0:00:51 > 0:00:57Welcome back to our second Roadshow from the magnificent Banqueting House in London's Whitehall.
0:00:57 > 0:01:00It's the kind of place that makes your own front room look shabby.
0:01:00 > 0:01:04This was built as a house of fun by James I in 1622...
0:01:04 > 0:01:06dignified fun of course...
0:01:06 > 0:01:09plays, masques and state occasions.
0:01:09 > 0:01:14But the greatest jollity was reserved for a space below where I'm standing.
0:01:14 > 0:01:17They called this vaulted basement the undercroft.
0:01:17 > 0:01:22It was designed as a drinking den for the King and his special friends. The undercroft...
0:01:22 > 0:01:25good name for a night club.
0:01:25 > 0:01:28Young royals, please note.
0:01:28 > 0:01:30Not everyone came here for wine and merriment.
0:01:30 > 0:01:35According to long tradition, in the run up to Easter, the poor would arrive to receive Maundy money
0:01:35 > 0:01:38and other benefits from their sovereign.
0:01:38 > 0:01:41Another ancient custom that was brought back by the Restoration
0:01:41 > 0:01:44was called "touching for the King's Evil".
0:01:44 > 0:01:51The theory was that the painful skin disease of scrofula could be cured by a touch of the royal hand.
0:01:51 > 0:01:55The king wore long gauntlets over boxing gloves...
0:01:55 > 0:01:57only joking.
0:01:57 > 0:02:00It's more the Midas touch we're thinking of today,
0:02:00 > 0:02:05so back to the experts as they get their gloves off for round two of our Whitehall Roadshow.
0:02:07 > 0:02:10Now, we've got a wonderful embossed folio
0:02:10 > 0:02:14that doesn't really tell you very much about what's inside.
0:02:14 > 0:02:18I've always dreamt of finding an Admiralty model here on the Antiques Roadshow,
0:02:18 > 0:02:21and thank you very much, you've found one for me.
0:02:21 > 0:02:24Because we just open it up,
0:02:24 > 0:02:28and here on the left is a standard drawing, architectural drawing
0:02:28 > 0:02:32of a couple of Royal Naval vessels dating from, where?
0:02:32 > 0:02:391706 is HMS Diamond and HMS Greyhound, two ships of the line
0:02:39 > 0:02:44from the beginning of the 18th Century, and the history of this...
0:02:44 > 0:02:49it was deposited with the, er, Royal Library at Windsor
0:02:49 > 0:02:55and it was given to the Royal United Services Institute, which is just next door to the Banqueting House,
0:02:55 > 0:02:58in the beginning of the 20th Century
0:02:58 > 0:03:03by specific orders of the King to be preserved and to be displayed.
0:03:03 > 0:03:06That's fantastic, because in my whole experience,
0:03:06 > 0:03:10I've only ever seen one other. And that's over 30 years,
0:03:10 > 0:03:14so when I say "rare", it's extraordinarily rare.
0:03:14 > 0:03:18But the whole purpose of this was to encourage the Board to commission the vessels.
0:03:18 > 0:03:22aSo either you built a model or very carefully,
0:03:22 > 0:03:27you could wow them with opening the model like that,
0:03:27 > 0:03:31which shows all the construction inside, so you can see all the ribs,
0:03:31 > 0:03:36you can see all the cannons, and actually was very important to members of the Admiralty,
0:03:36 > 0:03:38athey would show how it would be decorated.
0:03:38 > 0:03:44If you can imagine Pepys and all that crowd round there, all the Admiralty Board looking at this,
0:03:44 > 0:03:50and then the designer would have popped this up and they said, "We'll have one".
0:03:50 > 0:03:53- Or two, in this case. - Or two, in this case, yes.
0:03:53 > 0:03:56So...fantastic condition.
0:03:56 > 0:03:59I've seen one sold at auction, it was much smaller,
0:03:59 > 0:04:03um, and it wasn't as early as this,
0:04:03 > 0:04:06and that made, I think £8,000.
0:04:06 > 0:04:10This is earlier, much more elaborate.
0:04:10 > 0:04:13At auction, I would think £25,000 to £30,000.
0:04:13 > 0:04:18So for insurance, we're probably thinking about £40,000 or £50,000.
0:04:18 > 0:04:22I'm so excited at seeing it, thank you very much for bringing it in.
0:04:22 > 0:04:24Thank you.
0:04:27 > 0:04:30I've never seen so many brooches as you've brought me today.
0:04:30 > 0:04:33Tell me about them, what, how did all this start?
0:04:33 > 0:04:35Well, it started about two years ago.
0:04:35 > 0:04:37- Two years ago? My goodness. - Yes, I, er...
0:04:37 > 0:04:44I was looking for a brooch for a friend and I looked in the internet trying to find something new, and...
0:04:44 > 0:04:46And you did.
0:04:46 > 0:04:49- Yes, it's new.- How many are there?
0:04:49 > 0:04:54- Um, I have about 200.- 200. In two years, that's 100,
0:04:54 > 0:04:56100 a year, that's pretty good, isn't it?
0:04:56 > 0:05:00Tell us about the value of these, what are you buying these for?
0:05:00 > 0:05:04Well, you can buy something for as low as five dollars plus shipping, some a little bit more.
0:05:04 > 0:05:07- I paid 100 for that one.- Mm.
0:05:07 > 0:05:10But usually, they're pretty cheap.
0:05:10 > 0:05:15- Well, I think that's...- Affordable. - I'm very bad at mathematics,
0:05:15 > 0:05:18- but 5 times 200 sounds all right, doesn't it?- Yes.
0:05:18 > 0:05:21areI spent about, more than 2,000 already.
0:05:21 > 0:05:24- More than 2,000. - Fortunately, I keep an excel sheet
0:05:24 > 0:05:29with all the things that I've purchased and I can easily add up, and that's sometimes scary.
0:05:29 > 0:05:34But they are absolutely fantastic, and flowers are obviously desperately important in all of this,
0:05:34 > 0:05:39- because they've all got separate meanings, the flowers, haven't they? - Yes, we learn a lot about that
0:05:39 > 0:05:43- from watching you on the Roadshow. - Do you? Well, it does apply.
0:05:43 > 0:05:46Here's a pansy flower which stands for, "think of the giver,"
0:05:46 > 0:05:51and I think it meant that just as much in the 1950s, which I reckon is when that's made,
0:05:51 > 0:05:53- as it did in 1850 really.- Yes.
0:05:53 > 0:05:57And in a way I've brought you to this table under slightly false pretences.
