0:06:33 > 0:06:36and he refused.
0:06:36 > 0:06:39So my father said, "Give me the tools and I'll do it", and he did.
0:06:39 > 0:06:46Well, I think even with your father's naughty little drillage,
0:06:46 > 0:06:49it's still a spectacular object.
0:06:49 > 0:06:52I think the market would like it very much.
0:06:52 > 0:06:55And I think we're still looking at £3,000-£5,000.
0:06:55 > 0:06:57Oh, my God.
0:07:01 > 0:07:06"October 5th, 1964, Greenway House, Churston Ferrers, South Devon.
0:07:06 > 0:07:10"Dear Miss Bradley, your friend Miss Margaret Twigg,
0:07:10 > 0:07:13"tells me you are very fond of my books.
0:07:13 > 0:07:19"There will be a new one out in November, or early December, called 'The Caribbean Mysterey'".
0:07:19 > 0:07:22This is a most extraordinary spelling of "mystery".
0:07:22 > 0:07:25"..Best wishes to you, yours sincerely, Agatha Christie".
0:07:25 > 0:07:29It's absolutely tremendous. Now, who was Miss Boardley?
0:07:29 > 0:07:31Miss Boardley was our neighbour
0:07:31 > 0:07:35when I was a child and she was an avid reader of Agatha Christie's.
0:07:35 > 0:07:40Anxiously awaited each new work as it came out.
0:07:40 > 0:07:44My mother wrote to her telling her how keen Miss Boardley was on...
0:07:44 > 0:07:48her work and Agatha Christie wrote back.
0:07:48 > 0:07:51It has a wonderful sort of battiness about it, doesn't it?
0:07:51 > 0:07:54Yes, the letterhead you could almost imagine
0:07:54 > 0:07:56Miss Marple really writing on, couldn't you?
0:07:56 > 0:07:59Instead of it being Churston, it could be St Mary Mead.
0:07:59 > 0:08:02- Probably was St Mary Mead. - Probably was, yes.
0:08:02 > 0:08:04But it's a very good letter.
0:08:04 > 0:08:07It's all on one side and it mentions her new book.
0:08:07 > 0:08:11This is what people want and it's very nice.
0:08:11 > 0:08:13What sort of price?
0:08:13 > 0:08:14I don't know, you tell me.
0:08:14 > 0:08:19Right, well, I would say that that is good enough to be worth £800.
0:08:19 > 0:08:21Goodness me.
0:08:21 > 0:08:24And isn't it nice to know that you can be a bestselling author
0:08:24 > 0:08:26for decades and still not be able to spell.
0:08:26 > 0:08:28Well, I was in the Forces
0:08:28 > 0:08:31just before the war finished
0:08:31 > 0:08:34and I was posted to Trieste in Northern Italy.
0:08:34 > 0:08:36- Right.- And I was made chief clerk
0:08:36 > 0:08:41to the chief of the military police in Italy, in Trieste.
0:08:41 > 0:08:43We were in the Palace of Justice,
0:08:43 > 0:08:47and in the next office to me was the chief clerk of the civil police.
0:08:47 > 0:08:52He'd got this clock on his desk and I took a liking to it.
0:08:52 > 0:08:55And for some two years, I pestered him to sell it to me.
0:08:55 > 0:08:56And you saw it every day.
0:08:56 > 0:09:01And I thought, well I've got to get that clock, how can I get it?
0:09:01 > 0:09:05And he was desperate for English cigarettes and we struck a bargain.
0:09:05 > 0:09:09I gave him 200 cigarettes and he gave me the clock.
0:09:09 > 0:09:14We were issued with a tin of 50 cigarettes free each week,
0:09:14 > 0:09:16so that was my rations for four weeks.
0:09:16 > 0:09:18That was a month's rations.
0:09:18 > 0:09:20- That's right. - For a carriage clock.- Yes.
0:09:20 > 0:09:23What did you like most about it? Why did you like it so much?
0:09:23 > 0:09:27Well, just being so small and it looked to me sort of wonderful.
0:09:27 > 0:09:29- It's a gem, isn't it?- It is, yes.
0:09:29 > 0:09:33There is something about it that sings out.
0:09:33 > 0:09:35- Do you have any idea when it was made?- No, no.
0:09:35 > 0:09:39It was made at the end of the 19th century, around 1890, that sort of period.
0:09:39 > 0:09:42- Do you know where it was made?- No.
0:09:42 > 0:09:44Made in France.
0:09:44 > 0:09:46Probably made near Dieppe
0:09:46 > 0:09:50and then the porcelain panels painted and assembled in Paris.
0:09:51 > 0:09:55It's made in a case that we call the bamboo style, for obvious reasons.
0:09:55 > 0:09:58These cross pieces and down pieces in the bamboo style.
0:09:58 > 0:10:04And it has these beautiful oriental painted plaques on the dial.
0:10:04 > 0:10:09What is special about this clock is that not only is the dial porcelain,
0:10:09 > 0:10:12but also the side panels and the rear door.
0:10:12 > 0:10:14Now normally the rear door is glazed,
0:10:14 > 0:10:18but the special ones have porcelain mounted on the rear door.
0:10:18 > 0:10:21- Oh, that's a special one? - Oh, it's a special one.
0:10:21 > 0:10:25Um, the other little pointer is that
0:10:25 > 0:10:26the movement is numbered
0:10:26 > 0:10:31and there's a little number down at the bottom there, number 8149.
0:10:31 > 0:10:35And the porcelain panels have exactly the same number on each of their panels.
0:10:35 > 0:10:38You can see it on the back of this panel - it's very faded there.
0:10:39 > 0:10:42Two pointers towards condition.
0:10:42 > 0:10:44Firstly, it's brass, it used to be gilt
0:10:44 > 0:10:48and you can see tiny little remnants where the gilding used to be.
0:10:48 > 0:10:52- Some over-zealous cleaning's gone on here, but not you, I suspect.- No.
0:10:52 > 0:10:54No you've not done anything to it.
0:10:54 > 0:10:57There are, sadly, a couple of little cracks, or there are four
0:10:57 > 0:11:00in actual fact, one at each corner,
0:11:00 > 0:11:04there on each panel, just only on that side panel, which is a shame.
0:11:04 > 0:11:06It can be repaired.
