0:00:38 > 0:00:41This week we've come to a place that may look strangely familiar.
0:00:41 > 0:00:43There's nothing strange about it,
0:00:43 > 0:00:46this is a place that television just loves...
0:00:46 > 0:00:48Welcome to Lacock in Wiltshire.
0:00:51 > 0:00:54Ironically, when you look closely at Lacock you realise that
0:00:54 > 0:00:58TV aerials don't exist here, neither do satellite dishes, burglar alarms
0:00:58 > 0:01:02or those lovely yellow lines.
0:01:02 > 0:01:06It's not that the villagers have spurned 20th century life,
0:01:06 > 0:01:08it's just that the National Trust, who own Lacock,
0:01:08 > 0:01:13are keen to retain as much of its old world charm as possible.
0:01:13 > 0:01:15Living here has its pros and cons.
0:01:15 > 0:01:18On the one hand you get to live somewhere beautiful,
0:01:18 > 0:01:20on the other you get those awful film people
0:01:20 > 0:01:23banging on your front door wanting to turn it into the backdrop
0:01:23 > 0:01:25for their next big production.
0:01:25 > 0:01:30Mind you, it has to be said, Lacock has never been exactly camera shy.
0:01:33 > 0:01:36In 1995 approval was granted for the High Street to be transformed
0:01:36 > 0:01:39into the Regency town of Meriton
0:01:39 > 0:01:43for the BBC's version of Jane Austen's Pride And Prejudice.
0:01:48 > 0:01:52This pub became the exterior of the Meriton Assembly Hall
0:01:52 > 0:01:56where the Bennet girls meet Mr Darcy for the first time.
0:01:59 > 0:02:04Lacock's screen credits are long. Emma, The Mayor Of Casterbridge,
0:02:04 > 0:02:07Moll Flanders, Tom Brown's Schooldays...
0:02:07 > 0:02:11the only person who hasn't been here it seems is Indiana Jones.
0:02:11 > 0:02:14The village was old long before any of the aforementioned were dreamed of...
0:02:14 > 0:02:17It dates back to the 13th century
0:02:17 > 0:02:22when Lacock Abbey was founded by Ella, Countess of Salisbury.
0:02:22 > 0:02:26Today, the Abbey's lawns provide the location for a screen icon almost
0:02:26 > 0:02:28as venerable as the abbey itself,
0:02:28 > 0:02:33and cameras roll for the Antiques Roadshow, scene one, take one.
0:02:35 > 0:02:42These are the most sumptuous silkwork pictures that I have ever seen.
0:02:42 > 0:02:45I am just completely spellbound by them.
0:02:45 > 0:02:52The way the house has been sewn and this incredible reflection
0:02:52 > 0:02:55of the house in the water,
0:02:55 > 0:02:59all sewn in silk and taken directly
0:02:59 > 0:03:03from this watercolour and I am sure if I stood back from them,
0:03:03 > 0:03:07I wouldn't be able to know what the medium of this is.
0:03:07 > 0:03:10- It only reveals itself as you get closer.- Right.
0:03:10 > 0:03:13I mean the workmanship is just fantastic.
0:03:13 > 0:03:15Yes, yes.
0:03:15 > 0:03:17What relationship do you have with them?
0:03:17 > 0:03:20This was my grandmother's
0:03:20 > 0:03:23and she lived in north Wales,
0:03:23 > 0:03:29she did quite a few pictures from north Wales and then moved to Minehead,
0:03:29 > 0:03:32that was after her husband died.
0:03:32 > 0:03:33So was she a trained artist?
0:03:33 > 0:03:38Not that I'm aware of, no. I think this entirely started off as a hobby
0:03:38 > 0:03:46and she was then encouraged, um, after one or two had been produced to actually exhibit them.
0:03:46 > 0:03:48And was she successful? Did she sell her things?
0:03:48 > 0:03:55Yes, she did, um, to my certain knowledge she sold maybe 20 or more.
0:03:55 > 0:04:00- But she was, she was basically an amateur.- Oh, very much so, yes, yes. Very much so.
0:04:00 > 0:04:04One of the things that strikes me immediately is that she had the most
0:04:04 > 0:04:09passionate love of nature and the outside world, she has grasped here
0:04:09 > 0:04:13the total atmosphere, there is this lovely bend in the river,
0:04:13 > 0:04:19this beautiful oak tree with all the sort of strength and elegance
0:04:19 > 0:04:24of a statuesque tree, all the sun on the trunk here and the detail
0:04:24 > 0:04:28of the little wild flowers, the thistles, the ferns,
0:04:28 > 0:04:33the grasses, but what's interesting is, the stitching is all long stitch
0:04:33 > 0:04:37and in some places she's done it over the top of an under layer
0:04:37 > 0:04:39so you get this relief.
0:04:39 > 0:04:40That's why you get this tremendous
0:04:40 > 0:04:43- feeling of depth in it. - It's almost a 3D effect.
0:04:43 > 0:04:47And the silks themselves are shaded so she must have
0:04:47 > 0:04:52bought good quality silks. Do you know where she got them from?
0:04:52 > 0:04:55I have no record of that at all.
0:04:55 > 0:05:00Because she was in north Wales and the tradition for this sort of wonderful silk work was London
0:05:00 > 0:05:03and so she was incredibly sophisticated in her tastes.
0:05:03 > 0:05:09I just think they are totally mind-blowing and they're in the most amazing, amazing condition
0:05:09 > 0:05:15and I am going to place a price on each of £500,
0:05:15 > 0:05:21going up towards £1,000 for these bigger ones.
0:05:21 > 0:05:24Obviously I will never ever part with them.
0:05:24 > 0:05:29- And you can't replace them. - As they are a family heirloom, they are irreplaceable.
0:05:29 > 0:05:32This is an interesting group of Royal Worcester pieces
0:05:32 > 0:05:36that one generally finds in a home in Worcester itself.
0:05:36 > 0:05:41To come all the way down here to Wiltshire and find a group of Royal Worcester pieces
0:05:41 > 0:05:43like this, is a bit strange.
0:05:43 > 0:05:46- How does it come to be? - Well, my mother came from Worcester
0:05:46 > 0:05:51and it all either belonged to my grandparents or my mother,
0:05:51 > 0:05:54it's now passed on to my wife, Eileen.
0:05:54 > 0:05:56Any piece you like particularly?
0:05:56 > 0:06:02- Well, I fell in love with the tea service...- Yes.- ..when I first met my future parents-in-law.