0:05:57 > 0:06:03Can you guess why? Because there's a jewel here that's really a very, very remarkable one indeed
0:06:03 > 0:06:07and it's not on the table, and it's not on the board behind me,
0:06:07 > 0:06:09- but it's on your neck.- Oh.
0:06:09 > 0:06:13And that's one of the greatest reasons for bringing you here,
0:06:13 > 0:06:17is that's the most dramatically beautiful 18th Century,
0:06:17 > 0:06:20presumably Spanish gold and diamond
0:06:20 > 0:06:22pendant jewel that I've seen,
0:06:22 > 0:06:24it's a lovely one. Tell us about that one.
0:06:24 > 0:06:29Well, that's one my father bought for my mother in Salamanca,
0:06:29 > 0:06:30and that was in the '80s,
0:06:30 > 0:06:36and my parents were in a jewellery shop buying for something else,
0:06:36 > 0:06:40and the owner told my father that he had something very special
0:06:40 > 0:06:43- that a family had the need to sell, unfortunately.- Yes.
0:06:43 > 0:06:45And that perhaps he would like to buy it.
0:06:45 > 0:06:49- And they fell in love with it and bought it.- Yes, how marvellous.
0:06:49 > 0:06:52They're very interesting diamonds. They're sort of,
0:06:52 > 0:06:55almost steely and grey, and they're foiled at the back,
0:06:55 > 0:06:58they're closed back and indeed, the steely greyness
0:06:58 > 0:07:01probably comes from silver foil that's deteriorated behind
0:07:01 > 0:07:06and has gone black and, um, and it's highly distinctive Spanish work,
0:07:06 > 0:07:08very rich gold colour,
0:07:08 > 0:07:11and if we were to shovel all the value of all these brooches
0:07:11 > 0:07:15- into that, we might not be able to acquire it, would we?- You think so?
0:07:15 > 0:07:18I don't think so, no, I don't think you'll get that for 2,000.
0:07:18 > 0:07:20Tell us about the value of that one.
0:07:20 > 0:07:25Um, I think my parents paid about £350.
0:07:25 > 0:07:27I think that's a fantastic bargain.
0:07:27 > 0:07:31I wonder what it's worth today, maybe, maybe closer to £3,000 today.
0:07:31 > 0:07:36- Yes?- And a great thing, very difficult to value, you wear it highly effectively,
0:07:36 > 0:07:40it's a very Spanish look on you, I must say, and have you come a long way to us today?
0:07:40 > 0:07:44Yes, my husband and I have come from Barcelona,
0:07:44 > 0:07:49- specifically for the Roadshow. - Well, how marvellous, and what a joy to bring it all here.
0:07:49 > 0:07:53You've given us a sight that we'll never forget, thank you very much.
0:07:53 > 0:07:57Well, it displays beautifully here, it's just amazing to look at them.
0:07:57 > 0:08:00I'm proud to be the owner of this and owner of this.
0:08:02 > 0:08:04These are two very impressive sights.
0:08:04 > 0:08:07That, and yourself, tell us about yourself first.
0:08:07 > 0:08:11Myself, I'm the Yeoman Gaoler at the Tower of London,
0:08:11 > 0:08:16and I'm basically, the 2IC of the Body of Yeoman Warders, the Body of Yeoman Warders...
0:08:16 > 0:08:18headed by a Chief Yeoman Warder, myself...
0:08:18 > 0:08:23and 33 Yeoman Warders and we all live and work inside the Tower of London.
0:08:23 > 0:08:25Right, and now the weapon.
0:08:25 > 0:08:29The weapon itself. Well, this is the axe,
0:08:29 > 0:08:32and it was never used for beheading anybody,
0:08:32 > 0:08:38but it's a staff of office. And myself, accompanied by Yeoman Warders,
0:08:38 > 0:08:42would take a prisoner from the Tower of London, of which there was many,
0:08:42 > 0:08:46up to Westminster or Guildhall or wherever they were to be tried.
0:08:46 > 0:08:51If they're found guilty, I'd bring them back to the Tower of London.
0:08:51 > 0:08:55The axe was like an advertisement, so if they were coming back by boat
0:08:55 > 0:09:02down the River Thames from Westminster, if this blade of the axe was pointed away from the prisoner,
0:09:02 > 0:09:05then the prisoner wasn't to be executed.
0:09:05 > 0:09:07But if the axe was...
0:09:07 > 0:09:10pointed towards the prisoner,
0:09:10 > 0:09:13the prisoner was to be executed. And so the people of London
0:09:13 > 0:09:16would recognise straight away if this prisoner was to be executed.
0:09:16 > 0:09:21So the axe itself never executed anyone, but do you know the names of any of the victims?
0:09:21 > 0:09:26Well, certainly, Queen Anne Boleyn when she was escorted from the Tower,
0:09:26 > 0:09:29she was escorted by the gaoler and Yeoman Warders.
0:09:29 > 0:09:32Now, I would assume that the gaoler had his axe with him.
0:09:32 > 0:09:37This axe? I don't know, but certainly the gaoler would have escorted her,
0:09:37 > 0:09:43brought her back again and displayed the axe with the blade towards her.
0:09:43 > 0:09:46- And when was it last used? - Well, I would say in Simon Fraser,
0:09:46 > 0:09:52Lord Lovat's time, because he was the last man to be publicly beheaded on Tower Hill in 1747.
0:09:52 > 0:09:54How often is it allowed out these days?
0:09:54 > 0:09:57I don't think this axe has been out of the Tower for about 50 years,
0:09:57 > 0:10:02so it's still, it's a day out for it.
0:10:02 > 0:10:04Talking of that, one last thing...
0:10:04 > 0:10:06would you turn it away from me, please?
0:10:06 > 0:10:08- There you are, Michael.- Thank you.
0:10:09 > 0:10:14One of the challenges of the Roadshow which is always unpredictable is that sometimes,
0:10:14 > 0:10:17one has material to deal with which is quite difficult,
0:10:17 > 0:10:20and I don't mean in value terms, I mean in subject matter.
0:10:20 > 0:10:25Did you ever see a Roadshow a few years ago, a couple of years ago, where Lars Tharp
0:10:25 > 0:10:28did some bowls that had been discovered in the ruins of Hiroshima?
0:10:28 > 0:10:30- Yes, I did. - So you remember that item?
0:10:30 > 0:10:33Did you remember it because of the nature of the item it was?
0:10:33 > 0:10:39- More the fact that it was a real object from that time.- Exactly.