0:11:06 > 0:11:11If you felt like spending the money it would cost maybe £200-£300 to do.
0:11:11 > 0:11:14But it's worth doing, it's worth doing.
0:11:14 > 0:11:19Value? I would think that if you put that into auction today
0:11:19 > 0:11:23that it would certainly fetch between £3,000-£4,000.
0:11:23 > 0:11:26And on a good day, it might fetch towards the upper end.
0:11:26 > 0:11:27Thank you very much.
0:11:27 > 0:11:30Thank you for bringing it along. It's an absolute gem.
0:11:30 > 0:11:35It says, "Presented to the Captain, officers and crew of RMS Carpathia
0:11:35 > 0:11:39"in recognition of gallant and heroic services
0:11:39 > 0:11:44"from the survivors of the SS Titanic, April 15th 1912".
0:11:44 > 0:11:46Now the Carpathia was the ship
0:11:46 > 0:11:49- that came to the aid of the survivors of the Titanic.- Yes.
0:11:49 > 0:11:54And, essentially, this is a very rare and interesting thing.
0:11:54 > 0:11:57Because not a lot of these were made.
0:11:57 > 0:11:59Now, if my memory serves me correctly,
0:11:59 > 0:12:02I think there were 14 gold
0:12:02 > 0:12:06which were given to the Captain and superior officers,
0:12:06 > 0:12:10- there were 110 silver and 180 bronze.- OK.
0:12:10 > 0:12:14Now, before we go any further, I need to know how you come to have this.
0:12:14 > 0:12:16Well, it came via my grandmother
0:12:16 > 0:12:20and her father was a pawnbroker, as I understand it.
0:12:20 > 0:12:25- So I imagine that it was left to her having not been redeemed.- Right.
0:12:25 > 0:12:30And when she died that was in her estate.
0:12:30 > 0:12:34Right, OK. The bronze medals, as far as I were concerned,
0:12:34 > 0:12:37were not gilded, or I didn't think they were gilded.
0:12:37 > 0:12:40- This is a bronze medal that's been gilded.- Yes.
0:12:40 > 0:12:41And when I initially saw it,
0:12:41 > 0:12:44my reaction was that yes, it's a contemporary medallion.
0:12:44 > 0:12:49That's not a problem. But in fact when the film Titanic came out,
0:12:49 > 0:12:55a gold version of this medal sold for 70,000. 70,000.
0:12:55 > 0:12:57And, also after that event,
0:12:57 > 0:13:00- a few bronze ones materialised which were then gilded.- Yes.
0:13:00 > 0:13:04And people tried to pass them off as gold ones.
0:13:04 > 0:13:07But, of course, it's not that difficult to tell the difference.
0:13:07 > 0:13:11But I wasn't aware that all the bronze ones were gilded.
0:13:11 > 0:13:13So that's a little bit of an anomaly for me
0:13:13 > 0:13:17to deal with in this situation. I would have to do further research.
0:13:17 > 0:13:20There's also something else about it, as well.
0:13:20 > 0:13:24It actually has a name engraved on the bottom which says, "Amy Quayle".
0:13:24 > 0:13:29Now again, I don't know the crew roster for the Carpathia.
0:13:29 > 0:13:33I'm going to be a little bit reticent about my
0:13:33 > 0:13:37- pricing on this and I'm going to put £2,000 on it at the moment.- OK, yes.
0:13:37 > 0:13:40Now I might be seriously undercooking that,
0:13:40 > 0:13:43because obviously we need to look at this lady and sort it out.
0:13:43 > 0:13:47- We also need to look at the gilding issue as well, I think.- Yes.
0:13:47 > 0:13:51So when did you buy this fantastic bronze?
0:13:51 > 0:13:54About 1953.
0:13:54 > 0:13:57And where did you get it?
0:13:57 > 0:14:00At a place called Beeley Hall.
0:14:00 > 0:14:02A big mansion that came up for sale
0:14:02 > 0:14:06- and they were selling all the interior.- Oh, great.
0:14:06 > 0:14:09And I fancied this, so I bought it.
0:14:09 > 0:14:13So, it's by a man called Franz Lorenzl.
0:14:13 > 0:14:16- That's right.- And it's signed there.
0:14:16 > 0:14:22- And it's an absolutely classical 1920s Art Deco figure.- Yes.
0:14:22 > 0:14:26You've got the gilt bronze, very stylish,
0:14:26 > 0:14:30with the little stepped base here on this onyx column
0:14:30 > 0:14:33and it is so archetypal Art Deco.
0:14:33 > 0:14:35When you bought it though, was it broken?
0:14:35 > 0:14:39I can see there's a bit of damage here. What's going on there?
0:14:39 > 0:14:42No, no, it was complete.
0:14:42 > 0:14:47But we had the burglars break in and they pinched it.
0:14:47 > 0:14:50So how did you get it back then?
0:14:50 > 0:14:53The police found it
0:14:53 > 0:14:59in the next door's garden of the burglar who pinched it.
0:14:59 > 0:15:04- So he buried it in his next door garden?- He'd buried in next door's garden, among other things.- Really?
0:15:04 > 0:15:07And the detectives found it.
0:15:09 > 0:15:15But unfortunately when they brought it back, that corner was broken off, so it had to be repaired.
0:15:15 > 0:15:18Luckily they brought you back the bit as well.
0:15:18 > 0:15:21Exactly, I was very fortunate really.
0:15:21 > 0:15:24Absolutely. So it was a fashionable thing obviously when it was made,
0:15:24 > 0:15:28became deeply unfashionable by the time you bought it in the '50s.
0:15:28 > 0:15:33- And it's been a real roller coaster and they're now in fashion again today.- Yes, yes, indeed.
0:15:33 > 0:15:37And, you know, it should make somewhere between £1,200-£1,800.
0:15:37 > 0:15:40So a very good return, I think.
0:15:40 > 0:15:44My husband found it. He was working at an old lady's house
0:15:44 > 0:15:48doing some work on the coal shed roof. The coal shed was full of rubbish.
0:15:48 > 0:15:52She told him to get rid of the rubbish.
0:15:52 > 0:15:54This was in there hanging on the wall.
0:15:54 > 0:15:58So he said, "What are we going to do about the old man that's dying in the coal shed?"