0:06:02 > 0:06:04It's very much of the 1910s,
0:06:04 > 0:06:10it's a pattern called Pekin which was named I think after the town in China where they had the...
0:06:10 > 0:06:12they had a rebellion I think or something like that,
0:06:12 > 0:06:16and Pekin has been a very popular pattern for a very long time,
0:06:16 > 0:06:20but your set goes back to about the 1910 period.
0:06:20 > 0:06:22- Have you got the whole set?- Yes.
0:06:22 > 0:06:24I mean it's 100 years old.
0:06:24 > 0:06:26Yes, yes, yes.
0:06:26 > 0:06:29That would take you back. You've got here the
0:06:29 > 0:06:35blackberries and autumnal fruits, beautiful painting on a little vase,
0:06:35 > 0:06:37a little pot pourri vase for the
0:06:37 > 0:06:41smells to come out of the holes at the top, by Kitty Blake.
0:06:41 > 0:06:44Kitty Blake was a very daring woman for her time.
0:06:44 > 0:06:47She wore bright red lipstick and smoked fags
0:06:47 > 0:06:51and she was terribly annoying to the Worcester Factory.
0:06:51 > 0:06:53They hated this blessed girl
0:06:53 > 0:06:57because she fought them tooth and nail for permission to get the girls
0:06:57 > 0:07:01to be allowed to sign there, and this one is signed.
0:07:01 > 0:07:03There it is, Blake.
0:07:03 > 0:07:09Kitty Blake, a marvellous girl and she ran a marvellous group of girls,
0:07:09 > 0:07:12painters at the factory who were called "The Saucy Six"
0:07:12 > 0:07:15and they were very very naughty girls.
0:07:15 > 0:07:18They made life hell for the foreman.
0:07:18 > 0:07:20- Good for them.- Good for them.
0:07:20 > 0:07:22- You've got some more like that, haven't you?- Yes.
0:07:22 > 0:07:24More like this?
0:07:24 > 0:07:29- Yes.- Oh, they're rather valuable, and also this is about the same...
0:07:29 > 0:07:33just a bit before that date, 1920,
0:07:33 > 0:07:37this is about 1905 and the Hadley factory
0:07:37 > 0:07:41- which was a breakaway from the Royal Worcester.- Oh, really?
0:07:41 > 0:07:44But a nice little pot that one, but the gem of the whole thing to me,
0:07:44 > 0:07:47apart from your tea set, is this chap.
0:07:47 > 0:07:49- Oh, really?- Is that one, yes.
0:07:49 > 0:07:51- That's my husband's favourite.- Is it?
0:07:51 > 0:07:55Right, this is Highland sheep or sheep in a...
0:07:55 > 0:07:59no, sheep in a, in a lowland setting I suppose, mainly they're always put
0:07:59 > 0:08:03up in the Highlands of Scotland when they're by Harry Davies
0:08:03 > 0:08:06but this is by Ernie Barker, E Barker,
0:08:06 > 0:08:07the signature there,
0:08:07 > 0:08:12who was the pupil of Harry Davies and, um he was an extremely fine
0:08:12 > 0:08:15sheep painter, beautiful painter indeed, Ernie Barker,
0:08:15 > 0:08:21but he had to be in the shadows of Harry Davies and if that were
0:08:21 > 0:08:26- a Harry Davies piece, you wouldn't go home without an escort.- Really?
0:08:26 > 0:08:27Highly collectable.
0:08:27 > 0:08:31The tea service, um, probably only going to be about £250, £300,
0:08:31 > 0:08:37the little Hadley vase going to be about £200,
0:08:37 > 0:08:40the Kitty Blake going to be about £400
0:08:40 > 0:08:43but the gem of the thing is of course the Ernie Barker piece,
0:08:43 > 0:08:49- and I reckon you're looking at say about £1,200.- Gosh.
0:08:49 > 0:08:51- So look after them won't you? - We will, yeah.
0:08:51 > 0:08:54- Guard them...- I shall be very careful going home now.
0:08:54 > 0:09:00If you use the Pekin set, I'll think of you when using it, enjoy, but careful with it.
0:09:00 > 0:09:03- Thanks very much indeed. - Thank you very much.
0:09:03 > 0:09:07Well, if I hadn't read the first line and recognised the handwriting,
0:09:07 > 0:09:09and indeed recognised this
0:09:09 > 0:09:14British Antarctic Expedition Terra Nova stamp there, I would
0:09:14 > 0:09:17realise that it was Edward Wilson, Dr Edward Wilson who went with
0:09:17 > 0:09:22Captain Scott on his last expedition to the South Pole,
0:09:22 > 0:09:27which he got to and of course Amundsen, the Norwegian had got there first,
0:09:27 > 0:09:30and they died coming home, they all froze together.
0:09:30 > 0:09:34I must read it "January 3rd 1910".
0:09:34 > 0:09:37But that is wrong, it should be 1911.
0:09:37 > 0:09:42He just forgot... I always forget about dates, you know, when you go over to the New Year.
0:09:42 > 0:09:45"I want you to thank the dear old home cook for
0:09:45 > 0:09:50"her plum pudding which we ate on New Year's Day and found simply tip-top."
0:09:50 > 0:09:52That's very Edwardian, isn't it?
0:09:52 > 0:09:53Yeah, it's a different era.
0:09:53 > 0:09:56"It couldn't possibly have been nicer or have
0:09:56 > 0:10:00"kept better or have been more appreciated by everyone in the mess
0:10:00 > 0:10:04"and the shillings and six pennies and things will all be treasured
0:10:04 > 0:10:06"for all time by the finders.
0:10:06 > 0:10:09"I had a button which I shall take south with me."
0:10:09 > 0:10:11That's absolutely fantastic.
0:10:11 > 0:10:14I have to say that letters
0:10:14 > 0:10:16from the Antarctic are incredibly rare.
0:10:16 > 0:10:18I think if it came up for sale,
0:10:18 > 0:10:22it would be quite in excess of £2,500.
0:10:22 > 0:10:25Really? Gosh!
0:10:25 > 0:10:26Thank you very much.
0:10:29 > 0:10:32We bought it three years ago in
0:10:32 > 0:10:35an antique shop in Lincoln and the antique shop owner told us that it
0:10:35 > 0:10:38came from a house clearance from a lady who lived in a cathedral close
0:10:38 > 0:10:43and he understood that her father had spent some time in India
0:10:43 > 0:10:46and we fell in love with it, that's why...
0:10:46 > 0:10:48It's one of those sort of love it or hate it,
0:10:48 > 0:10:52because the decoration is just so profuse.
