0:00:41 > 0:00:46North, south, east or west, the Roadshow knows which way is best.
0:00:46 > 0:00:51This week we've chosen south, as far as south as we'll get this season.
0:00:51 > 0:00:54Welcome to Padstow in Cornwall.
0:01:10 > 0:01:14Standing guard over the village is Prideaux Place,
0:01:14 > 0:01:19family home of an ancient Cornish clan whose origins date back to the 11th century.
0:01:19 > 0:01:21The Prideauxs' manor house was built
0:01:21 > 0:01:25over 400 years ago and was built well.
0:01:25 > 0:01:29In all that time, the front door and its lock has never been changed.
0:01:31 > 0:01:36And this is the very key that's been turning those locks through the centuries.
0:01:36 > 0:01:40It's been handed down from generation to generation
0:01:40 > 0:01:42on the eldest son's 21st birthday.
0:01:42 > 0:01:46So I'm holding a piece of history that has seen many a thrilling escapade.
0:01:46 > 0:01:50What tales could this key tell us?
0:01:50 > 0:01:51Mm-hm.
0:01:53 > 0:01:57Yes, yes, that's a very good one, I'll tell that.
0:01:57 > 0:02:02The date that I'm told is 1592 and the key has only just been cast.
0:02:02 > 0:02:09A merchant ship, the Mary Bonadventure lands at Padstow having been blown off course.
0:02:09 > 0:02:15Its stolen cargo of beef, wax, linen and hides proves irresistible to Padstonians,
0:02:15 > 0:02:18including one Richard Prideaux.
0:02:18 > 0:02:21Richard soon has the Crown Commissioners on his trail
0:02:21 > 0:02:26and after a chase through Cornwall they finally trap him on board a ship in Padstow harbour.
0:02:26 > 0:02:29It seems that the game is up, but rescue comes
0:02:29 > 0:02:33in the form of Richard's greatest friend and protector...his wife.
0:02:33 > 0:02:38Mrs Prideaux scrambles aboard and attacks one of the Commissioners -
0:02:38 > 0:02:42a serious crime - but the Prideauxs have a lot of support in Padstow
0:02:42 > 0:02:47and the rumour is soon spreading that it was Mrs P who was attacked and killed.
0:02:47 > 0:02:51By the time the truth is discovered three days later, the Prideauxs are
0:02:51 > 0:02:56safely home behind their front door, there is nothing left of the cargo
0:02:56 > 0:03:00and everyone in Padstow is quite satisfied with the result.
0:03:00 > 0:03:05Today the key is in place, the lock is well oiled and we open the door of Prideaux Place
0:03:05 > 0:03:09onto today's Roadshow... on the south lawn, of course.
0:03:12 > 0:03:16Well, of course everybody's dream find is a piece of Ming porcelain
0:03:16 > 0:03:18and, er,
0:03:18 > 0:03:23you could pay, you could pay probably ten million pounds for a good bit of Ming porcelain,
0:03:23 > 0:03:28- but you can also buy Ming porcelain for thirty quid, so it doesn't mean very much.- Sure.
0:03:28 > 0:03:34This is a piece of Ming porcelain. Where did you get it from?
0:03:34 > 0:03:38Well, it came down through the family. I think my father bought it,
0:03:38 > 0:03:42I imagine in the 1950s but I really don't know.
0:03:42 > 0:03:45The only thing I know is I've never really liked it.
0:03:45 > 0:03:48- I was...- Right, say no more.
0:03:51 > 0:03:58I was actually going to put it in a car boot sale with a tag of £5 or £10, but I thought...
0:03:58 > 0:04:02Well, let me know, I'm prepared to drive down.
0:04:02 > 0:04:08But I thought I'd better make some inquiries and I was told by one auction house
0:04:08 > 0:04:11that it could be 200 or 300 years old
0:04:11 > 0:04:16and I never really believed that, because it is absolutely perfect,
0:04:16 > 0:04:22there's not a mark on it, and to me it could have been taken out of the kiln yesterday.
0:04:22 > 0:04:25You're right, it is in extraordinarily good condition,
0:04:25 > 0:04:29as to the 200 or 300, no, it's rather older than that.
0:04:29 > 0:04:32- Older?- It dates from the reign of the Emperor Wanli,
0:04:32 > 0:04:35the last of the great Ming emperors.
0:04:35 > 0:04:39He reigned from 1573 to 1619,
0:04:39 > 0:04:43so we're looking at something which is 400 years old.
0:04:43 > 0:04:45It's in a style called Kraak.
0:04:45 > 0:04:48K, R, double A, K.
0:04:48 > 0:04:54The style ran from about 1550 to 1650 roughly,
0:04:54 > 0:04:58so this is quite early on in the style.
0:04:58 > 0:05:00Kraak can be very sloppily painted
0:05:00 > 0:05:05and rather sketchy, but this is actually very well delineated.
0:05:05 > 0:05:08- You always have panels...- Yes.
0:05:08 > 0:05:14..of wildlife. Here we've got rocks and plants, we've got a horse -
0:05:14 > 0:05:19unusual - we've got a goose, pine tree,
0:05:19 > 0:05:24and on Wanli porcelain characteristically
0:05:24 > 0:05:28we have these tassels with jewels or dots -
0:05:28 > 0:05:30pearls going down -
0:05:30 > 0:05:36- so it's a really stonkingly good bit of Kraak porcelain.- Oh, lovely.
0:05:36 > 0:05:39Now what did your auction house
0:05:39 > 0:05:41say it was worth?
0:05:41 > 0:05:47Well, they said that if I put it to auction, I ought to put a reserve price of £1,000.
0:05:47 > 0:05:52- Right.- But on a good day with a following wind, it might make £1,800,
0:05:52 > 0:05:53maybe £1,800.
0:05:53 > 0:05:57Right, yeah, well, I can see their thinking.
0:05:57 > 0:06:02- I think if it were an ordinary one, I would concur with that.- Right.
0:06:02 > 0:06:04But it's not an ordinary one.
0:06:04 > 0:06:10- Oh, good.- It's a lot better than an ordinary one and I would be happy to put £2,000 to £3,000 on it.
0:06:10 > 0:06:15- Lovely.- I'd say, on a good day, it could do better than that.- Great.
0:06:15 > 0:06:18So I'm delighted
0:06:18 > 0:06:21you didn't put it in a car boot sale with a ten quid price tag on it.
0:06:21 > 0:06:23I'm beginning to like it now.
0:06:23 > 0:06:28- Thank you very much. - Thank you very much, that's lovely.
