0:00:35 > 0:00:39It would be nice to think that the year is 1765
0:00:39 > 0:00:43and I'm one of the VIPs about to tour Britain's newest stately home,
0:00:43 > 0:00:46Kedleston Hall, near Derby.
0:00:51 > 0:00:54The moment it was finished, guests were welcome,
0:00:54 > 0:00:55and visitors agreed
0:00:55 > 0:00:58that it was the grandest Palladian facade in the country,
0:00:58 > 0:01:03although Dr Johnson thought it would make a great town hall.
0:01:05 > 0:01:08The main block of the house was never a home.
0:01:08 > 0:01:14It was a temple of the arts in which to display paintings, sculpture and furniture,
0:01:14 > 0:01:20all in the best possible taste, according to another visitor, Horace Walpole, MP.
0:01:20 > 0:01:24I would have been calling on the Curzon family,
0:01:24 > 0:01:28owners of Kedleston Hall and lovers of all things Roman.
0:01:33 > 0:01:37Every Palladian mansion has its great marble hall.
0:01:37 > 0:01:39This is Kedleston's.
0:01:54 > 0:01:56The tour guide was not, as you might expect,
0:01:56 > 0:01:58a member of the Curzon family.
0:01:58 > 0:02:02Instead, they gave that job to their housekeeper, Mrs Garnet.
0:02:05 > 0:02:09Traditionally, in a large country house,
0:02:09 > 0:02:16the housekeeper was always the most important and trusted member of staff. Mrs G was second to none.
0:02:16 > 0:02:19She worked at Kedleston for over 40 years,
0:02:19 > 0:02:23and anyone who wasn't on her guest list just wasn't worth knowing.
0:02:23 > 0:02:25If she were here today, I'm sure I wouldn't be.
0:02:27 > 0:02:32When Dr Johnson and his friend James Boswell came here in 1777,
0:02:32 > 0:02:34the tour led to the drawing room.
0:02:34 > 0:02:38Dr Johnson grumbled, "This room is too glitzy!"
0:02:39 > 0:02:44On another occasion, Horace Walpole described the sofas,
0:02:44 > 0:02:46supported by gilt fishes and sea gods,
0:02:46 > 0:02:50as being "absurdly like the King's coach".
0:02:50 > 0:02:53Mrs Garnet might have been quite pleased about that.
0:02:53 > 0:02:57But Walpole and everyone else agreed that the dining room
0:02:57 > 0:03:01was a great parlour in the best taste of all.
0:03:02 > 0:03:06The warmest praise was contained in a visitors' book,
0:03:06 > 0:03:09and I think we might need a few more volumes today,
0:03:09 > 0:03:13so on behalf of Mrs Garnet, and the Antiques Roadshow, welcome to Kedleston Hall.
0:03:19 > 0:03:22This looks really shiny. Do you polish it every day?
0:03:22 > 0:03:26No, I'm afraid not. And it should be polished a great deal better.
0:03:26 > 0:03:31- Those vestiges of green and white... - Yes.- ..are remnants of polishing?
0:03:31 > 0:03:33I'm afraid they are, I'm ashamed to say.
0:03:33 > 0:03:35How did it come your way?
0:03:35 > 0:03:37It's been in my family as long as I can remember.
0:03:37 > 0:03:41When I was a very small child, the 1940s, I think,
0:03:41 > 0:03:43my father and mother loved antiques,
0:03:43 > 0:03:45and one week, this arrived,
0:03:45 > 0:03:49and my mother told me that it arrived on a very snowy day.
0:03:49 > 0:03:52She was out, and it was left in the garden. She came home
0:03:52 > 0:03:55to find this beautiful sparkling object in the snow.
0:03:55 > 0:03:59- She'd never forgotten the sight of it.- What do you think it's made of?
0:03:59 > 0:04:03Well, it looks to me brass, and I polish it as brass.
0:04:03 > 0:04:06- I think it's actually made of bronze. - Ah!
0:04:06 > 0:04:09But frankly, if you polish it enough, which is what you've done
0:04:09 > 0:04:13- during your period of ownership... - Ah, yes, yes.- ..what you do
0:04:13 > 0:04:17- is polish the metal down to a bare surface, which happened here.- Right.
0:04:17 > 0:04:20And in this extremely elegant bronze,
0:04:20 > 0:04:25which, after all, is the epitome of the early Art Deco period...
0:04:25 > 0:04:28- Yes, quite.- ..a sensuous and beautiful creature...
0:04:28 > 0:04:33- She's gorgeous, isn't she?- ..with her borzoi dog behind her.- Yes.
0:04:33 > 0:04:36But she is slightly modestly draped in a robe.
0:04:36 > 0:04:39- She is, yes.- And if we look at the back of the robe,
0:04:39 > 0:04:41- you can see a curious patterning... - Yes.
0:04:41 > 0:04:44- ..that goes between black and gold. - That's right.
0:04:44 > 0:04:49- And that, once, was a colour effect that went all over that cloth.- Yes.
0:04:49 > 0:04:54- You've scrubbed away... - I nearly ruined it!- Well, no.
0:04:54 > 0:04:59You haven't ruined it at all, because some bronzes are gilt bronze
0:04:59 > 0:05:02and they have a gilding surface to them,
0:05:02 > 0:05:04and that doesn't require cleaning either.
0:05:04 > 0:05:08But this man, Louis Riche, and he was born in Paris in 1877.
0:05:08 > 0:05:12As far as the market's concerned, it's desirable, because it's so big.
0:05:12 > 0:05:14- Yes, quite.- It's chunky.
0:05:14 > 0:05:19I think it would be worth more if it still had its original patination,
0:05:19 > 0:05:21- rather than this polished effect. - Yes, yes.
0:05:21 > 0:05:25If I was to guess as to what it would make at auction today,
0:05:25 > 0:05:28I'd think probably between £3,000 and £5,000.
0:05:28 > 0:05:32My goodness! That's more than I've had it valued for in the past!
0:05:32 > 0:05:36- Get the Brasso out.- Oh, my word! Yes, how wonderful!
0:05:36 > 0:05:41I shall clean it even more lovingly now. That's excellent.
0:05:41 > 0:05:44So, do tell me, was this a present just for you?
0:05:44 > 0:05:49No. It was mostly for my father, but he bought it because of myself and two sisters.
0:05:49 > 0:05:54It's always stayed really mine, but they were allowed to play with it...
0:05:54 > 0:05:56- under supervision.- How wonderful.
0:05:56 > 0:06:01Well, that's very wise of you, but tell me how you came to buy it.
0:06:01 > 0:06:03Well, I just saw it in a shop window
0:06:03 > 0:06:06and I thought, "That's rather fun."