0:10:52 > 0:10:57People often imagine that the value is therefore extremely high,
0:10:57 > 0:11:01I'm wondering what you might have paid for it in your antique shop.
0:11:01 > 0:11:04Um, we paid £90 so not very much.
0:11:04 > 0:11:07Well, we see quite a lot of these on the Antiques Roadshow
0:11:07 > 0:11:11and normally it's where people have been travelling in India around the
0:11:11 > 0:11:14turn of the century, so around 1900
0:11:14 > 0:11:19and they've just seen them and they've never seen anything like this.
0:11:19 > 0:11:24The value of it is not particularly high, in the region of £100 to £150
0:11:24 > 0:11:27so I think you did perfectly well
0:11:27 > 0:11:30and it's just really interesting to see that somebody
0:11:30 > 0:11:32your age isn't just buying modern furniture.
0:11:32 > 0:11:36It's really nice to see that you have an eye for something like this as well.
0:11:36 > 0:11:41Well, this is just a serious peach of Edwardian glass making,
0:11:41 > 0:11:43tell me what's your association?
0:11:43 > 0:11:48Well, I inherited it from my grandmother who told me that her
0:11:48 > 0:11:53father made it, probably as a test piece, and he came from Stourbridge.
0:11:53 > 0:11:57Well, this absolutely fits, this was made in 1910 so that...
0:11:57 > 0:12:00your grandfather... that seems about right.
0:12:00 > 0:12:04- Yes.- It's an exquisite form of cutting, it's extremely difficult
0:12:04 > 0:12:08to replicate and is associated with one firm, and one firm alone.
0:12:08 > 0:12:13This is Stevens and Williams who were the finest British glassmakers
0:12:13 > 0:12:16of the Edwardian era, they overtook Thomas Webb as the greatest makers
0:12:16 > 0:12:21and this is a cracked ice pattern which is extremely difficult to do.
0:12:21 > 0:12:25I've seen glass cutters trying to replicate and tearing their hair out in the process, so here we have
0:12:25 > 0:12:30a polo mint or lifebuoy shape
0:12:30 > 0:12:34with this fabulous leaf pattern coming out,
0:12:34 > 0:12:36I bet it looks absolutely fab with...
0:12:36 > 0:12:39- With a liquid. - with a three dimensional...
0:12:39 > 0:12:41with a liquid inside it, it must really come alive.
0:12:41 > 0:12:45I'm sure you'll be delighted to hear that if you wanted
0:12:45 > 0:12:50- to replace it, you'd have to pay £1,800 to £1,500.- Really?
0:12:50 > 0:12:53If you were just selling it, you'd get at least £1,000.
0:12:53 > 0:12:57- Wow!- Pretty good, eh? - Marvellous inheritance.- Well, cheers.
0:12:57 > 0:12:59LAUGHTER
0:13:00 > 0:13:04This seems to me to be all French Revolution. Am I right?
0:13:04 > 0:13:05- Yes.- Well, I have to say, why?
0:13:05 > 0:13:09Um, I've had a passion about the French Revolution
0:13:09 > 0:13:13since the age of about 12, my mother has a French porcelain collection,
0:13:13 > 0:13:16Sevres porcelain and I used to hear romantic stories
0:13:16 > 0:13:19about Louis XVI and Marie Antoinette and I also watched a programme
0:13:19 > 0:13:23on Blue Peter about the life of Marie Antoinette and I just found
0:13:23 > 0:13:27her very fascinating and from there, I got to learn about the Revolution.
0:13:27 > 0:13:31This is probably a very rude question but in 1989
0:13:31 > 0:13:35the Bicentenary of the French Revolution, I was in France, celebrating with the French.
0:13:35 > 0:13:38- So was I.- You were there? - Yes, I was 15 at the time, yes.
0:13:38 > 0:13:40I didn't want to ask, but you've answered the question.
0:13:40 > 0:13:42Let's begin with the French things.
0:13:42 > 0:13:45I mean this seems to me to be pretty obvious.
0:13:45 > 0:13:51- It's one of the cockades worn by the Revolutionaries.- Yes, but it's a very potent symbol at the time.
0:13:51 > 0:13:52This actually was there, wasn't it?
0:13:52 > 0:13:55It's quite magical just to think that
0:13:55 > 0:13:58and if you wore that, you were immediately showing your
0:13:58 > 0:14:01allegiance to the French Revolution and if you didn't wear that,
0:14:01 > 0:14:04people would wonder why you weren't and questions would be asked
0:14:04 > 0:14:07and you might be on your way to the guillotine.
0:14:07 > 0:14:09It was a case of "You're with us or against us."
0:14:09 > 0:14:13Let's look at the British element, I mean I know this is English
0:14:13 > 0:14:16- cream ware of that period.- Yes.
0:14:16 > 0:14:18But it has a revolutionary image,
0:14:18 > 0:14:23it has a guillotine, it has all those messages that that implies.
0:14:23 > 0:14:25- Yes.- Now what is this saying?
0:14:25 > 0:14:27Well, this is a cartoon of the British
0:14:27 > 0:14:32and this is Louis XVI's brother holding aloft his head, because his brother actually
0:14:32 > 0:14:35denounced him because of the French Revolution.
0:14:35 > 0:14:39He pretended to be a revolutionary, so here we're saying that he was,
0:14:39 > 0:14:43he had something to do with his own brother's execution.
0:14:43 > 0:14:46But was this made to be bought by British sympathisers
0:14:46 > 0:14:49or people who were horrified by the events? Do we know?
0:14:49 > 0:14:51I have no idea, I suppose it's like us buying
0:14:51 > 0:14:53Punch magazine now.
0:14:53 > 0:14:55It was simply a contemporary reference.
0:14:55 > 0:14:57You knew it was going on, so you bought this jug,
0:14:57 > 0:15:00because it had a slightly shock horror image on it,
0:15:00 > 0:15:02the beheaded Frenchman.
0:15:02 > 0:15:05Yes, so he used to be called Philippe Egalite.
0:15:05 > 0:15:08This is also English, isn't it?
0:15:08 > 0:15:10You've actually got again the image of the guillotine.
0:15:10 > 0:15:12- Yes.- Quite dramatically so.
0:15:12 > 0:15:15It's a bit like when we have a coronation now.
0:15:15 > 0:15:19- This is a commemorative item. - Yes.- But I think what is...
0:15:19 > 0:15:23I mean a coronation mug is unequivocally celebratory.
0:15:23 > 0:15:26- Yes.- These have a very complicated dual message.