0:06:28 > 0:06:32The fabrics on this quilt are eye-popping, they're sort of
0:06:32 > 0:06:36- dazzling and psychedelic.- Yes, they are.- Where did they come from?
0:06:36 > 0:06:40Well, I was given this quilt by an aunt of mine and she told me
0:06:40 > 0:06:47the story that, I believe, an aunt of hers was a reporter for The Lady magazine.
0:06:47 > 0:06:50She used to report on court events
0:06:50 > 0:06:54and she was given these little pieces of fabric of the dresses
0:06:54 > 0:06:58that reputedly Queen Victoria and her daughters were going to wear,
0:06:58 > 0:07:00so that she could describe them in The Lady,
0:07:00 > 0:07:05then she apparently made this quilt out of all these pieces of fabric.
0:07:05 > 0:07:09- That's extraordinary. - Yes, it is, but you can see they are so rich and lovely.
0:07:09 > 0:07:14Exactly, some of them, I have to say, are not particularly exciting,
0:07:14 > 0:07:19but then you get pieces that are vibrant and embroidered
0:07:19 > 0:07:22- and covered with little bits of sparkle.- Yes.
0:07:22 > 0:07:26And you can just imagine them being worn at a court appearance.
0:07:26 > 0:07:30- Yes, you can.- Tell me about this safety pin in here. What does that mean?
0:07:30 > 0:07:35Yes, that is reputed to be a piece of the dress, the wedding dress,
0:07:35 > 0:07:39- of Princess Mary, later Queen Mary. - How extraordinary.- So...
0:07:39 > 0:07:44Of course you said that it's only hearsay, you don't have actually...
0:07:44 > 0:07:49- I don't have any evidence for that, no.- I bet you could find out.
0:07:49 > 0:07:51How could I find out?
0:07:51 > 0:07:53Well, I mean if they're wedding dresses,
0:07:53 > 0:07:57then the Kensington Palace has got a lot of the royal wedding dresses.
0:07:57 > 0:08:03- Yes.- And they may be able to say this little bit of lovely ivory, sort of bluey ivory...
0:08:03 > 0:08:08- Yes.- They could say yes, that's exactly Queen Mary's wedding dress.- Yes, yes.
0:08:08 > 0:08:10And others, you may have some joy
0:08:10 > 0:08:13at somewhere like the Victoria and Albert Museum who have got
0:08:13 > 0:08:18- extensive collections of costumes and royal costume and so on.- Yes.
0:08:18 > 0:08:21So I think there are ways that you could put credence
0:08:21 > 0:08:24- to the family story.- Yes.
0:08:24 > 0:08:26But almost immaterial, it almost doesn't matter
0:08:26 > 0:08:28because it's so glorious, isn't it?
0:08:28 > 0:08:34It is so lovely, and every time you look at it, you see something different.
0:08:34 > 0:08:39Exactly, this is what's known as a bizarre quilt, bizarre pattern,
0:08:39 > 0:08:41everything higgledy piggledy,
0:08:41 > 0:08:45different colours sewing the things together, different colours next to
0:08:45 > 0:08:49- each other and I rather like that, that psychedelic approach.- Yes.
0:08:49 > 0:08:52Let's hope that the story's true
0:08:52 > 0:08:55and as little snippets of royal court costume,
0:08:55 > 0:08:59I think that this would have a value of perhaps £500-£600.
0:08:59 > 0:09:01- Yes.- If the story isn't true,
0:09:01 > 0:09:05- then the value will obviously be a bit less than that.- Yes.
0:09:05 > 0:09:08- But I think let's give it its full momentum.- Yes.
0:09:08 > 0:09:13- And I think, yes, £500-£600. - I don't think I would ever consider getting rid of it anyway.
0:09:13 > 0:09:15I don't blame you.
0:09:15 > 0:09:18When I was very young, my mother took me to see
0:09:18 > 0:09:21the Walt Disney film Peter Pan which had just come out,
0:09:21 > 0:09:24and I enjoyed it enormously and I remember it very well.
0:09:24 > 0:09:28And here we have an original celluloid painting from that film.
0:09:28 > 0:09:30And here we can see the mermaid,
0:09:30 > 0:09:34who I think appears in the lagoon scene, doesn't she?
0:09:34 > 0:09:37Looking rather coy. How did it come into your possession?
0:09:37 > 0:09:40Well, it was given to my mother
0:09:40 > 0:09:44from a gentleman who was called Tom Henn.
0:09:44 > 0:09:47He was the editor of the Radio Times.
0:09:47 > 0:09:50- Oh, was he?- Back a long time ago.
0:09:50 > 0:09:55It was given to him with an interview from Walt Disney himself.
0:09:55 > 0:09:58Gosh, he interviewed Walt Disney. When did he sign it?
0:09:58 > 0:10:04We think it was about '54, um, '55 because Tom died '57.
0:10:04 > 0:10:07The film came out in 1953 and this was used in the film,
0:10:07 > 0:10:11so it couldn't have been given to Tom Henn until after the film
0:10:11 > 0:10:14had been produced, so that would tie in with the dates.
0:10:14 > 0:10:17- It's come down through the family. - Family.- Yeah.
0:10:17 > 0:10:20Have you ever had any thought as to value?
0:10:20 > 0:10:25We had it valued, Mother had it valued, back in '71,
0:10:25 > 0:10:27and they said it was worth about £50.
0:10:27 > 0:10:31That would probably have been right at the time, but since then
0:10:31 > 0:10:35there's been enormous increase in the interest in film animation,
0:10:35 > 0:10:39particularly in America where Walt Disney is revered and recognised
0:10:39 > 0:10:41for the genius that he was.
0:10:41 > 0:10:44If this came up at auction, it would fetch somewhere
0:10:44 > 0:10:48- between £2,000 and £3,000.- Right.
0:10:48 > 0:10:52But it's a wonderful thing to have, keep it in good condition,
0:10:52 > 0:10:56keep it out of sunlight and enjoy it.
0:10:56 > 0:10:59Some people say that the Spanish landed in Ireland
0:10:59 > 0:11:02and maybe some Spanish landed in Cornwall
0:11:02 > 0:11:06because there are tall, dark Cornishmen
0:11:06 > 0:11:09and this is very much a Spanish piece,
0:11:09 > 0:11:11so how did you come to have it?
0:11:11 > 0:11:14- I bought it at auction.- At auction? - Yes.
0:11:14 > 0:11:17- What attracted you to it? - I just liked the look of it.
0:11:17 > 0:11:22- What in particular?- Well, just the general design of the whole thing.