0:06:06 > 0:06:12- She wanted, I think, £12 or so, in 1960, '60s.- Yes.
0:06:12 > 0:06:15And then I spent my evenings that winter
0:06:15 > 0:06:18- repairing all the broken legs. - So were there a lot?
0:06:18 > 0:06:21- There must have been. - There were quite a lot,
0:06:21 > 0:06:25and the birds lost their toes and wouldn't stand without their toes.
0:06:25 > 0:06:30Yes. So when you came to play with it, as it were, they were all intact?
0:06:30 > 0:06:32Well, mostly, yes.
0:06:32 > 0:06:36I was about five or six when we were first allowed to have it out.
0:06:36 > 0:06:41We knew it was really special. Yes, little bits would get broken,
0:06:41 > 0:06:44and we used to go, almost in tears, to say, "Look what's happened."
0:06:44 > 0:06:47- Was he cross with you?- Understanding.
0:06:47 > 0:06:49Ah, that's wonderful.
0:06:49 > 0:06:53I've tried to count and I keep losing count - how many pairs have you got altogether?
0:06:53 > 0:06:57I think... What did we come to? 140 was it? 120 pairs in all?
0:06:57 > 0:07:01- 60-ish pairs, yes.- Wonderful, absolutely wonderful.
0:07:01 > 0:07:06It's an early ark. This dates to the earlier part of the 19th century.
0:07:06 > 0:07:09I wondered when it would have been!
0:07:09 > 0:07:13Um, the Noah's Arks, most of them were made in Nuremberg,
0:07:13 > 0:07:16southern Germany,
0:07:16 > 0:07:20and let's just look at the box, which has got a lovely little dove
0:07:20 > 0:07:23coming with a sprig in its mouth.
0:07:23 > 0:07:27And then this is how it would be kept in the bottom...
0:07:27 > 0:07:29totally void of anything now,
0:07:29 > 0:07:32- but to get all these animals into that...- They don't fit.
0:07:32 > 0:07:37- You can't get them in.- Exactly, so it had another box with it,
0:07:37 > 0:07:41- which was probably made of this lime wood.- It might have been.
0:07:41 > 0:07:45There's an inscription here, which is extremely difficult to read.
0:07:45 > 0:07:52I can see it says 1843 and "Caroline Mary Johnston presented..."
0:07:52 > 0:07:54A present from her Grandmama.
0:07:54 > 0:07:57"..her Grandmama, 1843."
0:07:57 > 0:08:01Oh, well, that absolutely ties in.
0:08:01 > 0:08:04But, um, they're just so amusing.
0:08:04 > 0:08:08I think my favourite of all is the butterfly, the pair of butterflies.
0:08:08 > 0:08:09They are enchanting.
0:08:09 > 0:08:14I think that IS poetic licence, because I do a little bit
0:08:14 > 0:08:17of butterfly watching and I can't put a name to them.
0:08:17 > 0:08:19You can't? Really(?)
0:08:19 > 0:08:23- And, tell me, what you like best. - Oh, I don't know.
0:08:23 > 0:08:27What amused me most are the animals that the carver didn't know about.
0:08:27 > 0:08:32The tigers and the lion. You see, the lion's got a marvellous mane.
0:08:32 > 0:08:38The lioness has got an enormous chest, but there's no fur on it!
0:08:38 > 0:08:42Very often, it's just Noah and his wife and maybe one son,
0:08:42 > 0:08:44and the wives have been got rid of,
0:08:44 > 0:08:48so it's special to have the whole family.
0:08:48 > 0:08:50Very nice to have the whole lot, yes.
0:08:50 > 0:08:56So I would say, if this was to come up for auction, in the right toy sale,
0:08:56 > 0:09:01I can see it making somewhere between £2,000 and £3,000.
0:09:01 > 0:09:06I'm not altogether surprised, knowing how things have gone up in value since the 1960s.
0:09:08 > 0:09:13In the words of Martin Luther King, "I have a dream,"
0:09:13 > 0:09:18and my dream is to have a copy of High Street by Eric Ravilious.
0:09:18 > 0:09:23Throughout my life, I've been trying to buy this book and I've never been able to afford it.
0:09:23 > 0:09:25- Why have you got it, not me?- Um...
0:09:25 > 0:09:29I'm a big fan of Eric Ravilious and '30s prints generally.
0:09:29 > 0:09:32- Yes.- But mostly I collect children's books
0:09:32 > 0:09:35and one day, I was sent a children's book catalogue,
0:09:35 > 0:09:38and there were some extra items in the catalogue,
0:09:38 > 0:09:42and that was one of them and it was priced at £35,
0:09:42 > 0:09:48and I thought, "That sounds a bargain," so I phoned him and said, "Can I have High Street, please?"
0:09:48 > 0:09:52He said, "There's a problem. I've marked it wrongly in the catalogue."
0:09:52 > 0:09:56But he was a very nice bookseller and he said,
0:09:56 > 0:09:59"I shall be honest and let you have it at £35
0:09:59 > 0:10:02"or I shall pay you £100 not to have it."
0:10:02 > 0:10:07- What did you do?- I took the book. - That was a very sensible decision.
0:10:07 > 0:10:10- How long ago was that? - About 12, 13 years ago, I would say.
0:10:10 > 0:10:14Yes! Let's put Ravilious in context. I'm passionate about him.
0:10:14 > 0:10:16I think he's a remarkable man.
0:10:16 > 0:10:19He was one of the great all-rounders.
0:10:19 > 0:10:22He was a book illustrator, an artist.
0:10:22 > 0:10:25He was a pottery designer for Wedgwood,
0:10:25 > 0:10:29he did furniture, he was a good painter, he was everything,
0:10:29 > 0:10:32and he was very much a key figure in that, as you say, 1930s period.
0:10:32 > 0:10:37He's a great watercolourist, one of the greatest 20th-century British watercolourists.
0:10:37 > 0:10:41- I've seen most of his watercolours. - Yeah, they are fantastic
0:10:41 > 0:10:42and they sell incredibly expensively,
0:10:42 > 0:10:47and of course his life is extraordinary,
0:10:47 > 0:10:50but also, of course, tragic and appealing for that reason.
0:10:50 > 0:10:53I'm sure, as you know, he was killed in 1942,
0:10:53 > 0:10:55as a war artist, serving in Iceland.
0:10:55 > 0:11:00This is one of THE great Ravilious documents.
0:11:00 > 0:11:05Lithographic plates, and the theme, of course, is a wonderful one.
0:11:05 > 0:11:07It's, as it says, the high street.
0:11:07 > 0:11:10- It's shop fronts, isn't it?- Yes. - So we start with the butcher
0:11:10 > 0:11:13and as we go through, we find other things.