0:10:39 > 0:10:42These are the same, these are real objects from that time.
0:10:42 > 0:10:47What you've brought me here is a portfolio of lithos...
0:10:47 > 0:10:50of lithographic prints...
0:10:50 > 0:10:52by this artist, Henri Pieck,
0:10:52 > 0:10:56- of views of Buchenwald Concentration Camp.- Yep.
0:10:56 > 0:11:01- Why have you got them?- Um, my mum volunteers in a charity shop,
0:11:01 > 0:11:07and this is a donation. And she pulled them to one side not knowing what do with them,
0:11:07 > 0:11:11- they're not the kind of thing to sell on the High Street.- You can hardly put them on a shelf.- No.
0:11:11 > 0:11:15So they pulled them apart, put them back and kept them aside.
0:11:15 > 0:11:21- Then we saw the Antiques Roadshow was in London and I brought them along.- Let's start at the beginning,
0:11:21 > 0:11:27printed in Holland, Dutch artist, and he is relatively well known as an artist...
0:11:27 > 0:11:31"The Long Dead", as a painter, as a print maker.
0:11:31 > 0:11:38The most important thing is that he was, he spent quite a long time in a concentration camp,
0:11:38 > 0:11:42presumably Buchenwald, because he was a Communist,
0:11:42 > 0:11:47so he had, you know, he had the most impossible experience. He survived,
0:11:47 > 0:11:54and obviously what he then wants to do is record his experiences so the world knows what it was like.
0:11:54 > 0:12:00- How did you feel when you saw these? - Erm...they're just very emotive,
0:12:00 > 0:12:04and you look at them and for me, there's no sort of personal attachment to them,
0:12:04 > 0:12:07so I look at them and think it's just desperate, they are desperate.
0:12:07 > 0:12:11Mmm, but I think what they reveal is, as you say,
0:12:11 > 0:12:15the sheer desperation of life in the camp,
0:12:15 > 0:12:18and if you weren't killed, you didn't die,
0:12:18 > 0:12:21this is how you lived, week after week...
0:12:21 > 0:12:23Can you imagine?
0:12:23 > 0:12:25You know this is the labour,
0:12:25 > 0:12:30pouring rain, cold conditions, no food, you know.
0:12:30 > 0:12:33It's...looking round at everybody in this room,
0:12:33 > 0:12:35you know, it's beyond our imagination.
0:12:37 > 0:12:42I mean, you came here quite rightly to say, "What are they and what do we do with them?"
0:12:42 > 0:12:45I just think they're such a powerful record
0:12:45 > 0:12:48of a time which we are in danger of forgetting.
0:12:48 > 0:12:50Yes.
0:12:50 > 0:12:51They have a value.
0:12:51 > 0:12:56Um, it's very hard to value because I haven't seen a set sold before.
0:12:56 > 0:13:00We're looking at...judging by him as an artist, £600 to £800,
0:13:00 > 0:13:05- £500 or £600, it's that sort of area, but who's going to buy them?- Yes.
0:13:05 > 0:13:09Do you give them to a museum? Maybe you do, maybe they go to something like
0:13:09 > 0:13:14The Imperial War Museum, they've got a very big Holocaust, concentration camp collection.
0:13:14 > 0:13:17If they haven't got this set, they may love to have them..
0:13:17 > 0:13:20I started talking about the Hiroshima bowls, which you remember.
0:13:20 > 0:13:26These are the same, you know, these are real objects from that time and they're telling the same story.
0:13:26 > 0:13:29We have to accept that we have done terrible things,
0:13:29 > 0:13:34and we mustn't forget, and these do exactly the same as that bowl.
0:13:34 > 0:13:36Forget the value,
0:13:36 > 0:13:38see if the War Museum have got them.
0:13:38 > 0:13:43Failing that, there are other Holocaust museums, see if they've got them, see if they want them.
0:13:43 > 0:13:47I'm sure they will. They are powerful, emotive, as you say, they're our history.
0:13:47 > 0:13:49- Thank you.- Thank you very much.
0:13:53 > 0:13:55So, what do you keep in this?
0:13:55 > 0:14:00Well, it really belongs to my son and he used to keep his linen in it until he discovered that...
0:14:00 > 0:14:05when he took the linen out, the edges were all covered with black marks from the little spindles.
0:14:05 > 0:14:07At the moment, I think he keeps an old video
0:14:07 > 0:14:14and a defunct computer and some knitting in the bottom drawer.
0:14:14 > 0:14:17- It's a junk cupboard, really. - It's, it's a box room.
0:14:17 > 0:14:21- OK, do you know where it comes from? - Well, when I bought it,
0:14:21 > 0:14:25I bought it in Newbury in the auction rooms and it was sold to me as a Breton cupboard,
0:14:25 > 0:14:32- so I assume it comes from Brittany. - How long ago was that you bought it? - '61-'62, it cost £32.- OK.
0:14:32 > 0:14:34Lot of money.
0:14:34 > 0:14:39Mmm, OK, let's hope there's been an investment, but we'll come to that in a minute, we'll see.
0:14:39 > 0:14:41Quite right, a Breton cabinet.
0:14:41 > 0:14:45What's fascinating about French furniture is it's very highly regionalised,
0:14:45 > 0:14:47- it's obviously a very big country. - Yes.
0:14:47 > 0:14:51And they've got local sources, woods, craftsmen with their own traditions,
0:14:51 > 0:14:56and you can relatively easily work out whether something's from Burgundy or Bordeaux,
0:14:56 > 0:15:01which has rich mahogany furniture because of the port, all the things that came across the Atlantic
0:15:01 > 0:15:05into the port of Bordeaux, and this is Breton, a little bit crude.
0:15:05 > 0:15:10I think it must have been made by a local carpenter who did furniture on the side.
0:15:10 > 0:15:13That's a very good point, I wouldn't have said that,
0:15:13 > 0:15:16- but if you said it...- I said it. - We're singing from the same hymn sheet.
0:15:16 > 0:15:19I found this very interesting, have you noticed that this spiral,
0:15:19 > 0:15:23or barley twist as it's sometimes called, or "Solomonic columns,"
0:15:23 > 0:15:27this one is facing to you and the other one on your side is facing to me, they're reversed.
0:15:27 > 0:15:30- On purpose?- On purpose.- Yes.
0:15:30 > 0:15:36- But they couldn't do that, or didn't do that sort of turning until the machine age.- Yes, yes.
0:15:36 > 0:15:40And I think this is probably a hundred years old.