0:15:58 > 0:16:02And she said, "Oh, oh, you can have him if you want, no skip him, don't want him".
0:16:02 > 0:16:06You mentioned him dying, a man dying out there.
0:16:06 > 0:16:10Well, this is a man who did die, I should think, about 300 years ago.
0:16:10 > 0:16:15- This is a painting that was done in about 1640, possibly '50.- Really?
0:16:15 > 0:16:18And shows strongly the influence of Van Dyke.
0:16:18 > 0:16:21But it's a provincial hand, it's not a main London painter.
0:16:21 > 0:16:26- This is not an artist who has all the refinements and accomplishments of the Continental painters.- Mm.
0:16:26 > 0:16:29This is quite rough, but nonetheless well-painted.
0:16:29 > 0:16:33You can tell the influence of Van Dyke because in the previous generation,
0:16:33 > 0:16:36these people stood rather sort of staccato with ruffs.
0:16:36 > 0:16:39- Oh, yes.- Now with Van Dyke, you begin to get this more
0:16:39 > 0:16:43lyrical, theatrical timeless costume beginning to float in.
0:16:43 > 0:16:45Now the problem we have here is the condition.
0:16:45 > 0:16:49There's two or three issues. The first is the paint is flaking.
0:16:49 > 0:16:52Some has dropped off, I have to admit, since we've had it.
0:16:52 > 0:16:56- You've got to be careful because bits are flaking off as we speak.- Yes.
0:16:56 > 0:17:00This picture desperately needs to be re-lined, that's put on a new canvas.
0:17:00 > 0:17:03Now canvas rots, canvas is biodegradable.
0:17:03 > 0:17:06It needs every now and then to be put on a new strong, clean canvas.
0:17:06 > 0:17:10The next thing you need to do is address the surface losses.
0:17:10 > 0:17:13A restorer then needs to very carefully touch them in.
0:17:13 > 0:17:16It's a laborious job, it's a painstakingly professional job.
0:17:16 > 0:17:21- Really?- And the third thing is, it needs a damn good clean.
0:17:21 > 0:17:23- Yes.- This colour here,
0:17:23 > 0:17:27- is going to be bright white. - Yes, gosh.
0:17:27 > 0:17:31Now if that's bright white, imagine how red the red's going to be.
0:17:31 > 0:17:35- How pink his flushed cheeks are going to be.- Yes.
0:17:35 > 0:17:38You're dealing with potentially a very decorative portrait.
0:17:38 > 0:17:42An image of considerable impact, and then put a frame around it
0:17:42 > 0:17:44and you've got something that'll look the part.
0:17:44 > 0:17:48At present it's worth £2,000 - £3,000.
0:17:48 > 0:17:54- Goodness.- Cleaned up, in a good frame, I can expect it to sell for £4,000 or £5,000.
0:17:54 > 0:17:56So it's worth having it done.
0:17:56 > 0:18:02Well, it's my son's. He was helping to put up some scaffolding and when he went into the house,
0:18:02 > 0:18:06the old lady told him to get rid of everything out of the lounge
0:18:06 > 0:18:08where all the soot had fallen down the chimney.
0:18:08 > 0:18:11And he said, "Are you sure?" and she said, "Yeah".
0:18:11 > 0:18:13So he said, "Well, can I have this?"
0:18:13 > 0:18:16and she said, "OK, be my guest".
0:18:16 > 0:18:20- Jolly good.- So he cleaned it up and he brought it home and it stands in a glass case.
0:18:20 > 0:18:24Right, it's a volunteer helmet.
0:18:24 > 0:18:26That is to say it's not regular army,
0:18:26 > 0:18:31they are purely volunteers who later became the Territorial Army.
0:18:31 > 0:18:35Now the Volunteer Movement was founded in 1860
0:18:35 > 0:18:38as the Volunteer Rifles
0:18:38 > 0:18:40and from 1860 on,
0:18:40 > 0:18:45they gradually made these various regiments all over the country.
0:18:45 > 0:18:47And this particular one,
0:18:47 > 0:18:51as you know, is the First Shropshire Rifle Volunteers.
0:18:51 > 0:18:55It's an other-ranks helmet, as opposed to an officer's helmet.
0:18:55 > 0:18:58Now in actual fact, our police force,
0:18:58 > 0:19:01- when you think about it, very similar.- Yeah.
0:19:01 > 0:19:05And this is where the policeman's helmet was formed, from this patent helmet.
0:19:05 > 0:19:10And this patent helmet was introduced in 1879.
0:19:10 > 0:19:14So although the Volunteer Movement, as I told you, was 1860,
0:19:14 > 0:19:18it was 1879 until this shape of helmet was formed for the volunteers.
0:19:18 > 0:19:22Well, if this came up for auction today in a military sale,
0:19:22 > 0:19:27you would get a figure like £400, possibly more,
0:19:27 > 0:19:30certainly nothing less.
0:19:30 > 0:19:36Now there's a word I love, Dinky Super Toys, particularly this one.
0:19:36 > 0:19:39Have you ever seen those in real life?
0:19:39 > 0:19:41That's a bit before my time.
0:19:41 > 0:19:44Well, camera man on top, outside broadcast.
0:19:44 > 0:19:47Our camera man wouldn't know this because he's 83.
0:19:47 > 0:19:52"This is the BBC bringing you an outside broadcast".
0:19:52 > 0:19:54Wonderful.
0:19:56 > 0:19:58"My Film Favourites".
0:19:58 > 0:20:02Well, here we've got an album absolutely stuffed with photographs,
0:20:02 > 0:20:06but it's this person who I don't recognise. Now, who's she?
0:20:06 > 0:20:09That's Betty Torkington who's my mother-in-law.
0:20:09 > 0:20:13And is SHE the reason that we're sitting here with this postcard album?
0:20:13 > 0:20:17Yes, she was 13, which was 1929.
0:20:17 > 0:20:18Oh, here we've got it. Betty...
0:20:18 > 0:20:20- Torkington.- Right.
0:20:20 > 0:20:22And she lived in Manchester
0:20:22 > 0:20:25and she started...her favourite actress was Clara Bow.
0:20:25 > 0:20:30Oh, and there we have a signed postcard, here on the front cover of Clara Bow.
0:20:30 > 0:20:33Now, she idolised Miss Bow, did she?
0:20:33 > 0:20:36- Yes, yes.- And why particularly?