0:11:13 > 0:11:18Look, there's the undertaker. It's very wide-ranging, isn't it?
0:11:18 > 0:11:22He's, in a sense, walked down a street in a British town in 1938
0:11:22 > 0:11:26and he's drawn every shop as it turned up.
0:11:26 > 0:11:28That's one I'm keen on,
0:11:28 > 0:11:33- because I've actually got that, but not in the book.- Really? Ah.
0:11:33 > 0:11:35You see what happens to High Street
0:11:35 > 0:11:37is that it's bought and it's broken up.
0:11:37 > 0:11:40I was going to ask about people who've broken it up.
0:11:40 > 0:11:45- Well, the trouble is...- Is it worth more as a book or broken up?
0:11:45 > 0:11:48If we say there are... however many plates there are -
0:11:48 > 0:11:53yes, say 20-something - and they sell for £50 to £100 each,
0:11:53 > 0:11:54what's that?
0:11:54 > 0:11:57- £2,000 or more.- Yes.
0:11:57 > 0:12:02- The value of the book in this condition is about £1,500.- Wow.
0:12:02 > 0:12:06- I'd still rather keep the book, though!- The trouble is...
0:12:06 > 0:12:08- I'd rather keep the book. - You must keep the book.
0:12:08 > 0:12:12Breaking it up is absolute vandalism, sacrilege...
0:12:12 > 0:12:14I couldn't do that to Eric.
0:12:15 > 0:12:19I think it's amazing that you two gentlemen who'd never met each other
0:12:19 > 0:12:22have both brought bronzes into us
0:12:22 > 0:12:25of slightly risque, slightly erotic ladies.
0:12:25 > 0:12:28Now, I want to know, sir, you own this one...
0:12:28 > 0:12:33Did you have racy relations that owned it? Where did it come from?
0:12:33 > 0:12:35Right, well, not at all, no.
0:12:35 > 0:12:39In fact my dear, late father-in-law and mother-in-law...
0:12:39 > 0:12:41Two brothers married two sisters,
0:12:41 > 0:12:44and the two ladies were absolutely straight-laced characters,
0:12:44 > 0:12:47who would not have entertained this in the house.
0:12:47 > 0:12:50- You'd better show us what it does. - Well, I will.
0:12:50 > 0:12:51Ooh...
0:12:51 > 0:12:54We like that!
0:12:54 > 0:12:55Do you know who it's made by?
0:12:55 > 0:13:00- I really don't, no.- Well, it's signed on the back here, Namgreb.
0:13:00 > 0:13:05- Right.- Well, it's actually made by a chap called Franz Bergman.
0:13:05 > 0:13:09For his normal bronzes of animals and things like that,
0:13:09 > 0:13:15he was quite happy to sign them Bergman, but for his erotic bronzes,
0:13:15 > 0:13:18he thought, "I must just be a bit anonymous on this,"
0:13:18 > 0:13:21so he signed his name backwards.
0:13:21 > 0:13:24And he was operating in Vienna around the turn of the century,
0:13:24 > 0:13:27the 20th century, so round about 1900.
0:13:27 > 0:13:31Now we're going to move on a few years, about 20 to 30 years,
0:13:31 > 0:13:32to yours, sir.
0:13:32 > 0:13:34You have racy relations, too?
0:13:34 > 0:13:37Not that I'm aware of, no.
0:13:37 > 0:13:39No? Where did she come from?
0:13:39 > 0:13:43Um, well, from my father, but originally from his sister.
0:13:43 > 0:13:47Well, it's actually signed Schmidt Cassel.
0:13:47 > 0:13:52Gustav Schmidt Cassel is not actually particularly well-known,
0:13:52 > 0:13:56but whereas in this figure, the dancing girl, it's sort of...
0:13:56 > 0:13:59The dance attitudes are quite repressed.
0:13:59 > 0:14:02She's slightly naughtier.
0:14:02 > 0:14:06We're now in the roaring 1920s when anything goes,
0:14:06 > 0:14:08and she's a very erotic dancer.
0:14:08 > 0:14:11She keeps her kit on, doesn't she?
0:14:11 > 0:14:14- Listen to this! - She's not got much to lose, has she?
0:14:14 > 0:14:19She's very sexy. All this decoration on her stockings and things...
0:14:19 > 0:14:22I have to say, though, she's very dirty indeed.
0:14:22 > 0:14:26My mother and father smoked like chimneys, so that accounts for that!
0:14:26 > 0:14:29It's nicotine? Well, underneath that
0:14:29 > 0:14:32will be the most wonderful, glowing colours.
0:14:32 > 0:14:36I'm going to be slightly cruel to you two, because I want you to tell me
0:14:36 > 0:14:41what you think of this gentleman's bronze and what you think it's worth.
0:14:41 > 0:14:44OK, it's a very fine, fluid figure.
0:14:44 > 0:14:48I have not a clue about price. Let's say £500.
0:14:48 > 0:14:50OK, your turn. What do you think about this gentleman's figure?
0:14:50 > 0:14:53I think she's magic. I'd buy it.
0:14:53 > 0:14:55Yeah? What would you give for her?
0:14:55 > 0:14:59- All of that and a bit more as well. - So 500 quid plus?- Yeah.
0:14:59 > 0:15:01So which one's the more valuable?
0:15:01 > 0:15:05Well, it's a case of where the older figure
0:15:05 > 0:15:08isn't necessarily the more valuable.
0:15:08 > 0:15:12I think that, at auction, this Franz Bergman figure
0:15:12 > 0:15:15- would be worth between £800 and £1,200.- Right.
0:15:15 > 0:15:18I think your figure,
0:15:18 > 0:15:20by Schmidt Cassel,
0:15:20 > 0:15:23even though he's not a very well-known maker,
0:15:23 > 0:15:27I don't think you'd get much change from between £4,000 and £6,000.
0:15:27 > 0:15:30Oh, that's good! Very nice.
0:15:30 > 0:15:34Not bad, eh? Right, who wants to take which home at the end of this?
0:15:35 > 0:15:39Oh, splendid! Thank you very much. Yeah, I'm pleased about that.
0:15:40 > 0:15:45Something we rarely have on this programme is a musical interlude, so what should it be?
0:15:45 > 0:15:50A lady harpist, a string quartet or a bunch of students who call themselves The Deirdres?
0:15:50 > 0:15:51That's what it'll be.
0:15:51 > 0:15:57The Deirdres will now soothe the fevered brow with their rendition of a haunting melody.
0:15:57 > 0:16:00THEY PLAY AN ARRANGEMENT OF THE "ANTIQUES ROADSHOW" THEME TUNE
0:16:27 > 0:16:30MUSIC STOPS AND APPLAUSE
0:16:35 > 0:16:37That was superb.