0:15:40 > 0:15:44- I'm trying to ascertain your accent, you're not from Newbury, are you? - No, I'm from Iowa.
0:15:44 > 0:15:48I met this English sailor in the war,
0:15:48 > 0:15:51I met him on the...
0:15:51 > 0:15:5417th February, and we were married on the 14th March.
0:15:54 > 0:15:58- Blimey, so you're a GI Bride. - I'm a GI Bride in reverse.
0:15:58 > 0:16:02- Lovely. So, valuation.- Go on.
0:16:02 > 0:16:05We should know what the retail cost of this would be,
0:16:05 > 0:16:09- just to give you an idea.- Yes. - £1,000 retail.
0:16:09 > 0:16:12Fine, OK, I don't think I'll buy it though.
0:16:12 > 0:16:15- I haven't got the space for it.- OK.
0:16:15 > 0:16:20So here we are in Whitehall, surrounded by very important government buildings,
0:16:20 > 0:16:26and it's really exciting to have a painting from the Palace of Westminster, just across the road,
0:16:26 > 0:16:31and of course, a very valuable thing and it's been guarded, happily for us, the first time on the Roadshow,
0:16:31 > 0:16:37by these two gentlemen. And you're Malcolm Hay, you're the curator of the Palace of Westminster.
0:16:37 > 0:16:39What is it, when was it done?
0:16:39 > 0:16:42Well, we're looking at the old chapel of the Royal Palace,
0:16:42 > 0:16:45which went on to become the debating chamber of the House of Commons.
0:16:45 > 0:16:48From our point of view, it's the earliest painted image
0:16:48 > 0:16:51of the House of Commons in session, and it's painted by a man
0:16:51 > 0:16:55called Peter Tillemans, shortly after. He comes from Antwerp.
0:16:55 > 0:16:59And the interior at that time, it's rather difficult to judge,
0:16:59 > 0:17:03but it's the interior of the Royal Chapel of the Old Palace.
0:17:03 > 0:17:07And by the early 1700s when this was painted, the...
0:17:07 > 0:17:12what would have been very fine paintings all over the interior of the chapel, had been panelled over,
0:17:12 > 0:17:19- so the wooden panelling by Christopher Wren masks wonderful religious...- It's concealing them?
0:17:19 > 0:17:25It's concealing the paintings. One point is that the layout of Members of Parliament
0:17:25 > 0:17:28sitting in pews facing each other is a church layout,
0:17:28 > 0:17:33and that continued, that tradition continues even today in the post-war Chamber.
0:17:33 > 0:17:36They also put in a false ceiling.
0:17:36 > 0:17:41So over half of the original chapel is hidden above the ceiling.
0:17:41 > 0:17:44- And I've got a small drawing here... - Oh, yes.
0:17:44 > 0:17:47..which was done in 1834,
0:17:47 > 0:17:51and it shows the layout in that area immediately above.
0:17:51 > 0:17:54So this is above this ceiling, and there's a sort of...
0:17:54 > 0:17:57some kind of gallery that you can sit in and look down, is that right?
0:17:57 > 0:18:02- Well, to follow the logic, if you look at the chandelier on the main painting.- Yes.
0:18:02 > 0:18:05..it goes up into the ceiling into a large ventilation block
0:18:05 > 0:18:09and that ventilation block is the format round which...
0:18:09 > 0:18:13women, or ladies at that time, could sit and they could hear.
0:18:13 > 0:18:18In fact, they could not only hear the debate, on the basis that hot air rose, they could also
0:18:18 > 0:18:24see the feet of the Members of Parliament in the Chamber and indeed the Clerk's table and the Speaker.
0:18:24 > 0:18:27I see. How completely fascinating.
0:18:27 > 0:18:31But they look all very elegant, very 18th Century. And each one of these
0:18:31 > 0:18:35seems to be a portrait, they do look like individual faces.
0:18:35 > 0:18:40How fascinating. And then of course, the whole thing was destroyed by a disastrous fire,
0:18:40 > 0:18:44and this is the morning after the day before, as it were.
0:18:44 > 0:18:47So, who painted this wonderful painting?
0:18:47 > 0:18:49Well, George Scharf Senior
0:18:49 > 0:18:55thought this would be an incredible opportunity to come to the building,
0:18:55 > 0:19:00literally, the morning after, and he spent the next six months perched on the top of Westminster Hall,
0:19:00 > 0:19:05throwing any health and safety considerations to the wind.
0:19:05 > 0:19:08Pretty, pretty dangerous place to sit, I should think.
0:19:08 > 0:19:10But when did it happen, this fire, and how did it start?
0:19:10 > 0:19:15Well, it happened on the night of 16th October 1834,
0:19:15 > 0:19:17workmen had been burning tally sticks -
0:19:17 > 0:19:20an outmoded form of accounting - at that point,
0:19:20 > 0:19:22in one of the larger fireplaces in the House of Lords.
0:19:22 > 0:19:26When they went off home, the flue of the fireplace caught fire.
0:19:26 > 0:19:29Amazing, a tiny spark and...disaster.
0:19:29 > 0:19:32It's almost still smouldering.
0:19:32 > 0:19:36It was certainly smouldering when George Scharf began painting it.
0:19:36 > 0:19:40He charted various things including the old Victorian fire engine.
0:19:40 > 0:19:46- Oh, yes.- But also the people coming to view, to see what had happened to the old buildings.
0:19:46 > 0:19:49The element here of course shows the burnt-out chapel,
0:19:49 > 0:19:57so that's where the Commons debating chamber had been and in order to take note, the dome-headed...
0:19:57 > 0:20:02Norman windows are very obvious in the painting by Tillemans.
0:20:02 > 0:20:06For George Scharf, this was a painting that he felt was hugely important,
0:20:06 > 0:20:14he got permission, he spent six months working on the immense amount of detail,
0:20:14 > 0:20:19- and he hoped that by selling prints of it, he could make money.- I see.
0:20:19 > 0:20:23And, well, it never went that way, and in fact shortly before he died
0:20:23 > 0:20:26in 1860, he still had the painting,
0:20:26 > 0:20:31and he sold it for the pathetic amount of money...
0:20:31 > 0:20:35- he got two pounds and ten shillings for the painting at that point.- No!
0:20:35 > 0:20:38I suppose the only other finer point to make on this painting is that
0:20:38 > 0:20:42- this was found in an antique shop in South Africa.- Was it really?
0:20:42 > 0:20:49Back in about 2001, and it came into our collection in 2003 in fairly awful, fairly ropey condition
0:20:49 > 0:20:54and the Tate Gallery spent a year conserving it and putting it in condition as now.