0:11:22 > 0:11:23It's wonderfully decorative.
0:11:23 > 0:11:27- It is, yes.- And it's really stunning, it's called a vargueno.
0:11:27 > 0:11:30The style goes right back to the 16th century.
0:11:30 > 0:11:32And all this geometrical inlay work
0:11:32 > 0:11:36really came from North Africa, the style of it came from North Africa
0:11:36 > 0:11:40- and of course the Moors were very important in Spain.- Yes.
0:11:40 > 0:11:45Most varguenos of the 16th century are made out of walnut
0:11:45 > 0:11:50and this very decorative wood that you can see here is actually rose wood.
0:11:50 > 0:11:54- Is it really?- Which is an important clue to the fact that I don't think
0:11:54 > 0:11:59- this one comes from the 16th or 17th century, but from the 19th century. - I see.
0:11:59 > 0:12:00Let's open it up.
0:12:00 > 0:12:04Now, it's quite complicated, so we go there...
0:12:09 > 0:12:12- So it's even more wonderful inside, isn't it?- Yes.
0:12:12 > 0:12:14Absolutely tremendous.
0:12:14 > 0:12:20- I think, in the 19th century, this inlay work might have been imported from North Africa.- I see.
0:12:20 > 0:12:25Particularly these very complex panels here which are lovely,
0:12:25 > 0:12:30- but almost more than you would expect in a 16th or 17th century vargueno.- I see.
0:12:30 > 0:12:35But what's fascinating about it, is that it really fits into that whole
0:12:35 > 0:12:3919th century romanticism of looking back to an earlier period.
0:12:39 > 0:12:41In England it kind of starts with
0:12:41 > 0:12:44Sir Walter Scott and the whole idea of looking back
0:12:44 > 0:12:49to the Middle Ages, the Gothic period and the 16th century.
0:12:49 > 0:12:53- I see.- And so this one is picking up that...
0:12:53 > 0:12:55sort of idealism if you like,
0:12:55 > 0:12:57nationalistic idealism of looking backwards
0:12:57 > 0:13:02to an earlier period, and lots of important collectors
0:13:02 > 0:13:06started to buy revivalist pieces and genuine pieces
0:13:06 > 0:13:12in the late part of the 19th century and this was the same in Spain as it was in Great Britain
0:13:12 > 0:13:14or in France, for instance.
0:13:14 > 0:13:20Well, the market is a funny thing, nowadays I think you would -
0:13:20 > 0:13:24in a fairly sort of straightforward auction -
0:13:24 > 0:13:28- expect to get around £3,000 for it. - Really?
0:13:28 > 0:13:31If there were a couple of people with real imagination in the room
0:13:31 > 0:13:35who could see how this could have an impact in an interior,
0:13:35 > 0:13:38it could go considerably higher than that.
0:13:38 > 0:13:41This is a slightly romantic piece and I like to think that,
0:13:41 > 0:13:46romantically, perhaps the Spanish did land in Cornwall at some time as well.
0:13:46 > 0:13:49Well, during the spring of 1944,
0:13:49 > 0:13:53when, in this country on the south coast, there was an enormous amount
0:13:53 > 0:13:57- of inactivity going on in the lead-up to D-Day.- Yes.
0:13:57 > 0:14:01In the Far East, in Northern India and in Burma,
0:14:01 > 0:14:05very few people remember that there was an enormous amount of
0:14:05 > 0:14:12bitter fighting going on between the Japanese who were advancing through Burma and trying to get into India,
0:14:12 > 0:14:17and the British and Indian troops who were fighting against them,
0:14:17 > 0:14:19and you've brought along here today
0:14:19 > 0:14:24- some items which relate to that intense fighting.- That's right.
0:14:24 > 0:14:28- Tell me what you've brought. - Well, this is the, um...
0:14:28 > 0:14:32battle flag of surrender which was taken at Kohima
0:14:32 > 0:14:36when the Japanese decided to give up the fighting,
0:14:36 > 0:14:39and it belonged to my father-in-law,
0:14:39 > 0:14:41he was in fact wounded at Kohima.
0:14:41 > 0:14:46Apparently, all these are the names of the, um...
0:14:46 > 0:14:51soldiers who were there, or names of a lot of the officers, yes, yes.
0:14:51 > 0:14:58Kohima was very important, it was a hill station in Assam in North East India
0:14:58 > 0:15:01and it was on the only route through towards Burma
0:15:01 > 0:15:04from the various supply stations
0:15:04 > 0:15:09that British and Indian troops were preparing
0:15:09 > 0:15:13in order to make their great push into Burma
0:15:13 > 0:15:15to push back and fight the Japanese
0:15:15 > 0:15:19in the spring, or leading up to the spring of 1944.
0:15:19 > 0:15:20That's right, yes.
0:15:20 > 0:15:25And the Japanese realised this, so they advanced beyond the Chindwin
0:15:25 > 0:15:29and into the Assam region
0:15:29 > 0:15:34and in particular went towards Kohima
0:15:34 > 0:15:38which was essential in the British supply
0:15:38 > 0:15:42to the troops who would eventually go into Burma.
0:15:42 > 0:15:46The siege, if you like, of Kohima, was one of the most intense
0:15:46 > 0:15:49and bloody battles of the whole of the Second World War.
0:15:49 > 0:15:53Yes, it was a dreadful battle,
0:15:53 > 0:15:58it was fought over a very small area actually and the most important part
0:15:58 > 0:16:03of course was the tennis court of the District Commissioner's bungalow.
0:16:03 > 0:16:07- Yes. - And the bungalow and the tennis court
0:16:07 > 0:16:09of course were completely destroyed.
0:16:09 > 0:16:13- You've brought some photographs. - Yes.- Are these his photographs?
0:16:13 > 0:16:16- I presume so, I can't answer that. - What was his name?- Shapland.
0:16:16 > 0:16:19Major...well, he was a Brigadier then.
0:16:19 > 0:16:23Here it says "The DC's bungalow." District Commissioner is that?
0:16:23 > 0:16:25- District Commissioner.- May 1944.
0:16:25 > 0:16:29- Not much left.- There isn't much left, you can't call that a bungalow.- No.
0:16:29 > 0:16:35But the bungalow and the tennis court, which must have been here.
0:16:35 > 0:16:36That's right.
0:16:36 > 0:16:40- The site of the most... almost hand-to-hand fighting.- That's right.
0:16:40 > 0:16:46And in fact I know that there are stories where a soldier says that it was...
0:16:46 > 0:16:51there was what could be the closest resembling to a snowball fight with hand grenades
0:16:51 > 0:16:53either side of the tennis court.