0:16:37 > 0:16:39LAUGHTER
0:16:39 > 0:16:41One question...what was it?
0:16:46 > 0:16:49What comes around, goes around.
0:16:49 > 0:16:52- This one doesn't go around too well, does it?- No.
0:16:52 > 0:16:57It's based on a design dating back to the inspirational Bernard Palissy,
0:16:57 > 0:17:01a French potter working in Paris in the middle of the 16th century,
0:17:01 > 0:17:04in the 1550s, '60s, very much in that style,
0:17:04 > 0:17:09but this is Staffordshire, it's Minton, the great majolica producer of the late 1840s right through
0:17:09 > 0:17:12to the end of the century.
0:17:12 > 0:17:16It's a really, really lovely example, but this grating noise...
0:17:16 > 0:17:18PLATE MAKES A NOISE AS IT TURNS
0:17:18 > 0:17:19..you obviously don't use it.
0:17:19 > 0:17:23No, it's just sat on a table in a corner of a room.
0:17:23 > 0:17:26- And you don't eat oysters. - I don't... I hate oysters!
0:17:26 > 0:17:30I wonder whether we can help it revolve a little bit more.
0:17:31 > 0:17:33Yes.
0:17:33 > 0:17:35Who does the dusting?
0:17:35 > 0:17:39Well, I was a bit... I didn't actually know it moved round.
0:17:39 > 0:17:42Oh, dear! Well, it almost does now.
0:17:42 > 0:17:46- It's called the lazy Susan.- Right.
0:17:46 > 0:17:49You can imagine an oyster party... I think you still need some oil!
0:17:49 > 0:17:50Anyhow, desirable object
0:17:50 > 0:17:53and you've got some plates, also by Minton, also for oysters.
0:17:53 > 0:17:58So you dress the table for a nice oyster party, quite an expensive party...
0:17:58 > 0:18:02the plates in good condition... £1,000 each,
0:18:02 > 0:18:03in bad condition -
0:18:03 > 0:18:07and these are both chipped - £400.
0:18:07 > 0:18:08Right.
0:18:09 > 0:18:12The lazy Susan, now that it works so beautifully...
0:18:14 > 0:18:18- ..that would go to an American collector.- Right.
0:18:18 > 0:18:20£3,000 to £5,000.
0:18:23 > 0:18:26So I don't let my children play with it any more?
0:18:26 > 0:18:29You could stop using it as a roulette table.
0:18:29 > 0:18:30Right.
0:18:31 > 0:18:33Right.
0:18:34 > 0:18:36Do you know something?
0:18:36 > 0:18:43If you think that this necklace is about 135 years old, can you see any damage on it at all?
0:18:43 > 0:18:46Just help me here, because I cannot see
0:18:46 > 0:18:50- any defect on this whatsoever, can you?- No.
0:18:51 > 0:18:53The item is English,
0:18:53 > 0:18:57it was made in around about the sort of 1865 period.
0:18:57 > 0:19:03What I like about it is that the back of the necklace is as pristine as the front.
0:19:03 > 0:19:04Does that mean that you don't wear it?
0:19:04 > 0:19:07It hasn't been worn now for a long time.
0:19:07 > 0:19:11Well, the necklace is covered in this rather lovely blue,
0:19:11 > 0:19:15this what you might call Cambridge blue, studded with half pearls.
0:19:15 > 0:19:20- Yes.- And you've got these geometric sort of panels set above,
0:19:20 > 0:19:22and then beaded motifs around the edge,
0:19:22 > 0:19:25and then to reinforce this beading motif,
0:19:25 > 0:19:27you've got larger gold beads,
0:19:27 > 0:19:30gold spheres in the necklace itself.
0:19:30 > 0:19:31Let's just put that down
0:19:31 > 0:19:37and move on to this piece here, which is in a red velvet case,
0:19:37 > 0:19:41and, within, we see lodged a very interesting and unusual pendant.
0:19:41 > 0:19:48It's interesting that, I think, if you were to remove this piece of jewellery from its box,
0:19:48 > 0:19:52I wonder if one would give it very much significance.
0:19:52 > 0:19:55- Mmm.- It looks like a sort of scrolling pendant.
0:19:55 > 0:19:58I'm not even sure necessarily that people would think that it was gold,
0:19:58 > 0:20:02it might be described as silver or even base metal, with a series
0:20:02 > 0:20:06- of rather crude scrolling motifs on the surface of it.- Mmm.
0:20:06 > 0:20:10Now, I want to just show you the name in the lid, John Brogden.
0:20:10 > 0:20:15He was a goldsmith and he was working in around about this period.
0:20:15 > 0:20:19He peaked, I suppose, round about the sort of same period as this necklace,
0:20:19 > 0:20:23about sort of, I suppose, the 1860s, '70s, '80s.
0:20:23 > 0:20:29- He specialised in making what was called Revivalist jewellery.- Right.
0:20:29 > 0:20:32He revived the arts of the past.
0:20:32 > 0:20:36- Yes.- So he would make jewellery that looked as if it was Roman.- Mm.
0:20:36 > 0:20:39- Or Byzantine.- Mm.
0:20:39 > 0:20:42This has got what appears to be a stylised cruciform motif...
0:20:42 > 0:20:47- Yes.- ..in this scrolling border, and, I don't know, it's puzzling.
0:20:47 > 0:20:52To me the inspiration is maybe, um, Eastern European
0:20:52 > 0:20:55religious symbolism.
0:20:55 > 0:20:58- Yes.- It's got little words and motifs here.- Yes, yes.
0:20:58 > 0:21:01I don't know, Byzantine, Coptic...
0:21:01 > 0:21:03- difficult to say.- Mmm.
0:21:03 > 0:21:07All right, so let's just come back to piece number one,
0:21:07 > 0:21:08this rather lovely necklace,
0:21:08 > 0:21:12value for it, in that condition, no diamonds on it whatsoever,
0:21:12 > 0:21:15just the goldsmithing technique,
0:21:15 > 0:21:18must be worth a couple of thousand pounds. Must be worth that.
0:21:18 > 0:21:23This one here, in the original box, being a John Brogden piece,
0:21:23 > 0:21:26this Revivalist jewel is probably going to be worth
0:21:26 > 0:21:30something around £2,500 to £3,500.
0:21:30 > 0:21:32Right.
0:21:37 > 0:21:40- So do you like Pekinese dogs? - I do, I think they're lovely.
0:21:40 > 0:21:45My mother had a tribe of them, and that was why she bought this picture.
0:21:45 > 0:21:47Fantastic, how many years ago was that?
0:21:47 > 0:21:50At least 30, possibly more.
0:21:50 > 0:21:51What I like about this...