0:20:54 > 0:20:55Well, it looks great.
0:20:55 > 0:21:02I can't imagine how you would value pictures like this, but you know, I suppose they're so closely bound up
0:21:02 > 0:21:06with England's heritage that they'd have a premium if they ever came onto the market,
0:21:06 > 0:21:10but you've got to take a bit of a flying leap with the value, haven't you, sometimes?
0:21:10 > 0:21:15If you do lend them out, you've got to insure them. Well, my feeling is that,
0:21:15 > 0:21:19between the two of them, there must be at least a million pounds worth of pictures,
0:21:19 > 0:21:25with where they've been and what they are, that two pounds doesn't sound like very much.
0:21:34 > 0:21:39We've seen some fantastic treasures here today, and that's a cue for me to remind you
0:21:39 > 0:21:43that this is our 30th year and we are taking the occasional stroll down memory lane,
0:21:43 > 0:21:47to relive some great moments. Here are some more.
0:21:49 > 0:21:50Good God, no!
0:21:50 > 0:21:52Really?!
0:21:54 > 0:21:57Now, that is exceptionally rare.
0:21:57 > 0:22:01It's quite incredible. I think we're looking at about £10,000 for a sword like this.
0:22:01 > 0:22:03You're not being serious?
0:22:03 > 0:22:05I am being deadly serious.
0:22:05 > 0:22:07I don't think I've ever seen...
0:22:07 > 0:22:11I don't know if I've ever seen a pig, a pig being ridden before.
0:22:11 > 0:22:14If I were you, I'd stick to your day job.
0:22:16 > 0:22:20My great-granddad was prepared to just take it all down to the dump.
0:22:21 > 0:22:24- This is a £3,000 carriage clock.- Oh!
0:22:30 > 0:22:31It's a major discovery.
0:22:31 > 0:22:35- Is it really?- It's so exciting, I'm shaking, holding it.
0:22:37 > 0:22:39Why me, God, why me?
0:22:46 > 0:22:49I wouldn't have shrunk from telling you
0:22:49 > 0:22:52- that it was worth £20,000.- 20?! You're...
0:22:58 > 0:23:05Your five pieces are going to be worth somewhere around £20,000 to £25,000.
0:23:08 > 0:23:10Ah, oh, that's heavy, isn't it?
0:23:19 > 0:23:25You look like a bride, tell me, is this something that you wore as a...
0:23:25 > 0:23:26on your happy day?
0:23:26 > 0:23:30I didn't. I was going to, but I decided not to in the end.
0:23:30 > 0:23:35Oh, so tell me about it, I mean because you look, I have to say, a million dollars.
0:23:35 > 0:23:41The dress that you actually wore for your wedding must have been a real knockout if this was rejected.
0:23:41 > 0:23:44Is it a family thing that's been handed down?
0:23:44 > 0:23:48No, it's not, I bought it from an Art Deco fair in Eltham Palace last year.
0:23:48 > 0:23:52Oh, I know. I know. So you went there looking for a wedding dress?
0:23:52 > 0:23:55No, just for the exhibition, the fashion show that they had on.
0:23:55 > 0:23:57- Were you engaged at that point?- Yes.
0:23:57 > 0:24:01Oh, fine, OK, so the fact that you then bought a wedding dress,
0:24:01 > 0:24:04- you did kind of know there was a wedding happening. - Yes, I did, luckily.
0:24:04 > 0:24:10Let's just talk about it because standing back here, you do look like one of the columns
0:24:10 > 0:24:13here in the Banqueting House, and that's what it was all about.
0:24:13 > 0:24:17In the mid-1930s, the designers went in for this...
0:24:17 > 0:24:23incredibly fluid shape, using this very heavy satin.
0:24:23 > 0:24:26- It is very heavy. - It's heavy to wear?- Yes.
0:24:26 > 0:24:30- That's interesting, because it hangs so beautifully, doesn't it?- Yes.
0:24:30 > 0:24:34- Um, you can't move, can you?- No. - Your heels are too high. - My heels are too high.
0:24:34 > 0:24:39I want to have a look at the back, because the back is, is just as it should be.
0:24:39 > 0:24:42You stay there like a kind of object,
0:24:42 > 0:24:45because the back is just as it should be because of course as a bride,
0:24:45 > 0:24:48the most that people see is the back of you,.
0:24:48 > 0:24:51- Correct.- And you've got this wonderful row of self-covered buttons
0:24:51 > 0:24:57going along behind, this great train coming round, all bias cut.
0:24:57 > 0:25:04So there you are, Art Deco queen, queen of Eltham Palace, what does a queen have to pay for her dress?
0:25:04 > 0:25:08- £60.- Gosh I'm shocked at that, I mean, I wouldn't have been surprised
0:25:08 > 0:25:11if you'd said three times that, and indeed,
0:25:11 > 0:25:17I could imagine that in a vintage dress shop at easily £200 to £250.
0:25:17 > 0:25:20- Really? - I think it's just gorgeous, and...
0:25:20 > 0:25:27when you renew your vows, I don't know, in 20 years time, wear it then, because it just looks fantastic.
0:25:27 > 0:25:28Thank you.
0:25:29 > 0:25:34Well, here we have the most magnificent picture of the inside of Westminster Abbey,
0:25:34 > 0:25:41and it's a picture of the coronation of George IV where he's being presented to all the Earls and Lords
0:25:41 > 0:25:44and all the rest of it, this is the promotion.
0:25:44 > 0:25:48Here he is in the middle, and here is the Archbishop there,
0:25:48 > 0:25:53actually showing him off to the congregation.
0:25:53 > 0:25:56Now, the theme here is obviously Westminster Abbey,
0:25:56 > 0:25:59because you've got some other things there as well.
0:25:59 > 0:26:01So, you're a clergyman, out with it.
0:26:01 > 0:26:03I'm the Dean of Westminster.
0:26:03 > 0:26:08- You're the Dean of Westminster. Welcome to the Antiques Roadshow. - Thank you very much.
0:26:08 > 0:26:13It was this particular coronation, George IV, where they all dressed up in medieval clothes.
0:26:13 > 0:26:16- Oh, yes. - Very elaborate, very expensive,
0:26:16 > 0:26:20it's a wonderful book, absolutely splendid. Here's the title...
0:26:23 > 0:26:27"..An Impartial And Historical Narrative Of Those Momentous Events
0:26:27 > 0:26:29"Which Have Taken Place In This Country
0:26:29 > 0:26:32"During The Period From The Year 1816 To 1823."