0:15:26 > 0:15:30I myself find it really hard to understand why we were producing such things, yes.
0:15:30 > 0:15:35I think the rarest thing to me must by the fans, and here we have
0:15:35 > 0:15:38- an amazing survival.- Yes.
0:15:38 > 0:15:42Um, this is a fan of the revolution showing the Estates-General...
0:15:42 > 0:15:44Yes, yes.
0:15:44 > 0:15:46..which was the revolutionary parliament.
0:15:46 > 0:15:48Yes, it hadn't been convened in 400 years so...
0:15:48 > 0:15:51And there it was, and a commemorative fan.
0:15:51 > 0:15:54What could be more transient than a paper object.
0:15:54 > 0:15:55This was a throwaway item.
0:15:55 > 0:16:01- When people went to the theatre obviously they were incredibly hot, so fans were...- Fans were used.
0:16:01 > 0:16:04- Yes.- But you know, the idea of this surviving.
0:16:04 > 0:16:08I suppose at the time people thought, "Gosh these things are important,
0:16:08 > 0:16:10"we must keep them for posterity."
0:16:10 > 0:16:12But this must be unbelievably rare.
0:16:12 > 0:16:16- The only other one is in the British Museum as far as I know. - Even the French don't have one?
0:16:16 > 0:16:22No, no, actually funnily enough when I go to France, quite often, it's very hard to find memorabilia there.
0:16:22 > 0:16:24This is the only thing that I've bought in France.
0:16:24 > 0:16:26This is a death certificate. Er...
0:16:26 > 0:16:28So when you were chopped off, you got a piece of paper.
0:16:28 > 0:16:30They loved keeping their records,
0:16:30 > 0:16:33they were very good at record keeping.
0:16:33 > 0:16:35It was the great French bureaucracy being born.
0:16:35 > 0:16:38Bit later the Code Napoleon, all that stuff comes out.
0:16:38 > 0:16:42- Yes.- I think what you've done is remarkable, now I mean obviously
0:16:42 > 0:16:46we talk about values. I'm sure you know better than me, the value of all this.
0:16:46 > 0:16:48I sort of don't want to know.
0:16:48 > 0:16:51- I'll deal with the things that are very straightforward.- Yes.
0:16:51 > 0:16:55This has had restoration as you're aware
0:16:55 > 0:17:00- and it's £600 to £800 in this condition.- Yes.
0:17:00 > 0:17:03This again is in a poor condition,
0:17:03 > 0:17:06it doesn't matter, it's the image that counts.
0:17:06 > 0:17:08But again that affects the value.
0:17:08 > 0:17:11But I think things like the fan must be...
0:17:11 > 0:17:13- I mean I can hardly dare to put a value on it.- Yes.
0:17:13 > 0:17:15- We must be dealing in thousands. - I dread to think...
0:17:15 > 0:17:19- I'm not going to name a figure, I mean this is such a rarity.- So delicate.
0:17:19 > 0:17:23If nobody in France has one of these... You could name your price.
0:17:23 > 0:17:25- Yes, absolutely, yes. - What's the key?
0:17:25 > 0:17:28This is actually very interesting.
0:17:28 > 0:17:32It's going back to where it started, my fascination with Marie Antoinette.
0:17:32 > 0:17:36This actually was opened a corner cabinet on one of her barges,
0:17:36 > 0:17:39which is nice because she might well have touched it.
0:17:39 > 0:17:42- How, how do you know? - Um, because it came from somebody
0:17:42 > 0:17:46that owned the corner cabinet and somehow it got sideways to me.
0:17:46 > 0:17:49This is the magic, you know, I'm holding it,
0:17:49 > 0:17:52it's round your neck, Marie Antoinette may have held it.
0:17:52 > 0:17:54It's like a reliquary, isn't it?
0:17:54 > 0:17:58It is, you cannot get closer to the event than that.
0:17:58 > 0:18:00Right, amazing. Keep wearing it.
0:18:00 > 0:18:02- Thank you.- Thank you very much.
0:18:02 > 0:18:03Nice to meet you.
0:18:03 > 0:18:06So you've brought me in a laptop to value which I don't
0:18:06 > 0:18:11think I'm really qualified to do, but what's more interesting to me
0:18:11 > 0:18:15is an amateur Cine Kodak film. Tell me about it.
0:18:15 > 0:18:19It's a film that I've had hanging around for over 25 years.
0:18:19 > 0:18:22- It was in some stuff I inherited from my mother.- Right.
0:18:22 > 0:18:27And I believe that it was filmed in about 1931
0:18:27 > 0:18:28and probably by my grandfather.
0:18:28 > 0:18:31And of what?
0:18:31 > 0:18:33- Of Brooklands.- Of course, it says so.
0:18:33 > 0:18:34That's right, it says...
0:18:34 > 0:18:38- Says so on the box.- I decided to try and get it looked at,
0:18:38 > 0:18:41and what we came up with was a series
0:18:41 > 0:18:46- of stills which I saw, and on it I noticed one particular car.- Right.
0:18:46 > 0:18:49And the word "Bluebird" came to mind.
0:18:49 > 0:18:53Fantastic, well personally I mean Brooklands has got a soft place in
0:18:53 > 0:18:56my heart because I went to college there
0:18:56 > 0:19:00and my lunch break was spent sitting on the banking, thinking about all the
0:19:00 > 0:19:03cars that used to race by, so um, I'd love to have a look,
0:19:03 > 0:19:08- and you've got it on the laptop. - Yes, I have. - So let's have a quick look.
0:19:08 > 0:19:12There we see the banking, where I used to sit having my lunch,
0:19:12 > 0:19:15and there are some cars going round and you're right.
0:19:15 > 0:19:20It's the Bluebird, well that is a really iconic car obviously
0:19:20 > 0:19:23and the person associated with it is obviously Malcolm Campbell.
0:19:23 > 0:19:27- Of course.- And interestingly, um, the factory where it was made,
0:19:27 > 0:19:31- all the Bluebirds was made, was actually at Brooklands.- Yes.
0:19:31 > 0:19:34So it's an obvious place where it would have gone for test.
0:19:34 > 0:19:38- It looks lovely up the banking though, doesn't it?- It does.
0:19:38 > 0:19:40Um, my suggestion is,
0:19:40 > 0:19:42get some advice from the National Film Archive
0:19:42 > 0:19:47about storage, about the way it should be preserved and so on.
0:19:47 > 0:19:51You've obviously put it onto a CD so it can be seen again.