0:20:36 > 0:20:38I think she was hoping she looked like her.
0:20:38 > 0:20:40SHE LAUGHS
0:20:40 > 0:20:42Well, we can all hope, can't we?
0:20:42 > 0:20:47But she, of course Clara Bow was known as the sort of
0:20:47 > 0:20:50great femme fatale from the 1920s.
0:20:50 > 0:20:52But looking through this...
0:20:54 > 0:20:56..my first reaction is to say,
0:20:56 > 0:20:59oh, well, they're all printed signatures, which most of
0:20:59 > 0:21:04the "signed" pictures of film stars are, but actually these aren't.
0:21:04 > 0:21:08I mean, we've got here Mary Pickford and Douglas Fairbanks.
0:21:08 > 0:21:11So did she go to performances as a child?
0:21:11 > 0:21:14Yes, her grandfather used to take her down to Drury Lane.
0:21:14 > 0:21:16Oh, from Manchester?
0:21:16 > 0:21:20Yes, they went to all the theatres in Manchester and they used to sit on the front row,
0:21:20 > 0:21:24then go back stage and see some of the artists and that's how she got the...
0:21:24 > 0:21:29And I mean, it reads like a sort of "Who's Who"
0:21:29 > 0:21:31in the movie industry at that stage.
0:21:31 > 0:21:33Here we've got Al Johnson...
0:21:35 > 0:21:39..and Charlie Chaplin. You can't get a bigger name than Charlie Chaplin.
0:21:39 > 0:21:41I mean, it's wonderful,
0:21:41 > 0:21:45and a wonderful, dedicated,
0:21:45 > 0:21:50signed photograph - "Our best wishes always, Betty".
0:21:50 > 0:21:54Your mother-in-law. With lovely clear signatures by Laurel and Hardy.
0:21:54 > 0:21:57I mean, it doesn't get much better than this.
0:21:57 > 0:22:03- Again "To Betty, best wishes from all the Marx Brothers".- Yes.
0:22:03 > 0:22:06How do you feel about flicking through this?
0:22:06 > 0:22:08Does it sort of give you a warm feeling?
0:22:08 > 0:22:10It's strange cos she never talked about it.
0:22:10 > 0:22:12It was just kept in a drawer.
0:22:12 > 0:22:15- So it was a private passion? - Oh, yes, yes.
0:22:15 > 0:22:19How wonderful, and I wonder when Betty was collecting,
0:22:19 > 0:22:22if she ever thought that it would be valuable?
0:22:22 > 0:22:24- I don't think so.- She just did it.
0:22:24 > 0:22:25She did it for the joy of it.
0:22:25 > 0:22:27Best reason of all for doing it.
0:22:27 > 0:22:29- Yes, yes.- But I have to say,
0:22:29 > 0:22:35the fact that particularly those very important, those pivotal names are
0:22:35 > 0:22:39signed in ink by the artistes, makes it very valuable.
0:22:39 > 0:22:43- I think we're talking about a couple of thousand pounds.- Right.
0:22:43 > 0:22:49And could well be in excess of that. But that's a good bench mark.
0:22:49 > 0:22:52There's no mistaking the designer of this clock, for me anyway.
0:22:52 > 0:22:55- Do you know who it is? - No, I don't have any idea at all.
0:22:55 > 0:22:59Well, that's good because then I can enthuse a bit before we get to that.
0:22:59 > 0:23:01I really want to know how you come to have it.
0:23:01 > 0:23:04It was my grandfather's clock. I always remember he owned it.
0:23:04 > 0:23:09- He had it in his study, and then he actually died about five or six years ago.- Right.
0:23:09 > 0:23:13- And, um, we were allowed to choose an item, as the grandchildren.- Yeah.
0:23:13 > 0:23:18That we remembered our grandfather by, and I always remember the clock because it was on his desk.
0:23:18 > 0:23:22- Right.- And so I chose that and I've always liked it. I love the look of it.
0:23:22 > 0:23:24That's a poignant story, I like that.
0:23:24 > 0:23:29It has associations for you which are nothing to do with value and nothing
0:23:29 > 0:23:32to do with who it's made by, which is nice in many ways.
0:23:32 > 0:23:35- I hope in some ways that I don't damage that...- That's all right.
0:23:35 > 0:23:38But having said that, it is a beautiful looking thing.
0:23:38 > 0:23:43There's no mistaking the quality and design and style of this. It is very lovely.
0:23:43 > 0:23:46- It's made by a designer called Archibald Knox.- Right.
0:23:46 > 0:23:49- He designed for Liberty & Co.- Yeah.
0:23:49 > 0:23:54Their things were characteristically Arts and Crafts in style.
0:23:54 > 0:23:56Knox was a very good, how can I say,
0:23:56 > 0:24:02sensuous kind of designer, and his styles are very, very obvious.
0:24:02 > 0:24:06I mean look at this. You've got this wonderful enamel dial which, in fact,
0:24:06 > 0:24:08is actually made on a copper disc.
0:24:08 > 0:24:12You can't enamel on anything, in this respect, other than copper.
0:24:12 > 0:24:15Which then had to be applied to this pewter case.
0:24:15 > 0:24:17The pewter case, very stylish,
0:24:17 > 0:24:20and in fact, if we actually quickly look at the bottom here,
0:24:20 > 0:24:23we can see that there are some certain markings on the bottom.
0:24:23 > 0:24:26We've got a four digit number here which is the pattern number.
0:24:26 > 0:24:30It begins with a zero, so that's quite an early design number.
0:24:30 > 0:24:33In fact what helps us even more is a registration number here,
0:24:33 > 0:24:36which if I look at it says, "RD 488"
0:24:36 > 0:24:39means that this is 1906.
0:24:39 > 0:24:43Funnily enough, even though it is such a stylish and well-made thing,
0:24:43 > 0:24:45if we quickly turn it round and have
0:24:45 > 0:24:49a look at the inside of it, we can see that it has a very standard
0:24:49 > 0:24:51mass produced movement inside it.
0:24:51 > 0:24:54Does it work, have you had it running?
0:24:54 > 0:24:56No. It got over-wound and it kind of exploded.
0:24:56 > 0:24:59- So the workings are somewhat... - All right, OK.
0:24:59 > 0:25:02The hand at the front was snapped off.