0:21:51 > 0:21:53I mean I love Pekineses...
0:21:53 > 0:21:55and their very long hair here,
0:21:55 > 0:21:58you've got Mount Fujiyama in the background,
0:21:58 > 0:22:01and I just ran away to ask David Battie what this...
0:22:01 > 0:22:04- what these symbols are up here and he told me.- Oh, right.
0:22:04 > 0:22:07It says "Great Fuji",
0:22:07 > 0:22:10so relating to the mountain behind or the volcano behind.
0:22:10 > 0:22:13Well, that answers one question I had, yes.
0:22:13 > 0:22:15Yes, and down here at the bottom
0:22:15 > 0:22:17we've got "AC Duggan".
0:22:17 > 0:22:21Now, AC Duggan is not a very well-known artist.
0:22:21 > 0:22:23I actually hadn't heard of him
0:22:23 > 0:22:26and I think there's only one picture ever appeared before.
0:22:26 > 0:22:28- Yes.- But that's not the point.
0:22:28 > 0:22:32Dog pictures are very, very popular, and I'm surprised I haven't seen more work by him,
0:22:32 > 0:22:34because they're such wonderful quality,
0:22:34 > 0:22:38the way these dogs have been painted and their fur,
0:22:38 > 0:22:40it's absolutely fantastic,
0:22:40 > 0:22:42and their eyes, they've always got that incredible look of surprise.
0:22:42 > 0:22:44- Surprise, yes.- On their pop eyes.
0:22:44 > 0:22:45I always think these were well-groomed,
0:22:45 > 0:22:49- because the hair just lies so beautifully.- Well, I love it,
0:22:49 > 0:22:53and, actually, the tonal colours of the black, grey and this, the browns,
0:22:53 > 0:23:00with Mount Fujiyama in the background, absolutely makes a complete picture.
0:23:00 > 0:23:04So this is going to have some value because there's the dogs.
0:23:04 > 0:23:06- Yes.- Have you ever wondered what it was worth?
0:23:06 > 0:23:12- I don't think my mother would have paid more than £20 for it.- Well, not bad, and she gave it to you?
0:23:12 > 0:23:13Yes.
0:23:13 > 0:23:17Well, I think, in a dog sale, that would make
0:23:17 > 0:23:19- probably between £1,500 and £2,500.- Wow!
0:23:19 > 0:23:21Yeah, that's fantastic.
0:23:21 > 0:23:23But I just love it.
0:23:23 > 0:23:24Where it hangs in our house,
0:23:24 > 0:23:25it's beautiful.
0:23:26 > 0:23:31Now, one of the many things I love about the Roadshow is it gives me the opportunity to meet...
0:23:31 > 0:23:35don't take it personally... truly bizarre collectors.
0:23:35 > 0:23:41And when faced with yet another extraordinary collection of domestic artefacts...
0:23:41 > 0:23:44in this case toasters... I have to look at you and say "Why?"
0:23:44 > 0:23:48- I used to run an electrical repair business.- Right.
0:23:48 > 0:23:53And 35 years ago, people would bring these toasters in for me to repair.
0:23:53 > 0:23:55- And you kept them all?- Well, no.
0:23:55 > 0:23:57LAUGHTER
0:23:57 > 0:24:02I used to tell the people, "Throw it in the bin and buy something safer, buy one of these new pop-ups."
0:24:02 > 0:24:04Years later,
0:24:04 > 0:24:06I thought, "I really fancy one of these."
0:24:06 > 0:24:08Just the flippy-type toaster,
0:24:08 > 0:24:12just to make my toast in the morning rather than a modern pop-up toaster.
0:24:12 > 0:24:15Now, do you take them all home and try them out?
0:24:15 > 0:24:17Yes, I have tried a lot of them.
0:24:17 > 0:24:20- But you don't keep them in regular use?- No, no.- You don't think...
0:24:20 > 0:24:22"What one shall we have today, dear?"
0:24:22 > 0:24:24- No, no.- Reaching up to the shelf.
0:24:24 > 0:24:26No, no, we have one that we use...
0:24:26 > 0:24:29- We do have one that we use every day.- An old one?- Yes.
0:24:29 > 0:24:31Does it make a better slice of toast?
0:24:31 > 0:24:35- Oh, most certainly.- Yes, yes. - So the pop-up toaster is a disaster?
0:24:35 > 0:24:37- Definitely.- Right.- Yes, we don't have one in the house.
0:24:37 > 0:24:40Now, you have a lot of toasters.
0:24:40 > 0:24:41About 70.
0:24:41 > 0:24:45Which is not a... not a tremendous amount, really.
0:24:45 > 0:24:47No, I mean how many toasters does a chap need?
0:24:47 > 0:24:48- Well...- 70.
0:24:48 > 0:24:51Collections are known of 600-700.
0:24:51 > 0:24:53- So there are plenty to go. - Yes, plenty to go.
0:24:53 > 0:24:55The toaster, when did it all start?
0:24:55 > 0:25:00This is, this is the earliest toaster, um, this is about 1910.
0:25:00 > 0:25:03They started in 1909, the first one came out in 1909.
0:25:03 > 0:25:08Right, so porcelain base, simple rack, you turn the toast by hand.
0:25:08 > 0:25:11- Yes. You burn your fingers while... - You burn your fingers while you're doing it.
0:25:11 > 0:25:14- It's a very basic unit, isn't it? - Oh, yes.
0:25:14 > 0:25:19- And so the toaster zooms and takes off from 1908, sort of, onwards.- Yes.
0:25:19 > 0:25:22What is the next improvement in toaster technology?
0:25:22 > 0:25:24The next improvement was when it was turned over
0:25:24 > 0:25:27without actually having to handle the bread.
0:25:27 > 0:25:29Which is quite a sensible development.
0:25:29 > 0:25:32Yes, and it was a woman actually who invented it.
0:25:32 > 0:25:34Of course.
0:25:34 > 0:25:37It's quite a simple thing, just little...
0:25:37 > 0:25:38bars on the bottom here
0:25:38 > 0:25:42that as you open it up, it flips the bread down and turns the bread over.
0:25:42 > 0:25:48- Very good. And then of course you get other ones which are mechanical turn-overs, don't you?- Yes.
0:25:48 > 0:25:50I think this is, I think this is...
0:25:50 > 0:25:52Yes, this is a fantastic one.
0:25:52 > 0:25:54Demonstrate it.
0:25:56 > 0:25:58Isn't that great?
0:25:58 > 0:26:03And then you turn it round and you can do the other side.
0:26:03 > 0:26:05- Just to turn a piece of toast.- Yes.
0:26:05 > 0:26:09The fact that it's a heart-shaped piece, I think is just great.
0:26:09 > 0:26:11Now, of course, obviously, some of them are style icons.