0:19:51 > 0:19:55This is the first time this film's ever been shown, so it's a premiere.
0:19:55 > 0:19:58Just fantastic. Brooklands is still open, it's a national museum
0:19:58 > 0:20:01and they would love to have a copy I'm sure.
0:20:01 > 0:20:03Finally price...
0:20:03 > 0:20:06it's the only footage we know of this, extremely rare,
0:20:06 > 0:20:11you've got the only one which has never been copied apart from on this CD,
0:20:11 > 0:20:13so rare, historic, valuable?
0:20:13 > 0:20:19Mm, not terribly, historically valuable, commercially maybe between
0:20:19 > 0:20:24£600 and £1,000 so for insurance maybe around about £1,200.
0:20:24 > 0:20:27- Thank you very much. - Thank you, you've made my day.
0:20:27 > 0:20:30I go back 20 years to when I was a kid.
0:20:30 > 0:20:3120 years?!
0:20:33 > 0:20:34- Thank you very much.- Thank you.
0:20:36 > 0:20:38Here, we have a Russian picture,
0:20:38 > 0:20:41but I'm a little bit worried about the artist, who I don't really know,
0:20:41 > 0:20:46- and, indeed, the date, 1981, so it's almost wet, really.- Yes.
0:20:46 > 0:20:47Tell me about it.
0:20:47 > 0:20:51Well, um, Dr Ushinov, he came from the Russian hierarchy, I guess,
0:20:51 > 0:20:55because he was a child... He was in the Winter Palace in St Petersburg.
0:20:55 > 0:20:59- Right. So he was a White Russian, a White Russian.- A White Russian.
0:20:59 > 0:21:01And when the Red Army came to St Petersburg,
0:21:01 > 0:21:04- his family had to leave, very, very quickly.- I bet.
0:21:04 > 0:21:06- And in his bedroom he had a painting.- Right.
0:21:06 > 0:21:09It was a painting of this scene.
0:21:09 > 0:21:12- Right.- He ripped the painting off the wall,
0:21:12 > 0:21:15and when he came to America, he decided to recreate it.
0:21:15 > 0:21:17- Right.- On the back of this painting,
0:21:17 > 0:21:20- there is a piece of the original picture.- Oh, is there?
0:21:20 > 0:21:22So, he rebuilt this, it was a photograph,
0:21:22 > 0:21:26and a piece of the original, and between the two of them,
0:21:26 > 0:21:30he recreated the picture, so he had this childhood memory, so he could take it to America.
0:21:30 > 0:21:32So this young, this young lad...
0:21:32 > 0:21:37- Yes.- ..terrified out of his wits, ran upstairs, cut this bit of canvas.
0:21:37 > 0:21:41- Ripped it.- Ripped it, ripped it out, can we look at it?- Sure.
0:21:41 > 0:21:42- Here it is.- That's where it is.
0:21:42 > 0:21:45Ah I see, isn't that...
0:21:45 > 0:21:51It's definitely much earlier, isn't it? But it was rolled in his pocket or down his trouser leg.
0:21:51 > 0:21:52That's why it's so damaged.
0:21:52 > 0:21:55It's a great story. Was he a professional artist, Dr Ushinov...
0:21:55 > 0:21:57- I think he probably was, was he? - Yes, he came to America
0:21:57 > 0:22:00- and he became a dentist to make his living.- Yeah, right.
0:22:00 > 0:22:03But then when he retired in his 50s he started painting.
0:22:03 > 0:22:06All his paintings are in galleries unfortunately,
0:22:06 > 0:22:08this is the only one in a private collection.
0:22:08 > 0:22:10And I wanted to buy it from him,
0:22:10 > 0:22:13because I'd seen it in his house, for my wife's birthday
0:22:13 > 0:22:16- and he said he doesn't sell his paintings.- Right.
0:22:16 > 0:22:21Then two years later I was walking past his house, he said, "You wanted to buy that painting."
0:22:21 > 0:22:25I said, "Well, yes, but then I didn't know what your paintings sold for."
0:22:25 > 0:22:28He said, "I haven't given you a price yet, come in and let's talk,"
0:22:28 > 0:22:32and he said, "As long as you promise me it stays in the family setting,
0:22:32 > 0:22:35"I'll sell it to you for a thousand dollars,"
0:22:35 > 0:22:39- so I bought it and my wife got it for her birthday that year.- In 1981?
0:22:39 > 0:22:41No, about 1986 I bought it.
0:22:41 > 0:22:46Right, right. I have to say, if I'm being really honest with you,
0:22:46 > 0:22:48I think he may have been a better dentist than a painter.
0:22:48 > 0:22:51- Am I being a bit rude here? - No, that's fine.- Thank goodness.
0:22:51 > 0:22:54I loved it because of what it was. It's his life in his pictures.
0:22:54 > 0:22:56It's the story that's so great
0:22:56 > 0:23:00and to you it is priceless and to the great doctor it is priceless.
0:23:00 > 0:23:05I think if it appeared on the market it wouldn't be the easiest picture to sell, I'm afraid.
0:23:05 > 0:23:07So I think that the price you paid
0:23:07 > 0:23:13was one for the story and for the whole, you know, the soul of Russia.
0:23:13 > 0:23:15Watch this market very closely
0:23:15 > 0:23:18because it will be I think, one day, a good investment for you.
0:23:18 > 0:23:21- Right, thank you.- Thank you. - Thank you very much indeed.
0:23:23 > 0:23:28On the Roadshow we're well used to seeing the best of everything,
0:23:28 > 0:23:32the most valuable of everything, the rarest of everything, the smallest of everything.
0:23:32 > 0:23:35In this instance we've definitely got the longest.
0:23:35 > 0:23:40Why do you need a ladder this long? Where does it live?
0:23:40 > 0:23:44It lives in my barn, it's been in my barn, um,
0:23:44 > 0:23:46for as long as we've been there
0:23:46 > 0:23:49and I think it's probably been there since the house was built.
0:23:49 > 0:23:52- Which is when?- 1880.
0:23:52 > 0:23:55- So you don't have any use for it and you...- I have a theory...
0:23:55 > 0:23:57- I want a theory from you. - I think they used it
0:23:57 > 0:24:00for cleaning the gutters because it would be exactly the right height.
0:24:00 > 0:24:05But that was the day when they had three gardeners, because you can't get this out by yourself...
0:24:05 > 0:24:07I think the fact that it was
0:24:07 > 0:24:10used for cleaning your gutters is actually fortuitous, in that it was
0:24:10 > 0:24:13made for something else. What do we think it might be?