0:25:02 > 0:25:05Right, I can see that you have got a hand missing.
0:25:05 > 0:25:08If the main spring's gone, that can be remedied.
0:25:08 > 0:25:12- Right.- The hand here can certainly be repaired, as well.
0:25:12 > 0:25:13Would that be original?
0:25:13 > 0:25:17- The hands?- Absolutely, yes, the design is absolutely original.
0:25:17 > 0:25:19- We have the other half. - Right, that's great.
0:25:19 > 0:25:22It needs to go to a clock restorer and be repaired.
0:25:22 > 0:25:26In fact, a lot of people wouldn't be bothered about the fact that it doesn't work.
0:25:26 > 0:25:29I find collectors of these particularly are American,
0:25:29 > 0:25:33and they're not that worried about whether they work or not.
0:25:33 > 0:25:36I think they really are buying these for this incredible look.
0:25:36 > 0:25:40- OK.- Had you ever considered what it might be worth?
0:25:40 > 0:25:43We were perhaps thinking it might be worth a little bit of money,
0:25:43 > 0:25:45but, honestly, I have no idea.
0:25:45 > 0:25:48I'll be honest with you, prices on these Liberty & Co clocks
0:25:48 > 0:25:50have gone down a bit in the last few years.
0:25:50 > 0:25:54The American markets have dipped a bit, but I still have no hesitation,
0:25:54 > 0:25:58for auction, on putting £3,000-£5,000 on this clock.
0:26:01 > 0:26:02Do you play?
0:26:02 > 0:26:07- I used to, haven't played for many years, I'm afraid.- Nor have I.
0:26:07 > 0:26:10You sound like an ideal opponent.
0:26:10 > 0:26:12White's first move.
0:26:12 > 0:26:15I bet you can't even remember which one goes first.
0:26:15 > 0:26:19- Pawn to Queen four's a good one. - That's a good one, OK.
0:26:19 > 0:26:21Have you ever played with this set?
0:26:21 > 0:26:24- Never, no. - No, where did it come from?
0:26:24 > 0:26:28Well, my father used to play chess for Staffordshire
0:26:28 > 0:26:32and so he was very keenly interested in everything to do with chess
0:26:32 > 0:26:35and, at some time during his life,
0:26:35 > 0:26:38he acquired this one.
0:26:38 > 0:26:41It's always been in the family as far as I can remember.
0:26:41 > 0:26:44But I've got no idea where he got it from.
0:26:44 > 0:26:47- OK, it is, as I'm sure you've guessed, Chinese.- Yes.
0:26:47 > 0:26:51- It was carved in Canton. - How can you tell that?
0:26:51 > 0:26:54Because they didn't carve this particular type anywhere else.
0:26:54 > 0:27:01This type of set with the pierced balls was hugely popular
0:27:01 > 0:27:03in the 19th century.
0:27:03 > 0:27:04Yes.
0:27:04 > 0:27:08They came over here in their thousands.
0:27:08 > 0:27:11They range from this sort of size...
0:27:13 > 0:27:17..to probably slightly larger than that.
0:27:17 > 0:27:23The quality varies from absolute rubbish to...
0:27:23 > 0:27:26really fantastic.
0:27:26 > 0:27:32And yours here is in the region of "very good".
0:27:32 > 0:27:38- This one will date around 1850-1860, somewhere around there.- Yes.
0:27:38 > 0:27:41- And, of course, they are made in bits.- Yes.
0:27:41 > 0:27:43You can...
0:27:43 > 0:27:49take them apart because that was the most economic way of making the set.
0:27:49 > 0:27:55There are endless numbers of these sets which are incomplete.
0:27:55 > 0:27:57I don't know if you've noticed my cufflink.
0:27:59 > 0:28:00Yes.
0:28:02 > 0:28:05- It's actually one of these which I've cut in half.- Yes.
0:28:05 > 0:28:07Mounted onto a piano key
0:28:07 > 0:28:12and then I've put a knitting needle to form the back,
0:28:12 > 0:28:18from one of these which was just broken. So I made use of the piece.
0:28:18 > 0:28:19- I didn't want it to go to waste.- Yes.
0:28:19 > 0:28:21Very nice set.
0:28:21 > 0:28:25I think we're probably looking at
0:28:25 > 0:28:29somewhere around £4,000-£6,000 for this set.
0:28:29 > 0:28:33- Really?- Yeah, yeah, very nice.
0:28:33 > 0:28:35I am surprised, thank you.
0:28:35 > 0:28:37- Thank you.- That's excellent.
0:28:37 > 0:28:41This is one of the classic ceramic models of all time.
0:28:41 > 0:28:44Princess Elizabeth on Tommy the police horse,
0:28:44 > 0:28:47taking the Trooping of the Colour in 1947
0:28:47 > 0:28:50when the king was ill, because she stepped in.
0:28:50 > 0:28:52This has got this plinth.
0:28:52 > 0:28:56It should have the plinth, of course, and it stands off from the plinth
0:28:56 > 0:28:59like that, beautiful, and it should have a certificate.
0:28:59 > 0:29:02- This is the certificate?- Yes. - Signed by Joe Jimpson
0:29:02 > 0:29:06who was the chairman of the company at the time,
0:29:06 > 0:29:10and it was modelled by one of the great modellers at the Worcester factory,
0:29:10 > 0:29:11- Doris Lindner.- That's right.
0:29:11 > 0:29:15Doris Lindner told me... I knew Doris as an old lady -
0:29:15 > 0:29:18she was an incredible character -
0:29:18 > 0:29:23that she had the Princess pose for her to get all the costume
0:29:23 > 0:29:27and everything right, in the costume, and the horse posed for her as well.
0:29:27 > 0:29:30So everything was absolutely incredibly accurate.
0:29:30 > 0:29:35And Doris said that when she'd finished her Plasticine model, to take it back to the factory,
0:29:35 > 0:29:37the King asked to see it,
0:29:37 > 0:29:40because he wanted to approve it, that it was right,
0:29:40 > 0:29:44and she was terribly scared cos the King might disagree.
0:29:44 > 0:29:49But he expressed absolute firm approval of it, and there it is.
0:29:49 > 0:29:53It's an absolute marvellous model and painted by Harry Davis.