0:16:53 > 0:16:57The Japanese one side, the British and Indian troops the other side.
0:16:57 > 0:17:01And they were hurling grenades at each other both ways.
0:17:01 > 0:17:06It wasn't realised at the time, but this was the turning point of the war.
0:17:06 > 0:17:11- Yes, yes.- In, the East. - In the East, yes.- It really was.
0:17:11 > 0:17:15And in fact it was probably this one point, this one battle if you like,
0:17:15 > 0:17:19that meant the overthrow eventually of the Japanese,
0:17:19 > 0:17:25so this battle of Kohima is incredibly important in our history.
0:17:25 > 0:17:29The next photograph actually shows
0:17:29 > 0:17:32a Japanese officer surrendering a sword.
0:17:32 > 0:17:34- Yes, that's it.- That's this sword?
0:17:34 > 0:17:40- No, this was given to my father-in-law later as the Second in Command's sword.- So is this him?
0:17:40 > 0:17:45- That is my father-in-law taking it. - That is him?- Yes.- This one in khaki? - That's right.
0:17:45 > 0:17:49Well, the sword itself is an officer's sword,
0:17:49 > 0:17:51it's a Katana, to be precise.
0:17:51 > 0:17:55- Right.- They're often passed down from generation to generation
0:17:55 > 0:17:59and the sword furniture, in other words the scabbard etc, the hilt...
0:17:59 > 0:18:01they are changed with the generations.
0:18:01 > 0:18:05So it's an important thing from the Japanese family point of view.
0:18:05 > 0:18:08- Right.- And wouldn't be readily surrendered.
0:18:08 > 0:18:13The medals are wonderful. What a group of medals...incredible!
0:18:13 > 0:18:15He was a very brave man, quite clearly.
0:18:15 > 0:18:17Yes, he was, yes, he was.
0:18:17 > 0:18:20Have you, have you thought about...?
0:18:20 > 0:18:24It's difficult to value something like this actually.
0:18:24 > 0:18:26As far as the medals are concerned,
0:18:26 > 0:18:30I would think today, with the story that goes with them,
0:18:30 > 0:18:33they're probably worth somewhere in the region of
0:18:33 > 0:18:38£10,000, £12,000 or maybe even £15,000.
0:18:38 > 0:18:39We shouldn't sell them.
0:18:39 > 0:18:43Of course not. The sword is worth
0:18:43 > 0:18:47in the region of £1,000 to £1,500.
0:18:47 > 0:18:50- Right.- I'm not going to put a value on that.- No.
0:18:50 > 0:18:55- Because it would be insensitive, I think.- Yes, I understand.
0:18:55 > 0:18:57One of the things we have to remember is that
0:18:57 > 0:19:04those servicemen gave up their lives for us, they gave their today
0:19:04 > 0:19:07- so that we could have our tomorrow. - As the memorial.- Exactly.
0:19:07 > 0:19:09I think it's an incredible story
0:19:09 > 0:19:13- and I'm glad you've brought it to our attention again.- Thank you.
0:19:14 > 0:19:18This is a very varied array of watercolours, and they all appear...
0:19:18 > 0:19:22Well, this one signed "Arnold Taylor" and "Taylor" over here.
0:19:22 > 0:19:25Can you tell me about Arnold Taylor?
0:19:25 > 0:19:32Yes, he was my father and he was a very talented artist.
0:19:32 > 0:19:36Unfortunately, he became really very well known, I think,
0:19:36 > 0:19:40second only to Donald McGill, for the saucy seaside pictures
0:19:40 > 0:19:45of which he did probably several hundred if not thousands.
0:19:45 > 0:19:50- Can you tell me about this one?- Yes, this was done when he was at, um...
0:19:50 > 0:19:55at art school, and I think that would have been done when he was about 17 or 18.
0:19:55 > 0:19:58- It's very sensitive, beautifully done.- Yes.
0:19:58 > 0:20:03And then we come down to here which is the Desert Rats and it's 1942.
0:20:03 > 0:20:05Yes, he was actually one of this group
0:20:05 > 0:20:10and this was the scene immediately before they were attacked by two Messerschmitt dive bombers,
0:20:10 > 0:20:14when he was quite badly wounded, and he did this
0:20:14 > 0:20:20and other drawings of the event when convalescing from his wounds.
0:20:20 > 0:20:24- Were these published? - They've never been published.
0:20:24 > 0:20:28- And then we come over here, something completely different.- Yes.
0:20:28 > 0:20:30When did he start doing saucy postcards?
0:20:30 > 0:20:33He worked for the firm called Bamforths in Holmfirth
0:20:33 > 0:20:36and Donald McGill did freelance work for Bamforths
0:20:36 > 0:20:41and he started doing those, I suppose, after leaving art school.
0:20:41 > 0:20:44He wanted to stay with fine art
0:20:44 > 0:20:48and won a scholarship to the Royal Academy and to go and study in Italy
0:20:48 > 0:20:52but unfortunately he wasn't allowed to go by my grandfather.
0:20:52 > 0:20:55So he earned a good living from doing this?
0:20:55 > 0:20:59He earned a living from doing this. At the end of his life he regretted
0:20:59 > 0:21:02that he'd got stuck with commercial art.
0:21:02 > 0:21:07It's amazing to see this, from the brilliant days of when he was a student...
0:21:07 > 0:21:12how you should learn as an artist, to draw, and that is a beautifully observed view.
0:21:12 > 0:21:15- Yes.- Coming down to this, which was Second World War
0:21:15 > 0:21:18and then having to make a living doing this, but very well.
0:21:18 > 0:21:21- Yes.- Did he think up these titles himself?
0:21:21 > 0:21:24All the thousands that he did, he thought up the captions.
0:21:24 > 0:21:26He was a great people watcher,
0:21:26 > 0:21:28he had a studio in Holmfirth
0:21:28 > 0:21:31and he would watch people as they walked past,
0:21:31 > 0:21:37the little man with the large lady, and so a lot of the postcards,
0:21:37 > 0:21:41the seaside postcards, are on the theme of the henpecked husband with the very large...
0:21:41 > 0:21:43They're very amusing.
0:21:43 > 0:21:46Even though this one's not humorous, it's so well done,
0:21:46 > 0:21:49that's got to be worth £500 to £700, £600 to £800
0:21:49 > 0:21:51and it's got Second World War interest.
0:21:51 > 0:21:56- Yes, yes.- And of course, you know, it's easy to be dismissive
0:21:56 > 0:22:00of illustrations like this, comedy like this, but it's not,
0:22:00 > 0:22:02it's very much that post World War period
0:22:02 > 0:22:05- and highly collectable today.- Yes.