0:24:13 > 0:24:17Well, there were fruit trees all round the house but it's rather long for fruit trees.
0:24:17 > 0:24:21Absolutely. Fruit trees, as we know, are getting smaller and smaller.
0:24:21 > 0:24:24- Absolutely.- But no fruit tree has ever been this big.- No.
0:24:24 > 0:24:26And also a fruit ladder would have been much more portable,
0:24:26 > 0:24:29they would have had to have moved it from tree to tree
0:24:29 > 0:24:33quite easily, and single-handed as well, and, as you say, it takes
0:24:33 > 0:24:35two or three people to set it up.
0:24:35 > 0:24:38There aren't that many trades that I can think of that would need it,
0:24:38 > 0:24:41and I am going for a thatcher.
0:24:41 > 0:24:45As it will never be used again, it's a museum piece, this really
0:24:45 > 0:24:49ought to end up in a sort of country crafts farm museum somewhere
0:24:49 > 0:24:54and as it has only such limited use and value and appeal,
0:24:54 > 0:24:57its value is actually quite limited.
0:24:57 > 0:25:00- Minimal, yes.- Minimal. I mean, let's say, as a curio, £100.
0:25:00 > 0:25:03Yeah, that's what I thought.
0:25:05 > 0:25:08Now, you and I know what this is,
0:25:08 > 0:25:11but I'll tell you something, a great number of people watching will have
0:25:11 > 0:25:13absolutely no idea that this is a clock.
0:25:13 > 0:25:17They will just assume it's a lovely globe on a stand.
0:25:17 > 0:25:19This is the sun.
0:25:19 > 0:25:22That is indeed the sun and, as you probably know, depending on
0:25:22 > 0:25:26the time of year, you can screw the sun up or down from there to there.
0:25:26 > 0:25:31- Correct.- So you can get a true image where the sun is,
0:25:31 > 0:25:35and the giveaway is here.
0:25:35 > 0:25:38"The Empire Clock"... Now, where do you think that was made?
0:25:38 > 0:25:42- Probably the British Isles somewhere. - Well, you would think so,
0:25:42 > 0:25:47but the give away, which is slightly cheating, is on the base,
0:25:47 > 0:25:49and it says "Made in France".
0:25:49 > 0:25:53The French were very good at this sort of thing and the joy of this
0:25:53 > 0:25:57is the whole overall condition, it is totally untouched,
0:25:57 > 0:26:00and how did you get it in that state?
0:26:00 > 0:26:04It was given to me by my previous boss
0:26:04 > 0:26:06and he died not long after.
0:26:06 > 0:26:10- Lovely present, and it was like that when you got it?- Yes.
0:26:10 > 0:26:13I'm just so pleased that you haven't attempted to do anything to it,
0:26:13 > 0:26:16because an untrained hand with something like this
0:26:16 > 0:26:20would make it horrible, but this is just cracking at the moment.
0:26:21 > 0:26:25I'm just going to show you how to move
0:26:25 > 0:26:28the globe around, and certain people
0:26:28 > 0:26:31would try maybe to move the globe by hand, but you mustn't.
0:26:31 > 0:26:35Always turn the globe, and there it is, turning like that.
0:26:37 > 0:26:40And you can also position
0:26:40 > 0:26:44this particular ring here over any country.
0:26:44 > 0:26:49If you want to be in New York, we go there, or come round here
0:26:49 > 0:26:52to the UK there for the Greenwich Meridian
0:26:52 > 0:26:55and you can read the time there and
0:26:55 > 0:26:59the chapter ring, the equatorial chapter ring is divided into
0:26:59 > 0:27:03two sections, 12 hours of daylight in red enamel
0:27:03 > 0:27:07and 12 hours of black enamel symbolising night.
0:27:08 > 0:27:10You probably also noted -
0:27:10 > 0:27:14this is rather fun - it says here "cable". Had you noticed that?
0:27:14 > 0:27:15No, I didn't know that was there.
0:27:15 > 0:27:20Under the patent it says "cable" and there's a little red line.
0:27:20 > 0:27:22We're talking about the early part of the 20th century here
0:27:22 > 0:27:27and you can follow these red lines around the Pacific Ocean,
0:27:27 > 0:27:31the whole way round here, to Eastern Australia
0:27:31 > 0:27:33and then you can see other cables
0:27:33 > 0:27:38that they've laid in across the Atlantic and you can generally see
0:27:38 > 0:27:44how the world was developing from a telecommunication state even then.
0:27:44 > 0:27:45It is a lovely object.
0:27:45 > 0:27:48The clock movement, which is an eight-day movement,
0:27:48 > 0:27:50is contained within this base,
0:27:50 > 0:27:54and look at this lovely column, it's so beautifully cast...
0:27:54 > 0:27:56some acanthus leaves here...
0:27:56 > 0:27:59it is superb.
0:27:59 > 0:28:01So if somebody came along and said,
0:28:01 > 0:28:05"That scruffy old globe, I'll give you 3,000 quid," would you take it?
0:28:05 > 0:28:08- I'd give it some thought. - So it's tempting you.
0:28:08 > 0:28:11- It would tempt me. - How about 4,000?
0:28:14 > 0:28:17- Tempted even more so. - Yeah, sort of half a car.
0:28:17 > 0:28:20But it was a gift from somebody who I don't have any more.
0:28:20 > 0:28:23Well, there you go, so keep it, because it's a lovely thing.
0:28:23 > 0:28:26The last one of these I had was not that long ago,
0:28:26 > 0:28:31it was about 2½ years ago at a good antiques fair, sold for £6,500.
0:28:31 > 0:28:33Did it? Oh.
0:28:33 > 0:28:35I'd have to need money to sell that.
0:28:35 > 0:28:38Well, then, never sell it, because it's a lovely thing.
0:28:40 > 0:28:42Did you buy this in the 1970s?
0:28:42 > 0:28:44No, I could never have afforded it.
0:28:44 > 0:28:48- No, but did you know it existed then?- I didn't even know it existed.
0:28:48 > 0:28:51So do you come at it as a design enthusiast, or what?
0:28:51 > 0:28:55As a design enthusiast. I love mid-20th-century design,
0:28:55 > 0:28:58I try and put it in a home and use it
0:28:58 > 0:29:02and bring that element of optimism that we had then.
0:29:02 > 0:29:04- So your house is full of things like this?- I'm afraid so.
0:29:04 > 0:29:06And what do you think about that?
0:29:06 > 0:29:11Well, most of it I think is tat. Very expensive tat, but tat.