0:29:53 > 0:29:57Harry Davis, my great idol at the Worcester factory,
0:29:57 > 0:29:59went to Buckingham Palace to copy
0:29:59 > 0:30:04the colours of the Queen and the horse and everything,
0:30:04 > 0:30:07and the thing is absolutely perfect.
0:30:07 > 0:30:08How did you come by it?
0:30:08 > 0:30:12Well, before I bought it, it had been exhibited in New York
0:30:12 > 0:30:15- in the Royal Worcester showroom for 23 years.- Heavens.
0:30:15 > 0:30:18And a friend of mine, who deals in china,
0:30:18 > 0:30:20had the opportunity to buy it.
0:30:20 > 0:30:23- He bought it and sold it to me. - It's rather nice, isn't it?
0:30:23 > 0:30:27- That was in about 1975. - So you've had it since '75?- Yes.
0:30:27 > 0:30:29Well, there were 100 only made,
0:30:29 > 0:30:35an edition of 100 at a cost of 100 guineas. Do you remember 100 guineas?
0:30:35 > 0:30:37A hundred pounds,
0:30:37 > 0:30:39- a hundred shillings, isn't it, guineas?- Yes.
0:30:39 > 0:30:44And, it was regarded as one of the great models and I think it's a tremendous thing.
0:30:44 > 0:30:50Incredibly, these models went down in value some years ago.
0:30:50 > 0:30:52I don't know why.
0:30:52 > 0:30:56They seemed to drop down, because I have known
0:30:56 > 0:31:02Princess Elizabeth on Tommy go for £6,000 or £7,000, at stages,
0:31:02 > 0:31:08but in recent years they have started to come back up again
0:31:08 > 0:31:12and there have been two sold at auction recently.
0:31:12 > 0:31:14One last year and one this year.
0:31:14 > 0:31:20The one last year went for £2,600 and the one this year went for £2,800.
0:31:20 > 0:31:22- Oh.- So I think they are heading up.
0:31:22 > 0:31:24So I think probably you might reckon that
0:31:24 > 0:31:30its value is perhaps £2,000, perhaps £3,000 or something like that.
0:31:30 > 0:31:33The one the Queen has, her own one,
0:31:33 > 0:31:37she cleans it and dusts it herself only.
0:31:37 > 0:31:40No-one else is allowed to touch it. I heard that from her herself.
0:31:40 > 0:31:42So look after this, won't you?
0:31:42 > 0:31:45- Yes.- Otherwise the Queen will be after you.
0:31:47 > 0:31:52Well, normally I start with the earliest of the two pieces,
0:31:52 > 0:31:54- but these two are almost the same date.- Right.
0:31:54 > 0:31:57So it could either be ladies first, or age before beauty.
0:31:57 > 0:31:59- What do we think?- Ladies first.
0:31:59 > 0:32:01I'm going to deal with this one first,
0:32:01 > 0:32:05- but do you own them differently anyway?- Yes, yes.- Who owns who?
0:32:05 > 0:32:09- This belongs to me.- And that's mine. - Right, I'll start with this one.
0:32:09 > 0:32:10Is this a family piece?
0:32:10 > 0:32:14Yes, it's been in the family for a great many years,
0:32:14 > 0:32:15I can't tell you how long.
0:32:15 > 0:32:19When you sort of handed this to me...look at the inside...
0:32:19 > 0:32:21I thought it was a Victorian box.
0:32:21 > 0:32:26And when I open it and I see these wonderful cut glass decanters,
0:32:26 > 0:32:29and look at this here, "GR".
0:32:29 > 0:32:32- Right, oh, right.- George Rex.- Right.
0:32:32 > 0:32:35So that can't be any later than 1830.
0:32:35 > 0:32:38- Right.- And almost certainly, it could be George III but more
0:32:38 > 0:32:42likely it's George IV - Prince Regent who became George IV.
0:32:42 > 0:32:461820-1830. So we can date that pretty accurately from that.
0:32:46 > 0:32:48But what is exceptional, I mean why record a tea caddy,
0:32:48 > 0:32:51we always see them on the Roadshow. There are two things.
0:32:51 > 0:32:53One, it's got...
0:32:53 > 0:32:57Certainly the original decanter's here which I have never seen really.
0:32:57 > 0:33:01I mean, it must exist, I suppose occasionally they've turned up.
0:33:01 > 0:33:04I haven't seen one for a long time, certainly not on the Roadshow.
0:33:04 > 0:33:09- Yes.- Um, not quite convinced about the one in the middle,
0:33:09 > 0:33:10and the tea is how old?
0:33:10 > 0:33:14As old as the decanter, I think.
0:33:14 > 0:33:18Yes, I'll go and get some tea from the canteen later on.
0:33:18 > 0:33:22But the most unusual thing about this is the four columns.
0:33:22 > 0:33:23That's so Victorian-looking
0:33:23 > 0:33:26and it's extremely unusual to have these columns.
0:33:26 > 0:33:29I've never seen it, probably never see it again.
0:33:29 > 0:33:31So that's why, to me, that's very special.
0:33:31 > 0:33:33And this is special to you, is it?
0:33:33 > 0:33:38Yes, my aunt left me this and it was given to her by a friend
0:33:38 > 0:33:41and other than that I don't know any more.
0:33:41 > 0:33:43Where's it from?
0:33:43 > 0:33:45Guesses.
0:33:45 > 0:33:48- Africa.- Africa?
0:33:48 > 0:33:49No, it's from India.
0:33:49 > 0:33:51India. Had to be one or the other.
0:33:51 > 0:33:53- So it's ivory.- Yes.
0:33:53 > 0:33:58Oh, I see this is what, Auntie's "Betty baby with love" yes, I see, yes.
0:33:58 > 0:34:021952, so that's when it was given, so that's already some time ago.
0:34:02 > 0:34:04This is ivory and sandalwood.
0:34:04 > 0:34:06- Right.- Again we have to...
0:34:06 > 0:34:08- smelling like the tea.- Yes, lovely.
0:34:08 > 0:34:11Doesn't smell like... oh, it does smell like...
0:34:11 > 0:34:13Mmm, does smell like old sandals, yeah.
0:34:13 > 0:34:15But it's a lovely, lovely box.
0:34:15 > 0:34:19I mean it really is. It's from Visakhapatnam in Northern India.