0:22:05 > 0:22:09I think, as we distance ourselves from the 1950s and the '60s,
0:22:09 > 0:22:11this becomes more important.
0:22:11 > 0:22:15I think it was the art of the people in a sense, all the people
0:22:15 > 0:22:17that went on their annual holiday to Blackpool.
0:22:17 > 0:22:23These are worth probably £500-£700, £600-£800 each to a collector,
0:22:23 > 0:22:28but they're very amusing and I think they really encapsulate the 1950s and '60s humour.
0:22:30 > 0:22:33With over 14 generations of your family living here,
0:22:33 > 0:22:37there can't be a more poignant story than that attached to this painting.
0:22:37 > 0:22:40This is a really romantic bitter-sweet love story.
0:22:40 > 0:22:44Now Humphrey who was seven times great-grandfather, seventh owner
0:22:44 > 0:22:48of Prideaux Place, like a lot of prosperous young men in about 1740,
0:22:48 > 0:22:53he went on the Grand Tour of Europe, ended up in Venice where he had himself drawn,
0:22:53 > 0:22:59its not a painting, it's a pastel, by the very fashionable lady portraitist,
0:22:59 > 0:23:03Rosalba Carriera, and he was about 21 then
0:23:03 > 0:23:06and she fell in love with him. He's a good looking fellow
0:23:06 > 0:23:08and she thought he was great,
0:23:08 > 0:23:12didn't dare tell him because he was a grand young man on the Grand Tour
0:23:12 > 0:23:16and she was just a painter, so she wrote a love letter to him and said,
0:23:16 > 0:23:18"I think you're wonderful, I love you."
0:23:18 > 0:23:21And hid it in the back of the picture,
0:23:21 > 0:23:23so he never knew that she loved him,
0:23:23 > 0:23:28and it wasn't found until 1914 when the picture was being restored,
0:23:28 > 0:23:31so don't forget this was 1740, and all that time,
0:23:31 > 0:23:35no-one knew that she'd fallen in love with my ancestor, Humphrey.
0:23:35 > 0:23:39So he died, never knowing that she loved him.
0:23:39 > 0:23:44- No. I might have been Italian otherwise.- It would have changed the whole look of the family.
0:23:44 > 0:23:49What about her? She didn't know whether she had been rebuffed.
0:23:49 > 0:23:54She never knew, she apparently was very popular, a lot of suitors, but no-one ever proposed to marry her.
0:23:54 > 0:23:58And died a rather sad death, this is 1740,
0:23:58 > 0:24:04and she died in 1757, unwed, despite her great love for my ancestor,
0:24:04 > 0:24:07so it's a wonderfully romantic story, isn't it?
0:24:07 > 0:24:10Yes, it's really a two-tissue story.
0:24:10 > 0:24:14You know, when people start talking about Liverpool,
0:24:14 > 0:24:16for some reason they go back to the early '60s
0:24:16 > 0:24:21and the flowering of that great artistic talent in the Mersey Beat
0:24:21 > 0:24:24and the Beatles and all that sort of thing,
0:24:24 > 0:24:26but for those of us who know that little bit more,
0:24:26 > 0:24:30I think it's fair to say that that great artistic talent had been there
0:24:30 > 0:24:35several generations before. You've brought in a piece of furniture
0:24:35 > 0:24:39that reflects well the Liverpool of, let's say, around about
0:24:39 > 0:24:441890 or thereabouts, because it goes without saying there was a lot of
0:24:44 > 0:24:49activity on the art front, certainly the Arts and Crafts front anyway.
0:24:49 > 0:24:52- Yes.- I just want you to tell me a little bit about this cabinet
0:24:52 > 0:24:55because I've never seen one identical to this before
0:24:55 > 0:24:58and that is what makes this programme exciting.
0:24:58 > 0:25:03I bought it at auction, the reason I bought it was not only because it's a quality piece,
0:25:03 > 0:25:05it's a really nicely made piece,
0:25:05 > 0:25:08- but my main interest was in the handles.- Mm-hm.
0:25:08 > 0:25:12Because the handles are all stamped "Rathbone"
0:25:12 > 0:25:14- with a pattern number.- Yeah.
0:25:14 > 0:25:18And, um, Richard Llewellyn Benson Rathbone
0:25:18 > 0:25:24was one of the great flowering of artistic Liverpool in the 1890s and 1900s
0:25:24 > 0:25:28and one of the big Rathbone trading families, he made these handles
0:25:28 > 0:25:32and they're very difficult to come by, in fact I've never ever seen
0:25:32 > 0:25:35any of his work before.
0:25:35 > 0:25:38Very few people would have picked up on the Rathbone thing
0:25:38 > 0:25:42and the Rathbones as a family - and I go to Liverpool quite regular -
0:25:42 > 0:25:46and of course there are institutions there with the name of Rathbone.
0:25:46 > 0:25:50- Absolutely.- They're a very important Liverpool family. Let's have a look at
0:25:50 > 0:25:55the metal work because the metal work attracts me to the piece,
0:25:55 > 0:26:01these wonderful straps, and all, you know, all hand beaten,
0:26:01 > 0:26:06and I'm assuming all hand made, or hand finished anyway.
0:26:06 > 0:26:12This handle, I mean, how can you get enthusiastic about handles? But you can.
0:26:12 > 0:26:15- I know.- Because its a lovely handle, beautifully designed.
0:26:15 > 0:26:19- Yeah, very tactile.- Very tactile and then when you turn it over and see that mark...
0:26:19 > 0:26:22- Absolutely.- Magic, absolute magic.
0:26:22 > 0:26:26Let's have a look inside because another fascinating point
0:26:26 > 0:26:30about Liverpool at this time is happening over the water
0:26:30 > 0:26:33and it's happening in Birkenhead and the Rathbones are involved.
0:26:33 > 0:26:38What an influential family this lot were because they were instrumental
0:26:38 > 0:26:43in making wonderful pots at the Della Robbia factory and there's
0:26:43 > 0:26:46no points for guessing that these are Della Robbia.
0:26:46 > 0:26:50Let's start with that pot,
0:26:50 > 0:26:53um, now these are objects, I'm assuming,
0:26:53 > 0:26:55they didn't come with the cabinet.
0:26:55 > 0:26:57No, over the years, I've bought these.
0:26:57 > 0:27:04You've got a mark on there, DR with a ship mark, it looks a bit obscure,
0:27:04 > 0:27:05HP for Harry Pierce.