0:26:32 > 0:26:35The most important one, as far as I'm concerned,
0:26:35 > 0:26:37and as far as you're concerned,
0:26:37 > 0:26:39- is Westminster Abbey. - Absolutely, the coronation.
0:26:39 > 0:26:41That is a splendid piece of history.
0:26:41 > 0:26:46- But this is the most elaborate one. - This is even more precious,
0:26:46 > 0:26:49and absolutely extraordinary. This is from 1953,
0:26:49 > 0:26:52from the Queen's coronation.
0:26:52 > 0:26:58- Yes.- And this was the full music edition of the Order of Service which belonged to Sir William McKie,
0:26:58 > 0:27:01the organist and Master of the Choristers at the time.
0:27:01 > 0:27:04But this is not only what he used, I think, during the service itself,
0:27:04 > 0:27:11but it's been signed by the other musicians who were there, as well as by the Archbishop of Canterbury,
0:27:11 > 0:27:14- Geoffrey Fisher...- Geoffrey Fisher. - And the Earl Marshall.
0:27:14 > 0:27:18- The Earl Marshall, Duke of Norfolk. - Sir Ralph Vaughan Williams.
0:27:18 > 0:27:19Who wrote a piece of music for it.
0:27:19 > 0:27:24- Herbert Howells, Ernest Bullock, who had been one of Sir William McKie's predecessors.- Yes.
0:27:24 > 0:27:26And the self-effacing William McKie.
0:27:26 > 0:27:32If you turn over, it's also been signed by Her Majesty the Queen.
0:27:32 > 0:27:36- Absolutely splendid.- And it's a very beautiful edition.- Yes.
0:27:36 > 0:27:40Absolutely splendid, of which this is number one.
0:27:40 > 0:27:42Number one of a limited edition of 150.
0:27:42 > 0:27:45That is quite quite extraordinary absolutely splendid.
0:27:45 > 0:27:49I have to come clean too, I was a chorister at Westminster Abbey,
0:27:49 > 0:27:54- and Sir William McKie was my first Organist and Master of the Choristers.- Wonderful.
0:27:54 > 0:27:59- You don't want to know the value of any of this.- No.- Unfortunately, the people who are watching do.
0:27:59 > 0:28:03- You're not going to sell them, so it doesn't really make any difference.- Absolutely not.
0:28:03 > 0:28:08The fabulous colour plate book of Westminster Abbey would now be worth
0:28:08 > 0:28:15somewhere in the region of £800 to £1,000 and this one, which is in fact
0:28:15 > 0:28:21I suspect my favourite, I love, I love all those association signatures inside - best part of £1,000.
0:28:21 > 0:28:26I mean, it's so unique and so bound up really with the Abbey
0:28:26 > 0:28:30that if I saw that in a second-hand bookshop, I'd fall off my...
0:28:30 > 0:28:35- whatever it is.- I've got Sir William Mackay's coat hanger in my wardrobe, as well,
0:28:35 > 0:28:39- I wonder what that's worth. - Absolutely splendid, thank you for bringing this in
0:28:39 > 0:28:43and taking time off on a Sunday, I mean, it must be very difficult.
0:28:43 > 0:28:46Great pleasure, very nice to meet you, thank you very much.
0:28:48 > 0:28:50These are a lovely pair of pistols,
0:28:50 > 0:28:55just to see them, the quality...
0:28:55 > 0:29:00Spanish, of course, double-barrelled percussion,
0:29:00 > 0:29:05and probably small holster pistols as opposed to travelling pistols.
0:29:05 > 0:29:09I notice that they were made in 1839, but tell me the background.
0:29:09 > 0:29:15Er, they first belonged to this man, which was Don Toribio Ansotigay,
0:29:15 > 0:29:20and he was my great-great-great grandfather.
0:29:20 > 0:29:24They were presented to him by the King of Spain because of his help
0:29:24 > 0:29:31in the first Carlist Wars, and his advising role in the second Carlist Wars.
0:29:31 > 0:29:36Obviously, they must have held him in high esteem to present a pair of
0:29:36 > 0:29:42pistols like this, because the sheer quality, and these lion hammers...
0:29:42 > 0:29:46But they've beautiful springs on them
0:29:46 > 0:29:51like very very strong, and I don't suppose they've ever been fired.
0:29:51 > 0:29:55When you look at the top of these nipples, they're so sharp and clean,
0:29:55 > 0:29:59and obviously, as I see it, being kept purely as a...
0:29:59 > 0:30:03presentation pair of pistols, but they're really gorgeous.
0:30:03 > 0:30:06Nice ivory-tipped ram rods, beautiful.
0:30:06 > 0:30:11And then of course the woodwork itself,
0:30:11 > 0:30:14made by a craftsman.
0:30:14 > 0:30:19- Now, tell me more about your ancestor.- Um, he was a Don,
0:30:19 > 0:30:24so he was the Spanish nobility, and he was also the Mayor of Madrid
0:30:24 > 0:30:30- for a while.- Oh, right. - And his wife was the lady in waiting to the Queen of Spain at that point.
0:30:30 > 0:30:33- Who would have been Isabella, I believe.- Yeah. Isabella.
0:30:33 > 0:30:37Well, you've got a cased pair of pistols here...
0:30:37 > 0:30:45as pistols, worth something like £4,000 to £5,000, but because who they were presented by,
0:30:45 > 0:30:51for insurance purposes, I would think you should insure them for £12,000 to £14,000.
0:30:52 > 0:30:54Hope that pleases you.
0:30:54 > 0:30:56Well, they won't ever be sold.
0:30:56 > 0:30:58No, of course not, of course not.
0:31:00 > 0:31:04- I've just heard that a very interesting piece of furniture has come in.- Great.
0:31:04 > 0:31:07The trouble is, it hasn't come in, you have to go to it.
0:31:07 > 0:31:12It's too important or precious to move and it's over the road,
0:31:12 > 0:31:16- across Whitehall in the Horseguards building.- OK, and we're expected?
0:31:16 > 0:31:19- They're dying to see you. - Knock on the door and...
0:31:19 > 0:31:22- Go for it.- Now?- Please.- OK.
0:31:23 > 0:31:26Here he is, it looks like St George to me,
0:31:26 > 0:31:28and he's hanging over Whitehall behind.
0:31:28 > 0:31:32Quite cool, isn't it? Um, does it come from a church?
0:31:32 > 0:31:36I don't know where he comes from, because it was given me by my mother.