0:34:19 > 0:34:21A vague amount of Persian influence in it.
0:34:21 > 0:34:26But what is really, really so pretty to me are these glorious tendrils here
0:34:26 > 0:34:29All engraved, sort of lovely leaf tendrils
0:34:29 > 0:34:34which is very typical of the Indian decoration or even Persian,
0:34:34 > 0:34:39Iznik influence in Northern Italy in probably the 1830-1840 period.
0:34:39 > 0:34:41Now, I'm slightly worried about this.
0:34:41 > 0:34:45- Has this just happened?- No, it was like that when I was given it.
0:34:45 > 0:34:47- There's quite a buckle there.- Yeah.
0:34:47 > 0:34:49You can see how thick the ivory is there.
0:34:49 > 0:34:53Really great thick pieces of veneer. Um, now what this needs...
0:34:53 > 0:34:56it could be restored.
0:34:56 > 0:35:00Arguably you could leave it. But what it needs is to have a drink of water.
0:35:00 > 0:35:03- Really?!- Not physically, don't put it in water.
0:35:03 > 0:35:06- But if it's in a cabinet or something like that.- Right.
0:35:06 > 0:35:11- In a centrally heated room, ideally it should have a glass of water and keep topping it up.- Right.
0:35:11 > 0:35:12Now, valuations.
0:35:12 > 0:35:14Which is worth the most?
0:35:14 > 0:35:17- I'm going to ask Dad.- I've no idea.
0:35:17 > 0:35:20What's this one worth?
0:35:20 > 0:35:23Put him on his mettle?
0:35:23 > 0:35:26- I could say something, but I won't. - Come on.
0:35:27 > 0:35:31- 1,500? - Well, that's a pretty good guess.
0:35:31 > 0:35:33That's off the top of my head.
0:35:33 > 0:35:37- Would you have said that ten minutes ago?- No, no, I think that's right.
0:35:37 > 0:35:40- It's a lot for a tea caddy, isn't it? - Yes.
0:35:40 > 0:35:42Yes, I think it's worth £2,500.
0:35:42 > 0:35:43Do you really?
0:35:43 > 0:35:45- Very rare.- Oh.
0:35:45 > 0:35:48- That's terrific.- The same grilling for you, or shall we be kinder?
0:35:48 > 0:35:51Just come out with the same answer.
0:35:52 > 0:35:56- What, 1,500? Would that be enough? - Yeah.
0:35:56 > 0:36:01But it's Indian, it's ivory, Visakhapatnam, very collected,
0:36:01 > 0:36:04so I'm going to put £3,500 on it.
0:36:04 > 0:36:06That isn't diplomatic!
0:36:09 > 0:36:12And here we have some charming drawings.
0:36:12 > 0:36:15These are all studies that were done in court, I assume,
0:36:15 > 0:36:18by somebody who had a bit of time on their hands,
0:36:18 > 0:36:22either an artist practising drawing people, or possibly
0:36:22 > 0:36:25an official of the court, I have no idea,
0:36:25 > 0:36:27but they are very, very competent.
0:36:27 > 0:36:30This one here is labelled "The Court of the King's Bench"
0:36:30 > 0:36:34and he does wonderful hands, faces.
0:36:34 > 0:36:35This is one of the jury.
0:36:35 > 0:36:39It's a preliminary sketch presumably for that,
0:36:39 > 0:36:43and this is another one. People falling asleep and doing
0:36:43 > 0:36:46all that sort of nonsense, but they're not signed.
0:36:46 > 0:36:48Do you have any idea who they are?
0:36:48 > 0:36:51No, none at all I'm afraid.
0:36:51 > 0:36:56People loved to practise doing this sort of wonderful drawing,
0:36:56 > 0:37:00but the thing that got me was this picture here
0:37:00 > 0:37:02and it's labelled "Boswell, the author".
0:37:02 > 0:37:06He looks incredibly uncomfortable, but the note at the bottom says,
0:37:06 > 0:37:11"Boswell shelters from a shower about 1789 or before".
0:37:11 > 0:37:17Boswell the great chronicler of Johnson's, Dr Johnson, Samuel Johnson of Johnson's Dictionary.
0:37:17 > 0:37:20And it is incredible for the Roadshow.
0:37:20 > 0:37:24I mean, one never knows what's going to turn up, but it is incredible
0:37:24 > 0:37:28to find a contemporary unknown portrait
0:37:28 > 0:37:33of somebody as important a literary figure as Boswell.
0:37:33 > 0:37:35Where did you get them from?
0:37:35 > 0:37:41Well, my grandfather was working for a colonel in Rowington,
0:37:41 > 0:37:44near Warwick and he was, like, the grounds person.
0:37:44 > 0:37:47He was told to clear out a barn of anything that was in there.
0:37:47 > 0:37:52Told him to throw away everything and he came across two books and this is one of them.
0:37:52 > 0:37:58And when he approached his boss about them, he said, "If you want them you can keep them".
0:37:58 > 0:38:02And they've been in our family since early, about 1960-1961.
0:38:02 > 0:38:04Yeah, and did you look at them as a boy?
0:38:04 > 0:38:09- Oh, yes.- You did?- Yeah, definitely. - Do you draw yourself?- I do, yes.
0:38:09 > 0:38:12And have you ever used any of these as a model or something like that?
0:38:12 > 0:38:14I have, I've actually copied a few.
0:38:14 > 0:38:18They are extremely good and as I say, it's very exciting to find this
0:38:18 > 0:38:2318th-century contemporary portrait of Boswell.
0:38:23 > 0:38:27- Now, have you any idea about value? - None at all.
0:38:27 > 0:38:31Well, I think they're competent those other drawings and mounted nicely.
0:38:31 > 0:38:35They would certainly sell for a little bit of money.
0:38:35 > 0:38:39But I think I'm going to concentrate...forget about those a little bit.
0:38:39 > 0:38:42- OK.- And concentrate on this Boswell.
0:38:43 > 0:38:46I think this contemporary sketch of Boswell...
0:38:48 > 0:38:50..is worth about £5,000.
0:38:50 > 0:38:52Five... Just for that one piece?!
0:38:52 > 0:38:53Just for that one piece.
0:38:55 > 0:38:57- What about that? - I'm absolutely gobsmacked.
0:38:57 > 0:39:00No, this is lovely, thanks.