0:27:05 > 0:27:09- Yeah, I think so. - So that's a nice little pot.
0:27:09 > 0:27:11What's that worth today?
0:27:11 > 0:27:16- I don't know.- I'd suspect that's probably around about £250 to £350.
0:27:16 > 0:27:19Let's pop that one there and look at this one,
0:27:19 > 0:27:21look at that, typical with this sort
0:27:21 > 0:27:24of scraffito or cut-away design, this incised design,
0:27:24 > 0:27:28a little ribbon which tells you it's for keeping strawberries,
0:27:28 > 0:27:30but a lovely, lovely design,
0:27:30 > 0:27:34and typical glazes, these lovely mottled glazes.
0:27:34 > 0:27:37One would suspect around about £400
0:27:37 > 0:27:39- because they are missing their covers.- I know.
0:27:39 > 0:27:42But this one has its cover, this has its cover.
0:27:42 > 0:27:47I'm going to pop it down because I want to put the lid on there.
0:27:47 > 0:27:50Um...and just a lovely...
0:27:50 > 0:27:53- Bit of a crack there. - Bit of a crack, that's a shame
0:27:53 > 0:27:57but it's got this sort of lattice with trailing plants on it.
0:27:57 > 0:28:00So with a value on this pot,
0:28:00 > 0:28:04I would suggest, with the crack, it's probably
0:28:04 > 0:28:07£400 or £500. Without the crack,
0:28:07 > 0:28:11- I would have said at least £700 to £800.- Yeah, yeah.
0:28:11 > 0:28:12It's all in the eye of the beholder.
0:28:12 > 0:28:17- As for the cabinet itself, bit of a quandary.- Yeah.
0:28:17 > 0:28:21Because you bought it recently and I don't know how much you paid for it.
0:28:21 > 0:28:25And I'm thinking if I wanted to buy that, how much would I pay for it?
0:28:25 > 0:28:27Because often that's all we've got to go on.
0:28:27 > 0:28:34And if I saw that, I would be quite willing to spend £1,000 on it.
0:28:34 > 0:28:37Quite willing to spend £1,000.
0:28:37 > 0:28:41I might, if I could sneak it into the house,
0:28:41 > 0:28:44pay as much as £1,500 for it.
0:28:44 > 0:28:50I wouldn't like to say more than that. This is where you've got to tell me I'm afraid, if you want.
0:28:50 > 0:28:53It was £600, £500 plus commission, so...
0:28:53 > 0:28:57- It was your lucky day, wasn't it? - Yeah, but it was the handles, not the value.
0:28:57 > 0:29:01No, but you're probably the one person in this part of the world
0:29:01 > 0:29:03that really did... it homed in on you, didn't it?
0:29:03 > 0:29:07- It did, yes.- But it's rather fitting, don't you think,
0:29:07 > 0:29:12that in not so many years Liverpool is going to be the cultural city of Europe?
0:29:12 > 0:29:17- And for some of us, it always was. - Absolutely, couldn't agree more.
0:29:17 > 0:29:18Thank you.
0:29:18 > 0:29:22So what we've got here is, um
0:29:22 > 0:29:25a piece out of the Western Morning News which is the local newspaper.
0:29:25 > 0:29:33- Daily, yes.- The daily newspaper, and two catalogues from the 19th century
0:29:33 > 0:29:37"Catalogue of damaged bale goods, part of the cargo of ship Samaritan
0:29:37 > 0:29:42"for sale in a field at St Saviours,
0:29:42 > 0:29:44"Thursday 5th November 1846".
0:29:44 > 0:29:49Yes, that field is just half a mile over that way.
0:29:49 > 0:29:51Really? So very, very local.
0:29:51 > 0:29:56And these goods were sold in a field because they were too wet
0:29:56 > 0:30:00for, um, the warehouse sale, which came later the next year.
0:30:00 > 0:30:03So this article tells us a bit about the wreck,
0:30:03 > 0:30:06"They found the Samaritan dashed on the rocks and the beach strewn
0:30:06 > 0:30:10"with iron clad bales and crates and brightly printed silks
0:30:10 > 0:30:13"lying wet on rocks and caught in seaweed."
0:30:13 > 0:30:18But what was so fantastic, on the night of the storm and the time that the ship was being wrecked,
0:30:18 > 0:30:21a young local boy was having a nightmare
0:30:21 > 0:30:24that two sailors were drowning
0:30:24 > 0:30:26and he went to wake his parents
0:30:26 > 0:30:30- to see if there was anything they should do, and they didn't believe him.- No.
0:30:30 > 0:30:33He went into them three times.
0:30:33 > 0:30:38- In the night.- Yes, saying he was having a nightmare about
0:30:38 > 0:30:43people in trouble on the beach and he could see two men in his dream.
0:30:43 > 0:30:45So eventually, having really woken them up,
0:30:45 > 0:30:48he persuaded them to go down to the beach
0:30:48 > 0:30:54and indeed they did find these two survivors, the only two survivors in the surf
0:30:54 > 0:30:58- and all this strewn cargo on the beach.- Yes.
0:30:58 > 0:31:02- They were the only two saved. - They were the only two saved.- Yes.
0:31:02 > 0:31:05So they rescued all the stuff from the beach, they brought it up
0:31:05 > 0:31:08and catalogued it into these two sales.
0:31:08 > 0:31:12No, no. This was what the excise men found later.
0:31:12 > 0:31:16- Right.- And there's no mention of silks in this catalogue.- Right.
0:31:16 > 0:31:21- The silks disappeared.- Were probably sent off underneath somebody's umbrella.- Yes, smuggled.
0:31:21 > 0:31:27And what was relevant to Padstow is, because the goods were wrecked off the coast,
0:31:27 > 0:31:29it meant that the locals had the benefit
0:31:29 > 0:31:34- of these goods that they couldn't normally...- If they got there before the excise men.
0:31:34 > 0:31:39So this is the catalogue of some of the things that were salvaged.
0:31:39 > 0:31:41- This was just printed for the day. - Right.
0:31:41 > 0:31:48Um, and this particular one, the person who was at the sale wrote down
0:31:48 > 0:31:52the names of all the people and what they paid for the particular goods.
0:31:52 > 0:31:56What makes this so special to me is that we're not
0:31:56 > 0:32:02talking about a great value here, but it is invaluable because this is part of the local history
0:32:02 > 0:32:05and without the care of your family,
0:32:05 > 0:32:10and you for taking the trouble to get these catalogues restored,
0:32:10 > 0:32:14they wouldn't exist. Thank you for bringing these because that is such a lovely story.