0:31:36 > 0:31:41Yeah. And, er it was given to her by a friend of hers.
0:31:41 > 0:31:45- What part of the world does he come from?- From Coventry.- Coventry.
0:31:45 > 0:31:49- My mother lived in Coventry. - Substantially re-arranged by the Luftwaffe, wasn't it?
0:31:49 > 0:31:52- Yes, severely bombed out in the centre.- Absolutely.
0:31:52 > 0:31:54And the first thing to go in the Blitz is windows.
0:31:54 > 0:31:57Do you think this was plucked from the wreckage of the Blitz?
0:31:57 > 0:32:03- It could have been. It does have a slightly ecclesiastical tinge about it, doesn't it?- It does, doesn't it?
0:32:03 > 0:32:07- Yes.- And if I was rifling through the wreckage, just going for a walk
0:32:07 > 0:32:11and I saw that, I don't think I'd be able to resist it, it's wonderful.
0:32:11 > 0:32:14- I think, I think I've got a suspect for who done it.- Right.
0:32:14 > 0:32:19- And I think it was quite possibly by Henry Holiday, who was a great admirer of Burne-Jones.- Right.
0:32:19 > 0:32:23And it's very much his style, he used to work for Powell and Company,
0:32:23 > 0:32:29stained glass makers, in the 1880s and around that time, which is about the time of this,
0:32:29 > 0:32:35and he was a very good artist and this is a very good thing, which helps, you know, helps along.
0:32:35 > 0:32:39- It's a beautiful face, isn't it? - It really is.- Very sensitive and...
0:32:39 > 0:32:42Valuable thing too, I suspect,
0:32:42 > 0:32:45it's worth about £800 to £1,200.
0:32:46 > 0:32:49Wow! I didn't think it was that...
0:32:49 > 0:32:55- So small!- It may be small, but it's a lovely piece of drawing, don't you think?
0:32:55 > 0:32:56- And the colour's great.- Yes.
0:32:59 > 0:33:02This is really unusual for me. I don't think we've ever done this,
0:33:02 > 0:33:06we've never come across to see a piece of furniture, it's always been brought into us.
0:33:06 > 0:33:11- Why are we coming to you, rather than you to us?- It's a very special desk.
0:33:11 > 0:33:17Mainly because it was the desk used by Commanders in Chief, we don't know how far back...
0:33:17 > 0:33:23you might be able to tell me, but we know for certain that it was the Duke of Wellington's desk
0:33:23 > 0:33:25while he was here as Commander in Chief.
0:33:25 > 0:33:301827 was when the great duke was first Commander in Chief, and 1842, he was Commander in Chief
0:33:30 > 0:33:36a second time until the year of his death in 1852, and it's been here ever since,
0:33:36 > 0:33:40in the office of the Major General commanding the household division,
0:33:40 > 0:33:43which is the job which I did for three and a half years.
0:33:43 > 0:33:49So, I'm just thinking about the relevance of this wonderful print here, I mean, I just love this...
0:33:49 > 0:33:54Well, it's the only bit of provenance we have, um, because there you can see the desk
0:33:54 > 0:33:59as it virtually is now, in fact the same shape, and of course the...
0:33:59 > 0:34:04the room itself, you know with the state portraits of George III and Queen Charlotte
0:34:04 > 0:34:09as they were then, and even the decor, the paint is precisely the same, same colour.
0:34:09 > 0:34:12Extraordinary, so here is definite proof that this is the desk.
0:34:12 > 0:34:16The thought that he actually sat here is quite intimidating in a way.
0:34:16 > 0:34:21- Mmm.- Let me just think from my point of view about the desk, and sort of, in cold blood in a way...
0:34:21 > 0:34:24it's a lovely mahogany desk, and this oval shape
0:34:24 > 0:34:30is very typical of the late Hepplewhite Sheraton period,
0:34:30 > 0:34:33so I'm going to date it to about 1780-1790.
0:34:33 > 0:34:40It's a partners' desk, you've got the kneehole on this side, and exactly the same kneehole on the other side.
0:34:40 > 0:34:44I sat at it for 3.5 years, I never found it terribly comfortable being slightly tall,
0:34:44 > 0:34:50I had to rather sort of, you know, squat, and actually there's no room for one's legs to go through,
0:34:50 > 0:34:54but even so, it was a great privilege to sit here for 3.5 years.
0:34:54 > 0:34:57I think between us, we're going to have to try and value this.
0:34:57 > 0:35:02As a piece of furniture without the historical factor, it's relatively easy, it's a rare desk,
0:35:02 > 0:35:06it's a very good desk, but how on earth do you value that provenance?
0:35:06 > 0:35:09It's impossible, here we've got one of...Britain's...
0:35:09 > 0:35:14the world's leading figure of his time, and we're trying to put a value on that.
0:35:14 > 0:35:17I really find that very difficult, and almost too much of a challenge.
0:35:17 > 0:35:20We always do value things on the Roadshow, so I can't get out of it
0:35:20 > 0:35:26and I think for retail replacement purposes, this should be insured for £100,000.
0:35:28 > 0:35:29Good heavens, fascinating.
0:35:29 > 0:35:34I can't thank you enough for inviting us to look at it, it's a great privilege. It's just fun to see
0:35:34 > 0:35:39really good furniture, and the historic provenance, wonderful, thank you.
0:35:43 > 0:35:48Certain viewers will no doubt recoil when they reflect on the subject matter here,
0:35:48 > 0:35:52I gather there's an inscription bottom right, what is going on?
0:35:52 > 0:35:56It's telling us that the monkey and the dog are fighting,
0:35:56 > 0:35:57and it's a fight to the death.
0:35:57 > 0:36:01We learn that the monkey dies later on in the day, but...
0:36:01 > 0:36:05the poor bitch dies on the spot, very non-PC, don't you think?
0:36:05 > 0:36:07- Well, it's...- Gruesome.
0:36:07 > 0:36:09How did you come by this picture?
0:36:09 > 0:36:13I bought it because I'm interested in astrology. In Chinese astrology
0:36:13 > 0:36:17I'm the year of the monkey, and I thought that my younger brother was year of the dog,
0:36:17 > 0:36:22and as we were always fighting as children, I thought, what great fun for his birthday present.
0:36:22 > 0:36:26Turns out he's year of the rooster, so he didn't get the painting and I kept hold of it.
0:36:26 > 0:36:29How do you find the painting goes down with your friends?
0:36:29 > 0:36:33I don't show too many people, the political correctness thing
0:36:33 > 0:36:37is so huge now that, um, I keep it kind of hidden, but I like it.