0:26:11 > 0:26:14This is a very famous American one, isn't it?
0:26:14 > 0:26:16The Torex.
0:26:16 > 0:26:18I've seen that often held up
0:26:18 > 0:26:22as a perfect piece of 1930s streamlined design.
0:26:22 > 0:26:26It's fluid, it's dynamic, and if it didn't have the word "toaster" on the front,
0:26:26 > 0:26:30you could say, what is it? What does it do?
0:26:30 > 0:26:33And it's only when you pull it out that it is revealed.
0:26:33 > 0:26:37I'm very pleased to see one of those, because I've never seen one,
0:26:37 > 0:26:42yet it's in every design book as something that is the epitome of modernism.
0:26:42 > 0:26:45I think it's a fascinating subject, because it is something...
0:26:45 > 0:26:47We've all got one... we've all taken it for granted.
0:26:47 > 0:26:50Prices...
0:26:50 > 0:26:52what's the most expensive toaster ever sold?
0:26:52 > 0:26:58Um, an English one recently fetched just over £3,000.
0:26:58 > 0:27:00- How much?- £3,000.
0:27:00 > 0:27:02Well, it's usually the other way around.
0:27:02 > 0:27:04You're supposed to look shocked when I say...
0:27:04 > 0:27:07I'm beginning to feel faint
0:27:07 > 0:27:10at the idea of anybody paying... Why?
0:27:10 > 0:27:14Um, it's the same as any item - if it's a rare item, it's desirable.
0:27:14 > 0:27:15It's just sheer rarity.
0:27:15 > 0:27:19- Yes, pure rarity.- So what's the most expensive you've ever bought?
0:27:19 > 0:27:22Oh, perhaps this one, this was...
0:27:22 > 0:27:23Which is a joy.
0:27:23 > 0:27:24It's a lovely toaster.
0:27:24 > 0:27:26What did you pay for that?
0:27:26 > 0:27:28- That was a couple of hundred pounds.- Well, do you know...
0:27:28 > 0:27:30I can imagine myself doing that.
0:27:30 > 0:27:33- Yes, yes.- I can imagine really falling in love with that.
0:27:33 > 0:27:36I think that is the triumph and I can see that one is not enough.
0:27:36 > 0:27:41You've got to go on and on until you've got ever more toasters.
0:27:41 > 0:27:45600, that should be the target - 70's a mere beginner.
0:27:45 > 0:27:47LAUGHTER
0:27:47 > 0:27:48It's a Meerschaum pipe.
0:27:48 > 0:27:51- Right. - Do you know what Meerschaum is?- No.
0:27:51 > 0:27:52Well, Meerschaum is a German word -
0:27:52 > 0:27:55"Meer Schaum" which means "sea foam".
0:27:55 > 0:27:58- Right.- It was thought in the ancient past
0:27:58 > 0:28:01that it was literally solidified sea foam. It isn't.
0:28:01 > 0:28:06It's magnesium sulphate, a very soft material that can be readily carved.
0:28:06 > 0:28:09- Gosh.- And of course look at this handsome brute.
0:28:09 > 0:28:13- A Turkish, Turkish brigand. - I'm not sure he's handsome.
0:28:13 > 0:28:16And what a beard, and all this would be sort of hand-chiselled out,
0:28:16 > 0:28:18and you see it's a nice soft material.
0:28:18 > 0:28:22Importantly, it's also a good insulating material,
0:28:22 > 0:28:25so this formed an ideal smoking vessel.
0:28:25 > 0:28:27And by Jove,
0:28:27 > 0:28:29this one has been smoked.
0:28:29 > 0:28:32- Look at all the sort of... - Yes, plenty of use.
0:28:32 > 0:28:35Plenty of use, and the interesting thing about Meerschaum is,
0:28:35 > 0:28:38when you first cut it, it's grey.
0:28:38 > 0:28:42It's only with smoking that it develops this rich amber colour,
0:28:42 > 0:28:45and it's gone almost amber-like down here.
0:28:45 > 0:28:48- Oh.- And that's really appreciated by collectors.
0:28:48 > 0:28:52So probably carved in Vienna some time around 1860.
0:28:52 > 0:28:53Where did you get it from?
0:28:53 > 0:28:56It's been in my father's family for a long time.
0:28:56 > 0:28:58It's a family heirloom, I guess,
0:28:58 > 0:29:01not anything we thought was particularly attractive
0:29:01 > 0:29:03but something we've kept.
0:29:03 > 0:29:06No, OK, well, if you had to replace it,
0:29:06 > 0:29:09I don't think you'd have much change out of £1,000.
0:29:09 > 0:29:12- Yeah, it's just such a beauty. - You're joking!- No, I'm not joking.
0:29:12 > 0:29:16- Oh, my goodness. - It's absolutely fantastic.- Gosh.
0:29:16 > 0:29:19We get to see some pretty strange things on the Roadshow, but I have to say
0:29:19 > 0:29:24I think you've certainly cracked it with this lot, you really have.
0:29:24 > 0:29:27We've had it 40 years and not cracked it!
0:29:27 > 0:29:28Right, well, I'm glad, because...
0:29:28 > 0:29:33And here's another one, so talk me through these.
0:29:33 > 0:29:36Well...we got married in 1968
0:29:36 > 0:29:39and bought an old cottage in 1967,
0:29:39 > 0:29:41and these two were in it,
0:29:41 > 0:29:43- in the cottage.- And you used them?
0:29:43 > 0:29:45We used them for about a year, 18 months and then...
0:29:45 > 0:29:48They're old-fashioned, aren't they?
0:29:48 > 0:29:52So we had a nice, new, clean, white bathroom suite, and these remained.
0:29:52 > 0:29:54So why didn't you just throw them away?
0:29:54 > 0:29:57Well, they were unusual, so we said to the plumber,
0:29:57 > 0:30:01"If you can take them out carefully, we'd appreciate it," which he did.
0:30:01 > 0:30:05So in 1968, he took them out of the bathroom,
0:30:05 > 0:30:09and they went up in the loft and they've been there...
0:30:09 > 0:30:10Fantastic.
0:30:10 > 0:30:13- ..38 years.- The thing with these is, they are quite rare.- Right.
0:30:13 > 0:30:18- And the reason they're rare is because they were taken out, people just smashed them up.- Right.
0:30:18 > 0:30:21I mean they date to around about 1900
0:30:21 > 0:30:25and they're made by a Staffordshire factory called Cauldon,
0:30:25 > 0:30:27and they are better known
0:30:27 > 0:30:31for making tea services and things like that.
0:30:31 > 0:30:34So I think they thought, "Why don't we sort of expand our range a bit
0:30:34 > 0:30:36- "and go into sort of sanitary ware as well?"- Right.