0:29:11 > 0:29:13Expensive tat then, expensive tat now?
0:29:13 > 0:29:17Both, I think, because a lot of the stuff was expensive at the time, wasn't it?
0:29:17 > 0:29:21Yes, so I detect a certain domestic disagreement on this little...
0:29:21 > 0:29:23There is a little bit of a conflict
0:29:23 > 0:29:27but there's also an understanding where both of us are coming from.
0:29:27 > 0:29:30- So you're a long way apart, it seems.- I'm afraid so, yes.
0:29:30 > 0:29:34- So you live with these things reluctantly?- I do.
0:29:34 > 0:29:37- They grow on you, but...- They're part of the package you took on.
0:29:37 > 0:29:40Exactly, exactly, that's just the way it is, yes.
0:29:40 > 0:29:45Um, these are wonderful examples of Weltron products, as you well know,
0:29:45 > 0:29:49and what we've got here is a radio, a tape player,
0:29:49 > 0:29:53- a gramophone all combined. It looks like a space station.- Indeed.
0:29:53 > 0:29:55And I'm not going to do it
0:29:55 > 0:29:58but you can imagine it sort of flying through space, and this,
0:29:58 > 0:30:02the space ball, plays something very long forgotten
0:30:02 > 0:30:06called an eight-track cassette. Do you still have some of those?
0:30:06 > 0:30:09I've got a few but unfortunately they're jolly hard to get hold of
0:30:09 > 0:30:14and the only one that plays well is Down Mexico Way by Tijuana Brass.
0:30:14 > 0:30:18- Hard luck.- It's marvellous, it's marvellous!- Absolutely marvellous.
0:30:18 > 0:30:22- Both had bolt-on speakers, or you might say additional speakers.- Yes.
0:30:22 > 0:30:23- Have you got them both?- Yes.
0:30:23 > 0:30:27And this also, although it doesn't need it, had a pair of...
0:30:27 > 0:30:28Yes, I haven't got those.
0:30:28 > 0:30:30They also made other things.
0:30:30 > 0:30:34I've seen, um, a sort of alarm-clock radio.
0:30:34 > 0:30:38- Yes, I've got one of those.- It looks like a control panel of a spaceship.
0:30:38 > 0:30:41Yes, that's right. I could have brought that along as well.
0:30:41 > 0:30:43Don't encourage him, please.
0:30:43 > 0:30:46I think it must be a wonderful house to live in,
0:30:46 > 0:30:48- full of boy's toys.- Boy's toys.
0:30:48 > 0:30:51Now, these are classics, I can understand entirely where
0:30:51 > 0:30:55you're coming from, you say they're plastic tat, what's the point,
0:30:55 > 0:30:58but in fact...we're talking about antiques of the future.
0:30:58 > 0:31:01- They are those, yes, yes. - This is it, nothing could have
0:31:01 > 0:31:05a better period resonance, 1969-1970...
0:31:05 > 0:31:08here it is, colours, style, shape.
0:31:08 > 0:31:10- Optimism.- Optimism, as you say.
0:31:10 > 0:31:14Fantastic images of the way we thought the world was going to be,
0:31:14 > 0:31:17so I'm going to ask you a basic question, which you can guess -
0:31:17 > 0:31:19what did you pay?
0:31:19 > 0:31:21- 500 quid.- 500 quid.
0:31:21 > 0:31:24The price that you paid is about right.
0:31:24 > 0:31:26- Right.- These ones go,
0:31:26 > 0:31:32randomly, as far as I can see, from about £30 to about £150.
0:31:32 > 0:31:34- Yeah, I paid 50 quid for it. - That's bang in the middle.
0:31:34 > 0:31:37- Why not go for the whole Weltron range?- Absolutely...
0:31:37 > 0:31:39This is the 2007, isn't it?
0:31:39 > 0:31:41Yes, and there's a 2005.
0:31:41 > 0:31:44And this is the 2001. The speakers are 2003.
0:31:44 > 0:31:46- So there's more to come?- There is.
0:31:46 > 0:31:49The bad news is... I hope you've got a big house.
0:31:55 > 0:31:56Have you recovered? I saw you
0:31:56 > 0:31:59charging through the gate as we were closing them.
0:31:59 > 0:32:04I've just got my breath back, because I only heard about the show
0:32:04 > 0:32:09on the Wiltshire Radio about two and a half hours ago,
0:32:09 > 0:32:11so I raced home,
0:32:11 > 0:32:13put the chair in the back of the car.
0:32:13 > 0:32:17We probably exceeded the speed limit a little on the way here.
0:32:17 > 0:32:20- And straight into recording. - Straight into recording.
0:32:20 > 0:32:23- Lovely, all part of the service. - Well, excellent service.
0:32:23 > 0:32:26This is a wonderful chair, where did you get it from?
0:32:26 > 0:32:31Well, I was in Brighton. I saw an antique shop, I walked in,
0:32:31 > 0:32:36and there just inside the door was this chair, looking rather dusty,
0:32:36 > 0:32:41and the chap said, "Well, I think I've got some more downstairs."
0:32:41 > 0:32:45Lo and behold, there were five more, and two carvers, covered in dust.
0:32:45 > 0:32:48Don't tell me you didn't buy the whole set.
0:32:48 > 0:32:50You did buy the whole set?
0:32:50 > 0:32:53I did buy the whole set, absolutely.
0:32:53 > 0:32:57They were looking in pretty poor shape, the seat needed...
0:32:57 > 0:33:00seats needed recovering
0:33:00 > 0:33:01and I was...
0:33:01 > 0:33:06I was delighted with them because I love the wood.
0:33:06 > 0:33:09- You know what wood it is? - Well, satinwood, yeah.
0:33:09 > 0:33:11- Yes, where does that come from? - But a particular type.
0:33:11 > 0:33:15That I don't know, I think you could tell me.
0:33:15 > 0:33:16I just want to turn it round,
0:33:16 > 0:33:18I'm just going to swivel it round
0:33:18 > 0:33:21because it's going to be a lovely colour, you really do
0:33:21 > 0:33:25- see the colour on the back there, look at this here.- It's so rich.
0:33:25 > 0:33:29Absolutely, solid satinwood, but the quality of this and
0:33:29 > 0:33:32that lovely flat back, they're late 19th century and one of the reasons
0:33:32 > 0:33:37is you've got this splat here with the shoe there in two pieces.
0:33:37 > 0:33:41If this was a Georgian chair, firstly it wouldn't be in satinwood
0:33:41 > 0:33:45but the shoe would be separate, there'd be a line there as well.