0:32:14 > 0:32:16Well, the pleasure is mine.
0:32:16 > 0:32:20This sensitive face is that of your own brother.
0:32:20 > 0:32:22- Yes.- How did the sculpture come about?
0:32:22 > 0:32:28Well, in 1950, the sculptor Jim Clack wanted to try his hand at granite.
0:32:28 > 0:32:34He usually worked in wood and he approached the De Lank quarry in St Breward.
0:32:34 > 0:32:40- So pretty local then?- Very local because we were living in St Breward at the time,
0:32:40 > 0:32:44and he came to stay with us, and before he left he did this head of my brother.
0:32:44 > 0:32:47Do you know why he was staying with you?
0:32:47 > 0:32:50- Um, no, not really.- Why you?- Why us?
0:32:50 > 0:32:55I don't know, we were an incoming family to the village, we hadn't been there long.
0:32:55 > 0:32:58He was a bit strange for that time, he was sort of bearded
0:32:58 > 0:33:02and sandled and corduroy jackets and taking snuff and that kind of thing.
0:33:02 > 0:33:05We've got a photograph of him here.
0:33:05 > 0:33:07Yeah, he was an extraordinarily nice man.
0:33:07 > 0:33:11Yeah, well, he looks a little bit offbeat.
0:33:11 > 0:33:15- Yes.- But he looks like a sculptor, doesn't he?- He does.
0:33:15 > 0:33:21The quarry was closed for the fortnight that he wanted to work it
0:33:21 > 0:33:26and there were no power tools, but he did this torso of a woman
0:33:26 > 0:33:29which got christened Phoebe
0:33:29 > 0:33:35- and he got a finish like glass on it with hand tools. He was absolutely brilliant.- He was very accomplished.
0:33:35 > 0:33:41- Yes.- But he found time to do your brother.- He did. I've no idea how. I think he wanted to say thank you
0:33:41 > 0:33:44to my parents for having him there and they did remain friends.
0:33:44 > 0:33:46How has it ended up in your house?
0:33:46 > 0:33:52My brother died at the age of 11, so it became a very precious object,
0:33:52 > 0:33:53and of course it came to me.
0:33:53 > 0:33:58- Well, that is...- Ultimately. - That is a tragic tale,
0:33:58 > 0:34:00but at least you have this.
0:34:00 > 0:34:02I do and it's very beautiful.
0:34:02 > 0:34:06And here is the photograph of him standing next to his sculpture.
0:34:06 > 0:34:10How poignant it is to actually have this sculpture with the thought
0:34:10 > 0:34:15that it was done only two years before he died, and you can get the sense of likeness immediately,
0:34:15 > 0:34:20and the sensitivity with which the artist has rendered the facial features.
0:34:20 > 0:34:23- Let's talk a bit about the sculptor himself.- OK.
0:34:23 > 0:34:28- He's really quite a prominent figure but when you look him up, you don't find a lot of information.- Right.
0:34:28 > 0:34:35The testimony to his life is pretty well all around us in Devon and also in London in Green Park.
0:34:35 > 0:34:39- Yes.- A magnificent sculpture there of Diana the Huntress.
0:34:39 > 0:34:44If you look at his exhibits - he exhibited about 40 times at the Royal Academy -
0:34:44 > 0:34:48- you can see one exhibit there of Phoebe in Cornish granite. - Oh, right.
0:34:48 > 0:34:54- So that piece he did with you... - That's amazing!- ..made it to the Royal Academy.- Lovely.
0:34:54 > 0:34:58The process of sculpting an object like this
0:34:58 > 0:35:01was long and arduous and I'm surprised he found time.
0:35:01 > 0:35:05I myself have recently commissioned a sculptor to do my own son, a nine-year-old.
0:35:05 > 0:35:10- Right.- And it was the most athletic business to keep him still,
0:35:10 > 0:35:16and in the end the sculptor had to force him to watch Tintin videos, it was the only way to...
0:35:16 > 0:35:20Now he has a violent reaction at the sight of them,
0:35:20 > 0:35:23so I know how much work goes into these things
0:35:23 > 0:35:26and I'm really quite surprised that he found the time.
0:35:26 > 0:35:30Well, it's difficult to put a price on an object like this.
0:35:30 > 0:35:33- Yes.- I don't really want to. But it is a sensitive object
0:35:33 > 0:35:38and I wouldn't be surprised if it would make £1,000, £1,100, £1,200
0:35:38 > 0:35:43if it were to sell, we know who the sculpture is and it's prominent,
0:35:43 > 0:35:47but as a piece of family sentiment, it really is priceless.
0:35:47 > 0:35:50- Absolutely. - And to have the serendipity of
0:35:50 > 0:35:52- a couple of years before your brother died.- I know.
0:35:52 > 0:35:56- To have him three-dimensionally caught like this.- Yes, yes.
0:35:56 > 0:35:59It was wonderful for my parents, of course.
0:35:59 > 0:36:04- And having no family to pass it through, dying so young, you are now the proud owner.- Yes, that's right.
0:36:07 > 0:36:13This is a letter written by Nelson on board Victory May 25th 1804. What do you know about it?
0:36:13 > 0:36:19Very little except that it was handed down to me from my first husband
0:36:19 > 0:36:22to be passed on to our sons
0:36:22 > 0:36:25and it was passed down his family
0:36:25 > 0:36:29and it was written to one of his ancestors
0:36:29 > 0:36:32who I assume were one of the Earls of Morton.
0:36:32 > 0:36:35Well, Nelson was always being asked
0:36:35 > 0:36:39to do favours for friends and relatives and almost anyone,
0:36:39 > 0:36:44and they would always write to him asking if they could get a son on board a ship
0:36:44 > 0:36:47or do a favour for someone for some particular reason,
0:36:47 > 0:36:52and this is clearly a response to somebody who's asked for a favour.
0:36:52 > 0:36:55"My dear sir, many thanks for your good wishes,
0:36:55 > 0:37:00"I bear your friends in mind, but alas I see no prospect of being useful to them
0:37:00 > 0:37:03"during the probable short stay my health will allow."
0:37:03 > 0:37:09At that time he was pretty unwell, he'd had several injuries of course
0:37:09 > 0:37:12earlier in his career and he really wasn't very well at all,
0:37:12 > 0:37:16but of course he realised the French had to be defeated,
0:37:16 > 0:37:21so he stayed on board Victory, he stayed down in the Mediterranean,
0:37:21 > 0:37:24stayed where he could do his job and fight the French,
0:37:24 > 0:37:28and it goes on to say, "To serve in the Mediterranean
0:37:28 > 0:37:35"without some rest and expect to eat my..." What's that?