0:30:36 > 0:30:39But what I love about them is just the quality,
0:30:39 > 0:30:43the quality of these transfer- printed flowers in blue and white,
0:30:43 > 0:30:45it's just of the highest order.
0:30:45 > 0:30:48That's what's so typical about late Victorians
0:30:48 > 0:30:52is that they would take something, you know, the basis of human function,
0:30:52 > 0:30:59shall we say, and they'd elevate it and put it on a pedestal by turning things like this into real art forms.
0:30:59 > 0:31:03I suppose the question is, you saved them, which is really good...
0:31:03 > 0:31:04- What for?- What for?
0:31:04 > 0:31:07Well, we tucked them away, and that was it.
0:31:07 > 0:31:09They were my wife's pride and joy.
0:31:09 > 0:31:11I mean this washbasin, used to polish up,
0:31:11 > 0:31:13you could nearly see your face in it.
0:31:13 > 0:31:16- Sentimental value mainly. - Yeah, sentimental.- And we were going to reuse them.
0:31:16 > 0:31:19- The taps shone as well when they were...- They're chrome.
0:31:19 > 0:31:21They're chrome taps and things like that,
0:31:21 > 0:31:23but something like this,
0:31:23 > 0:31:28they're now reproducing patterns like this, these Victorian patterns,
0:31:28 > 0:31:31- and they're not inexpensive.- No.
0:31:31 > 0:31:35So these have value - the question is, do you know what sort of value?
0:31:35 > 0:31:39Not the foggiest. Often wondered why potteries stopped making such...
0:31:39 > 0:31:42- because they're so beautiful, aren't they?- They're beautiful,
0:31:42 > 0:31:43they're extremely functional,
0:31:43 > 0:31:46and this one here,
0:31:46 > 0:31:48which is called the Neptune, which I love,
0:31:48 > 0:31:51because so many of them actually have wonderful names, like
0:31:51 > 0:31:55the Dauntless Dolphin or the Washdown Closet, or all the rest of it,
0:31:55 > 0:31:57so they have really imaginative names.
0:31:57 > 0:32:02- And I have to tell you that they are extremely efficient.- Right, oh, yeah.
0:32:02 > 0:32:04- They're much better than modern-day loos.- High flush, pull the chain.
0:32:04 > 0:32:08- Exactly.- Might splash you a bit from the top, but...- That's right.
0:32:08 > 0:32:10So what do we think they're worth?
0:32:10 > 0:32:12No idea.
0:32:12 > 0:32:14- OK, well, just let me tell you. - Right.
0:32:14 > 0:32:19And I'm sort of tempted to tell you that you'll be sort of flushed with something when I tell you this,
0:32:19 > 0:32:21but...
0:32:21 > 0:32:26if you went into a really high-end architectural emporium to buy these,
0:32:26 > 0:32:30- and they were all in really good condition, which these are...- Right.
0:32:30 > 0:32:34..with the taps re-chromed and all the sort of plumbing sorted out,
0:32:34 > 0:32:39you would not come out of there with any change from £5,000.
0:32:39 > 0:32:43- You're joking! Goodness gracious. - It's an awful lot of money, isn't it?
0:32:43 > 0:32:47Well, we could have bought the house four times with that, then.
0:32:47 > 0:32:49- Really?- The house that they we're in.- Great.
0:32:49 > 0:32:55Well, I think, I think you've saved the best bits, so well done.
0:32:58 > 0:33:00MUSICAL BOX PLAYS
0:33:04 > 0:33:07That is so cute, isn't it?
0:33:07 > 0:33:08What a charming object!
0:33:08 > 0:33:11How did you come across it?
0:33:11 > 0:33:14Um, I bought it at auction for my mum last year for Mother's Day.
0:33:14 > 0:33:17- Oh, did you?- Yes. She likes dolls.
0:33:17 > 0:33:20Yes, well, I have to say that if you're crazy about dolls,
0:33:20 > 0:33:23what nicer object could you get on Mother's Day?
0:33:23 > 0:33:25That's absolutely great.
0:33:25 > 0:33:30Um, this has to be one of the least sophisticated automata that I've ever seen, I have to say.
0:33:30 > 0:33:33I mean, in France and in Switzerland,
0:33:33 > 0:33:38they produced incredibly elaborate mechanical and musical toys,
0:33:38 > 0:33:42but this thing, I don't think, started out life as a toy,
0:33:42 > 0:33:45because you've got this canvas strap.
0:33:45 > 0:33:47I think it was carried
0:33:47 > 0:33:51by a street vendor of some sort, and I think it probably came
0:33:51 > 0:33:55from Eastern Europe - Bulgaria or Hungary, somewhere like that.
0:33:55 > 0:33:58They've got the idea of what
0:33:58 > 0:34:02a Swiss or French sophisticated automata would be like,
0:34:02 > 0:34:04and indeed, by winding the handle,
0:34:04 > 0:34:09the motion for the pussycat and the standing figure does work.
0:34:09 > 0:34:12I would guess that from the hand there, that loop,
0:34:12 > 0:34:15something dangled in front of the cat's face.
0:34:15 > 0:34:18- We have actually got the pom-pom, but I didn't bring it.- Have you?
0:34:18 > 0:34:22So what the child is doing is teasing the cat
0:34:22 > 0:34:24by bouncing this thing up and down,
0:34:24 > 0:34:27and I have to say that the cat looks completely bonkers, doesn't it?
0:34:27 > 0:34:30- It does.- I mean, it's a mad-looking cat with green eyes,
0:34:30 > 0:34:32but I think the whole thing's delightful.
0:34:32 > 0:34:36- Yes, I love it. We all love it. - And your mum loves it?
0:34:36 > 0:34:39- Yeah, I didn't want to give it to her, to be honest.- Didn't you?
0:34:39 > 0:34:42Oh, well, there you go, no greater love hath any man...
0:34:42 > 0:34:45But, anyway, it does beg the question, how much did you pay at auction?
0:34:45 > 0:34:48- This is very recently, isn't it? - Very recently, £170.- Is that all?
0:34:48 > 0:34:52- Yeah.- It's the sort of thing I would have thought in an automata sale,
0:34:52 > 0:34:56you'd probably get between £300 and £500 for, so you did very well.
0:34:56 > 0:34:58Your mother will be pleased.
0:34:58 > 0:35:00She will be.
0:35:04 > 0:35:06How long have you had them?
0:35:06 > 0:35:09- Years. I remember them from when I was five.- Yeah.
0:35:09 > 0:35:15And they were in the family long before, they were my mum's mum's.
0:35:15 > 0:35:17- So they're from your side of the family?- Yes.- Yes, not mine.