0:39:00 > 0:39:01Thank you very much.
0:39:01 > 0:39:04So, where's the saucer gone?
0:39:04 > 0:39:07We've never had the saucer, it's always been like that.
0:39:09 > 0:39:12- It never was with it. - So you bought it as a cup?- Yes.
0:39:12 > 0:39:17Now one of the things I'm going to tell you about is that this cup is
0:39:17 > 0:39:19transfer decorated and not hand-painted.
0:39:19 > 0:39:23- OK.- It usually means that it's worth a little bit less.
0:39:23 > 0:39:25What I want you to do is just run your finger over that.
0:39:25 > 0:39:28- Can you feel it slightly bumpy?- Yes.
0:39:28 > 0:39:31- So that's where the transfer has been stuck onto the body of the cup.- OK.
0:39:31 > 0:39:34Now if we look underneath it,
0:39:34 > 0:39:38you'll see that there's a mark for...
0:39:38 > 0:39:42- Royal Worcester.- Yes, and is that why you chose to buy it?
0:39:42 > 0:39:44Yes, because I knew that that's a quality make.
0:39:44 > 0:39:46Completely right, that's fantastic.
0:39:46 > 0:39:48This is in absolutely lovely condition.
0:39:48 > 0:39:53- I don't think it's ever been used, do you?- No, we definitely never used it.
0:39:53 > 0:39:55Can you remember what you paid for it?
0:39:55 > 0:40:00I think it was around £28, around that amount.
0:40:00 > 0:40:03Right. I think I could show you a bit of a profit on that.
0:40:03 > 0:40:05Really?
0:40:05 > 0:40:08I think we could say £50 for that.
0:40:08 > 0:40:13- That's brilliant.- Good, now you tell me a bit about this yourself.
0:40:13 > 0:40:17Well, we bought it in a shop near Stow on the Wold
0:40:17 > 0:40:22and we think it's Murano glass, but we have no proof of this.
0:40:22 > 0:40:27We thought it might have been an ashtray, although we found it hard to find out.
0:40:27 > 0:40:30- Exactly what it was used for.- Yes.
0:40:30 > 0:40:34Well, the thing that attracts me is this wonderful vibrant colour.
0:40:34 > 0:40:38- Yes.- Lovely dark amethyst colour, very heavy, isn't it?
0:40:38 > 0:40:40- Yes.- I think you're right.
0:40:40 > 0:40:43I think it is an ashtray, but the only thing I think I would
0:40:43 > 0:40:47question is, I don't think personally think it comes from Murano.
0:40:47 > 0:40:50- I think it's too thick and chunky. - Right. OK.
0:40:50 > 0:40:52Do you have any idea what date it might be?
0:40:52 > 0:40:55Around the '60s, I'm sure.
0:40:55 > 0:40:57Yeah good, very good.
0:40:57 > 0:41:00- I think it's more likely to be Scandinavian.- Oh, right.
0:41:00 > 0:41:01I think it might be Swedish.
0:41:01 > 0:41:05- OK.- So does glass interest you?
0:41:05 > 0:41:08Yes, glass and pottery is my main area, yes.
0:41:08 > 0:41:12- How much did you pay for this?- I think that was around £30, I think.
0:41:12 > 0:41:17- And the good news is, I think it's worth £100.- Oh, that's good news.
0:41:17 > 0:41:19That's very good news, isn't it?
0:41:19 > 0:41:22Well done. Well you're doing well so far. Now, what about this?
0:41:22 > 0:41:25Well, it's been in the family for quite a long time.
0:41:25 > 0:41:29I think it was my great grandad's.
0:41:29 > 0:41:35It was kept in the farm, because we live on a farm,
0:41:35 > 0:41:38and it was really abused.
0:41:38 > 0:41:41But I think it's survived OK.
0:41:41 > 0:41:43- Missing a bit here, do you think? - Yes.
0:41:43 > 0:41:46- There's a bit of a gaping hole down here.- Yes.
0:41:46 > 0:41:48The drawer went missing years ago.
0:41:48 > 0:41:51Yeah, it would have had a drawer front across here.
0:41:51 > 0:41:53Do you know what this is likely to be?
0:41:53 > 0:42:00- Um, well we've seen that it's got a bit of a bronze colour, so is it copper?- Pinky colour, it's copper.
0:42:00 > 0:42:04But the copper's slightly corroded and it's all spotty.
0:42:04 > 0:42:06If you run your hands up and down it feels quite rough.
0:42:06 > 0:42:08- Yeah.- It shouldn't feel like that.
0:42:08 > 0:42:11But when it was new you would have had this tremendous contrast
0:42:11 > 0:42:14between the pinky colour of the copper
0:42:14 > 0:42:18- against the background of this wood which is oak.- Oh, right.- All right?
0:42:18 > 0:42:21That was one of the things which I came to find out.
0:42:21 > 0:42:23I'll show you how you can tell this is oak.
0:42:23 > 0:42:27Do you see these little sort of shiny lines going across here?
0:42:27 > 0:42:29Oh, yeah.
0:42:29 > 0:42:30That's very, very typical.
0:42:30 > 0:42:34When you see that in a wood, you'll know that that's oak in future.
0:42:34 > 0:42:37- OK.- And I'm going to ask if you've got any idea what the date is.
0:42:37 > 0:42:40Is it around the turn of the century?
0:42:40 > 0:42:46It's a little bit more modern than that. It's about 1915-1920s.
0:42:46 > 0:42:50So, I think it's worth trying to find a piece of oak that will match this.
0:42:50 > 0:42:55- Yes.- And get a drawer front made.
0:42:55 > 0:43:00With a little bit of good housekeeping, I think then you've got something that's worth
0:43:00 > 0:43:02about £150.
0:43:02 > 0:43:04Wow!
0:43:05 > 0:43:08My brother said he thought it was only a bit of tat.
0:43:10 > 0:43:13Well, you can tell him from me, he was wrong.
0:43:15 > 0:43:18The Throckmorton family may have lived here since 1409,
0:43:18 > 0:43:21but I doubt if they've had a more enjoyable garden party.
0:43:21 > 0:43:25The family album of the Antiques Roadshow will be full of happy memories.
0:43:25 > 0:43:28Until the next time, from Coughton Court, goodbye.