0:33:45 > 0:33:49That's the easiest way of telling, but the colour of this satinwood...
0:33:49 > 0:33:53I don't think I've ever, ever seen this type of chair in satinwood.
0:33:53 > 0:33:57It's a copy of, or inspired by the Chippendale chairs,
0:33:57 > 0:34:00the Chippendale directory of 1754.
0:34:00 > 0:34:02- Yes.- That sort of carved splat back
0:34:02 > 0:34:04with this Gothic OG detail here,
0:34:04 > 0:34:07very, very nice, and the cabriole legs, a little bit plain,
0:34:07 > 0:34:10a shame not to see a bit of carving on the cabriole leg
0:34:10 > 0:34:13but that really good strong claw-and-ball foot,
0:34:13 > 0:34:17- typical of that Chippendale mid 18th century period, but copies.- Yes.
0:34:17 > 0:34:20- You say you bought them in...? - I bought them in 1980.
0:34:20 > 0:34:24At the sharp end of the market in Brighton so...
0:34:24 > 0:34:26- Did you bargain a bit?- I did.
0:34:26 > 0:34:29May I ask you what you paid for them?
0:34:29 > 0:34:34For the six chairs and two carvers at that time, it was £5,000.
0:34:34 > 0:34:37- A lot of money.- A lot of money. - A lot of money in 1980.
0:34:37 > 0:34:40Yes, but I just fell in love with them, and as I think you have.
0:34:40 > 0:34:44If you bought them for five and you're keeping them
0:34:44 > 0:34:47and not selling them, you should insure them now for £20,000.
0:34:47 > 0:34:48Right.
0:34:49 > 0:34:51I'll bear that in mind!
0:34:51 > 0:34:55- Worth running in at the last moment to the Antiques Roadshow. - Absolutely.
0:34:57 > 0:35:00In 1968
0:35:00 > 0:35:02I underwent a Damascene conversion.
0:35:04 > 0:35:07I was then working as a porter
0:35:07 > 0:35:11in a saleroom in London, in a porcelain department,
0:35:11 > 0:35:13and I hated it,
0:35:13 > 0:35:15absolutely hated ceramics.
0:35:15 > 0:35:20- Really? - And then one of these came in.- Yes.
0:35:20 > 0:35:25And I looked at that, and I thought, "Ah,
0:35:25 > 0:35:30"such fun the man who made this has had,
0:35:30 > 0:35:36"moulding the clay, sculpting it and then glazing it and firing it,"
0:35:36 > 0:35:40and really almost overnight I suddenly thought,
0:35:40 > 0:35:41"I can understand ceramics,"
0:35:41 > 0:35:45and of course I've been hooked ever since, but this was what set it off.
0:35:45 > 0:35:49- Really?- People call them tobacco jars because the lid comes off
0:35:49 > 0:35:53and they imagine they keep tobacco in it, but actually
0:35:53 > 0:35:55you can't get your hand in.
0:35:55 > 0:35:59- I suppose not.- And you can't keep it weighted, and it's not airtight.
0:35:59 > 0:36:04- No use at all. - It has no use, it sits on a shelf,
0:36:04 > 0:36:05and the expression changes.
0:36:05 > 0:36:07Yes, as he turns round.
0:36:07 > 0:36:09As he turns round.
0:36:09 > 0:36:11He's just a bit of fun.
0:36:11 > 0:36:14He was made by a man called Robert Wallace Martin,
0:36:14 > 0:36:18who was the elder brother of eight children,
0:36:18 > 0:36:21four of whom worked in the Martin Brothers pottery,
0:36:21 > 0:36:23which was firstly in London
0:36:23 > 0:36:27and then in Southall on the banks of the canal,
0:36:27 > 0:36:31and Robert Wallace was the one who actually sculpted the pieces.
0:36:31 > 0:36:35The nice thing about the Martin Brothers is that they
0:36:35 > 0:36:39invariably signed everything
0:36:39 > 0:36:44"R W Martin and Brothers, London and Southall"
0:36:44 > 0:36:50and they dated "21.11.1896".
0:36:51 > 0:36:55- I've never really sort of taken much notice...- Where did he come from?
0:36:55 > 0:36:59It came via my mother. I really loved it as a child,
0:36:59 > 0:37:02it used to sit on the mantelpiece
0:37:02 > 0:37:06and I was always told to behave because he's watching me.
0:37:06 > 0:37:10- And did you believe it? - Um, I didn't believe it.- No.
0:37:10 > 0:37:13She said, "When I come back in the room, if you've moved, he'll know,
0:37:13 > 0:37:15"because his head will have moved."
0:37:15 > 0:37:19I didn't know his head moved because he was very high on the mantelpiece,
0:37:19 > 0:37:24and when she came back in the room she said, "What have you been doing?"
0:37:24 > 0:37:26I said, "Nothing, Mum, nothing," as one would.
0:37:26 > 0:37:30"He's moved his head, you must have been doing something to attract him."
0:37:30 > 0:37:33I just loved him and I suppose she knew that I've always...
0:37:33 > 0:37:37I've always loved him and in 1953 she said, "You must have him,"
0:37:37 > 0:37:41and in actual fact that was the only thing from my family
0:37:41 > 0:37:43that ever came in my direction.
0:37:43 > 0:37:46So he's a good bird.
0:37:46 > 0:37:48Beautiful bird.
0:37:48 > 0:37:53And he's going to be worth a good £5,000 to £10,000.
0:37:53 > 0:37:56Wowee. Well, worth hanging on to.
0:37:56 > 0:38:00- Well, I'm actually lying to you, it's worth more than that.- Is it?
0:38:00 > 0:38:02It's nearer £20,000.
0:38:02 > 0:38:04Is it really?
0:38:04 > 0:38:07I've looked in, you know, one or two books and seen that
0:38:07 > 0:38:10it could be worth something, so...
0:38:10 > 0:38:14I would happily put a quote of £20,000 to £30,000.
0:38:14 > 0:38:18Wowee. I always thought he was lovely. He's got even better now.
0:38:18 > 0:38:21- I'm very jealous. - Thank you very much.
0:38:23 > 0:38:27Well, some wise old bird tells me that we shall be bringing
0:38:27 > 0:38:30our cameras back to Lacock, the world's most photographed village,
0:38:30 > 0:38:33and when we do, we shall tell the story of the visionary
0:38:33 > 0:38:38who took his first snapshot of that building back in 1835.
0:38:38 > 0:38:40Until then, from Wiltshire, goodbye.