0:37:35 > 0:37:37- First.- "First dinner in England
0:37:37 > 0:37:42"and much sooner if the French fleet will come out.
0:37:42 > 0:37:48"I only serve to meet them. That done, I feel a great..."
0:37:48 > 0:37:49What's that?
0:37:49 > 0:37:54- Demand.- "Demand of my country is complied with."
0:37:54 > 0:37:58And there you see he shows that there's a great responsibility
0:37:58 > 0:38:04resting on his shoulders to defeat the French and effectively end the war with France.
0:38:04 > 0:38:09- It's a pretty important letter. Have you ever thought about the value? - Absolutely no idea.
0:38:09 > 0:38:14I'm pretty sure it's genuine, I don't see a problem with it. If it is,
0:38:14 > 0:38:20it's going to be worth somewhere in-between £5,000 and £10,000.
0:38:20 > 0:38:22Goodness me, that's quite a lot.
0:38:22 > 0:38:26- It's a lot of money for a piece of paper, isn't it?- Absolutely.
0:38:29 > 0:38:33I saw this wonderful bit of manuscript a little while ago
0:38:33 > 0:38:37and we managed to delve into Prideaux House and wheel out a piano
0:38:37 > 0:38:39which we'll come to later.
0:38:39 > 0:38:43But I'm intrigued, looking at this sheet,
0:38:43 > 0:38:48there's a name, I think Ivor Novello at the top there. Tell me the story.
0:38:48 > 0:38:54Yes, Ivor Novello was a great friend of my mother's because my mother was on the stage
0:38:54 > 0:39:00and he used to come and stay with her and he wrote this particular piece of music for her.
0:39:00 > 0:39:06- Your mother... I've got... Ah, this is Mum.- Yes.- Elsa MacFarlane.
0:39:06 > 0:39:13- Elsa MacFarlane, yes. - Yes, family resemblance, I can see that very clearly, wonderful!
0:39:13 > 0:39:15So she was a singer obviously.
0:39:15 > 0:39:18Yes, she was a singer and she played the piano.
0:39:18 > 0:39:24- Wonderful. - And she was in quite a lot of shows, you know, before the war.
0:39:24 > 0:39:27And she was married to whom? Was she, did she...?
0:39:27 > 0:39:31She was married to Mr Clifford Whitney, who was...
0:39:31 > 0:39:34he brought a lot of stars over from America
0:39:34 > 0:39:37and he particularly brought over Maurice Chevalier.
0:39:37 > 0:39:40Ah, so Clifford, this is to Cliff.
0:39:40 > 0:39:44- That's my father, yes.- "To Cliff from Maurice, Hollywood '32."- Yes.
0:39:44 > 0:39:47Wonderful signed photograph of Maurice Chevalier.
0:39:47 > 0:39:51So you're, you're really from a theatrical background, aren't you?
0:39:51 > 0:39:52That's right, yeah, yeah.
0:39:52 > 0:39:58Now this, tell me about this particular piece of manuscript.
0:39:58 > 0:40:01It says "Willow Pattern Plate." Was there any particular reason
0:40:01 > 0:40:03why he called it that?
0:40:03 > 0:40:05Yes, she had a huge piece of
0:40:05 > 0:40:12- willow pattern, you know, the plate, on the piano and so he named it... - Because of that.- Because of that.
0:40:12 > 0:40:15I mean, a little bit about Ivor Novello...
0:40:15 > 0:40:17- born in Cardiff 1893.- Yeah.
0:40:17 > 0:40:20- He died very young, didn't he, in 1951.- Yeah, yeah.
0:40:20 > 0:40:25But the thing about Ivor Novello which perhaps this generation may not know
0:40:25 > 0:40:29- is that he really was the king of the British stage.- Yeah.
0:40:29 > 0:40:32And let's think of some of his famous tunes.
0:40:32 > 0:40:34There was Keep The Home Fires Burning.
0:40:34 > 0:40:37- We'll Gather Lilacs. - We'll Gather Lilacs.
0:40:37 > 0:40:40- Everything he produced was an instant hit.- That's right.
0:40:40 > 0:40:45People would flock to his shows, so his place in British musical theatre
0:40:45 > 0:40:48- is incredibly important.- Yes.
0:40:48 > 0:40:53And to have a piece of manuscript here is wonderful.
0:40:53 > 0:40:57- What does it sound like? - I have never heard it.
0:40:57 > 0:41:00- I've never heard it.- Are you serious?
0:41:00 > 0:41:02- Yes, never heard it.- Why not?
0:41:02 > 0:41:06Because I can't play the piano and it's just one of those things.
0:41:06 > 0:41:11You put them away, like photos, and I've never really brought it out,
0:41:11 > 0:41:15it was only because of the Antiques Roadshow coming here
0:41:15 > 0:41:19that I brought it out and thought you may be interested.
0:41:19 > 0:41:20Cor, not half!
0:41:20 > 0:41:24- I should say we're interested! - But I don't know the value of it.
0:41:24 > 0:41:28I'm going to disappoint you because I don't know its value either.
0:41:28 > 0:41:31I think something like this is incredibly difficult to value.
0:41:31 > 0:41:37Had you brought it to me in the 1950s or late 1940s
0:41:37 > 0:41:40when Ivor Novello was at the height of his fame and influence.
0:41:40 > 0:41:44One would...it would have been quite an easy thing to value.
0:41:44 > 0:41:47- Yes.- But now, I have to say,
0:41:47 > 0:41:50it's beyond me.
0:41:50 > 0:41:54- But I think part of its excitement...- Yes.
0:41:54 > 0:41:58..is that here, now, in Padstow,
0:41:58 > 0:42:02we're going to have the world premiere of Willow Pattern Plate.
0:42:02 > 0:42:08Mary, would you oblige and give me a little nod when the page needs turning.
0:42:53 > 0:42:56Ivor Novello lives.
0:42:56 > 0:42:58What a wonderful Roadshow moment.
0:42:58 > 0:43:01So many fascinating things here today.
0:43:01 > 0:43:07What you may not know is that Prideaux Place has the very oldest deer park in the country
0:43:07 > 0:43:11and the legend is that when the deer die out, so will the Prideaux family.
0:43:11 > 0:43:15So all we can do is wish the deer the best of health for centuries to come.
0:43:15 > 0:43:19And the same for every one else we've met in here.
0:43:19 > 0:43:23Until the next time, from Padstow in Cornwall, goodbye.
0:43:25 > 0:43:26Very good.