0:35:17 > 0:35:19Are you allowed to dust them?
0:35:19 > 0:35:21- No.- No.- You're not?- No.
0:35:21 > 0:35:23- But you like them?- Yeah, I like them.
0:35:23 > 0:35:25That's George, and that's me.
0:35:25 > 0:35:30Oh, I see, I see, so you identify with them very literally.
0:35:30 > 0:35:32- Yes.- Lovely.
0:35:32 > 0:35:33When you first see these vases...
0:35:33 > 0:35:36I thought, "Aha, a pair of Continental vases."
0:35:36 > 0:35:37What do you think?
0:35:37 > 0:35:39I don't have a clue.
0:35:39 > 0:35:44Because they've been in the family so long, they've sat there and they're so lovely, I just...
0:35:44 > 0:35:47I didn't even want to clean them anyway, I didn't want to dust them
0:35:47 > 0:35:48because I was frightened of...
0:35:48 > 0:35:50doing something...
0:35:50 > 0:35:53- I just didn't want to touch them. - OK.- So I've got no idea.
0:35:53 > 0:35:57- You're afraid of them and you don't know where they're from.- No. - That sums it up.- Yes.
0:35:57 > 0:36:02- OK, the first thing we do to find out where it's from is we look at its bottom.- Yes.
0:36:02 > 0:36:03And there is the answer.
0:36:03 > 0:36:07We learn two things whilst we're down here, one is that the material is actually bone china.
0:36:07 > 0:36:09Bone china is a material we associate
0:36:09 > 0:36:12with Staffordshire in particular, and with England certainly,
0:36:12 > 0:36:13not with the Continent.
0:36:13 > 0:36:16So we have a conundrum - we've got Continental painting,
0:36:16 > 0:36:18but we have a Staffordshire body.
0:36:18 > 0:36:21Not only that, we have the mark of a factory, quite a well-known factory,
0:36:21 > 0:36:23but a very modest little mark there.
0:36:23 > 0:36:26- Mm, oh, yes, yeah.- Copeland.
0:36:26 > 0:36:29Well, the head of the Copeland family and the potters...
0:36:29 > 0:36:33- and they're potting not so far away in Stoke-on-Trent...- Ah.
0:36:33 > 0:36:36..met a man from the Continent in 18...
0:36:36 > 0:36:40the 1850s, he met a man called Charles Ferdinand Hurten,
0:36:40 > 0:36:44and he was impressed by this man's ability to paint.
0:36:44 > 0:36:47When Mr Copeland saw him, and saw his work in the 1850s,
0:36:47 > 0:36:50he said, "I'd like you to come and work for me."
0:36:50 > 0:36:54That explains why you've got Continental painting, because this is so utterly Continental in style.
0:36:54 > 0:36:56It's the sort of painting
0:36:56 > 0:36:59you might expect to see on a piece of French porcelain.
0:36:59 > 0:37:02And if we turn it round here,
0:37:02 > 0:37:04we will see a signature.
0:37:04 > 0:37:09At that time...and we're talking here now maybe 1870s with these...
0:37:09 > 0:37:12this is well into his working period at Copeland,
0:37:12 > 0:37:14- he was signing his own vases.- Ah.
0:37:14 > 0:37:18And by now, he was actually being commissioned to paint pieces
0:37:18 > 0:37:21for very wealthy people,
0:37:21 > 0:37:25- for royalty, for aristocrats, for Chatsworth.- Oh, right.
0:37:25 > 0:37:27He was a well-known painter in that period.
0:37:27 > 0:37:30If we turn them round, we can just see how stunning...
0:37:30 > 0:37:32- It is.- ..the painting is. - Absolutely beautiful.
0:37:32 > 0:37:36I mean that is 19th-century flower painting, as good as you get,
0:37:36 > 0:37:39and there's a sort of wonderful sort of surreal quality
0:37:39 > 0:37:42to the ivy garland at the bottom.
0:37:42 > 0:37:44And on your piece here, on this one,
0:37:44 > 0:37:48we've got the signature appearing right in the front there.
0:37:48 > 0:37:50To be honest with you, I didn't know.
0:37:50 > 0:37:52- You've never seen that?- No, no.
0:37:52 > 0:37:55I've noticed the bottom, as you were saying, but you know.
0:37:55 > 0:37:57- Well, it's easily lost, isn't it? - It is, really.
0:37:57 > 0:38:00I can let you off for that. But the painting is superb.
0:38:00 > 0:38:02- Yes.- To be able to paint in that quality...
0:38:02 > 0:38:09The colour and everything is beautiful, you know, really.
0:38:09 > 0:38:11And it's against this delicious sort of duck egg...
0:38:11 > 0:38:15blue ground, that is flag iris at its best, isn't it?
0:38:15 > 0:38:17- It is, very much. - So a quality product,
0:38:17 > 0:38:22and you could argue that this man actually put the Copeland factory on the map.
0:38:22 > 0:38:25- Oh, right.- Yeah.- He made a real difference to their fortunes.
0:38:25 > 0:38:28- They became a really leading factory. - Oh, that's very interesting.
0:38:28 > 0:38:30Well, you won't be interested in the value, then?
0:38:30 > 0:38:31No, not really.
0:38:33 > 0:38:37Well, in that case, let's leave it at that, I'll go now...
0:38:37 > 0:38:39Go on, then.
0:38:39 > 0:38:44Um, I think you could quite happily say that they are likely to be worth
0:38:44 > 0:38:49between £4,000 and £6,000.
0:38:49 > 0:38:50You're joking!
0:38:50 > 0:38:52LAUGHTER
0:38:52 > 0:38:54- I need a drink.- What, honestly?
0:38:54 > 0:38:56- I should think so.- Really?
0:38:56 > 0:38:58Really, really?
0:39:00 > 0:39:02Oh, my goodness me.
0:39:02 > 0:39:04How much did he say?
0:39:06 > 0:39:08- Oh, that is lovely. - It's good, it's good.
0:39:08 > 0:39:11Fantastic, that is, absolutely...
0:39:11 > 0:39:12much more than what we thought.
0:39:12 > 0:39:14- Yes.- Much more.- Much, much more.
0:39:18 > 0:39:21Yes, I think Kedleston's old housekeeper would have approved of today's events.
0:39:21 > 0:39:23She would have gone back indoors, Mrs Garnet,
0:39:23 > 0:39:27and said, "Alf, it was a wonderful day, they were all very well-behaved,"
0:39:27 > 0:39:28and indeed we were.
0:39:28 > 0:39:31So many thanks to the Curzon family and the National Trust for letting us in,
0:39:31 > 0:39:35and now from Kedleston Hall, a place built in the image of Rome,
0:39:35 > 0:39:37valete - bye for now.