0:36:37 > 0:36:41This is a very interesting picture in many ways. It's unpalatable
0:36:41 > 0:36:46to a lot of people, but it throws a glimmer of light on a sinister,
0:36:46 > 0:36:52unattractive side of London life, but none the less, something that did go on, this is an event that took place,
0:36:52 > 0:36:57so there's social history here, but there's also another element which appeals to me and that is...
0:36:57 > 0:37:01the quality of the painting. The more you look at it, the more you realise
0:37:01 > 0:37:06that this is by a good artist, it's not by one of your jobbing painters.
0:37:06 > 0:37:10- Can I ask you how much you paid for it?- Yes, I paid £50.
0:37:10 > 0:37:14I thought that was just about right for my brother's birthday present.
0:37:14 > 0:37:16Had you any idea at the time who it might be by?
0:37:16 > 0:37:22I've got no idea and it actually didn't concern me very much, I just loved the painting for what it was.
0:37:22 > 0:37:25This will be rather tantalising for both of us, because...
0:37:25 > 0:37:29if I may shine a torch on the bottom left hand corner, can you make out
0:37:29 > 0:37:33those initials there?
0:37:33 > 0:37:36I can't see anything at all, I'm surprised you can.
0:37:36 > 0:37:38This is what you can do with a torch.
0:37:38 > 0:37:43TW, now I don't know who TW is, it's a monogram.
0:37:43 > 0:37:47Now, we're going to find out one day who TW is.
0:37:47 > 0:37:52I can't do it now, but I can tell you that this is by an artist of considerable accomplishment.
0:37:52 > 0:37:57There are various techniques which suggest he knows what he's doing, or possibly she knows what she's doing.
0:37:57 > 0:38:01In the background, those glazey strokes, they're rather masterly.
0:38:01 > 0:38:06I also think the way that the monkey's face is done and the...
0:38:06 > 0:38:11- moment of contact between the two is by someone who understands animal anatomy.- Yeah.
0:38:11 > 0:38:13- So you paid £50 for it?- Yeah.
0:38:13 > 0:38:17Well, it would be very interesting to know who the artist is.
0:38:17 > 0:38:24But I can confidently say, given its quality, that this is worth in excess of £1,000 to £1,500.
0:38:24 > 0:38:28Well, that would have been an even better birthday present for him, wouldn't it?
0:38:28 > 0:38:31- Rooster or no rooster.- Absolutely.
0:38:33 > 0:38:37They were found in two individual boxes when I was sorting out
0:38:37 > 0:38:40my aunt's house when she passed away, the beginning of the year.
0:38:40 > 0:38:42- When you unpacked them, what did you think?- Wow!
0:38:42 > 0:38:46- They were stunning and amazing. - You like them, do you?- Yes.
0:38:46 > 0:38:51Here, we've got a group of...
0:38:51 > 0:38:55classic Royal Worcester porcelain
0:38:55 > 0:39:01from the early years of the 20th Century. At that time, they were...
0:39:01 > 0:39:06painting scenes of highland cattle,
0:39:06 > 0:39:11birds like that, and they were all the rage at the time, and honestly,
0:39:11 > 0:39:16you know, I don't know how many times these have come up on the Antiques Roadshow over the years,
0:39:16 > 0:39:18hundreds, I would think.
0:39:18 > 0:39:24On the other hand, these are more unusual, do you know what they are?
0:39:24 > 0:39:26Just Wedgwood.
0:39:26 > 0:39:28- Just Wedgwood.- Just Wedgwood.
0:39:28 > 0:39:35Josiah Wedgwood was a one-legged potter, chemist, businessman,
0:39:35 > 0:39:42a highly important man of his time, not only in the pottery industry, but outside as well.
0:39:42 > 0:39:50And he developed many bodies, and one of them was this black basalt...
0:39:50 > 0:39:53or basalts, it can be spelt.
0:39:53 > 0:39:56And I've got a feeling he was experimenting with it
0:39:56 > 0:40:01in 1769 is the year that comes to mind, but I may be wrong there.
0:40:01 > 0:40:04These are slightly later than that,
0:40:04 > 0:40:10this is obviously for boiled eggs at breakfast,
0:40:10 > 0:40:14and...this would have stood on the sideboard,
0:40:14 > 0:40:17you would have had salt in there,
0:40:17 > 0:40:22- and I think that would probably sell for around £600 to £800.- Mmm.
0:40:22 > 0:40:26This candlestick is more unusual,
0:40:26 > 0:40:29in that you've got the application
0:40:29 > 0:40:35called sprigging...of rosso antico,
0:40:35 > 0:40:38which was his red body, much less common.
0:40:38 > 0:40:43And it's a very good bit of Neo-Classical design.
0:40:43 > 0:40:46The sad thing is, one candlestick.
0:40:46 > 0:40:51- Mmm.- There's nothing sadder than one candlestick.
0:40:51 > 0:40:57But you know, it's a good example, I can see that making...
0:40:57 > 0:40:59£700 to £1,000.
0:40:59 > 0:41:01- Just the one?- Just one?
0:41:01 > 0:41:03- Just one.- Wow!
0:41:03 > 0:41:07And then we've got this extraordinary
0:41:07 > 0:41:08desk set.
0:41:08 > 0:41:14There's the inkwell, and in this one we've got the sander,
0:41:14 > 0:41:16- do you know what that's for?- No.
0:41:16 > 0:41:20Well, you put very fine sand in that and when you've written your letter...
0:41:20 > 0:41:23off you go. No blotting paper.
0:41:23 > 0:41:29- Oh.- And the sand absorbs the ink, and so you just...
0:41:29 > 0:41:32and you've got a dry letter.
0:41:32 > 0:41:35And we've got a canopic jar,
0:41:35 > 0:41:41and the canopic jar holds a pen holder and another inkwell.
0:41:41 > 0:41:46It's actually a very rare piece, one doesn't see them very often,
0:41:46 > 0:41:52difficult to date but late 18th, early 19th Century.
0:41:52 > 0:41:55And what one should have,
0:41:55 > 0:42:00and indeed does have, is a mark.
0:42:03 > 0:42:05This is a particularly amusing mark.
0:42:07 > 0:42:10Wedgwood...and underneath, "Pearl".
0:42:10 > 0:42:13- Oh, right. - Do you know what it refers to?
0:42:13 > 0:42:20- Pearl? No.- Well, Wedgwood developed a new glaze at the end of the 18th Century, and he called it Pearl Ware.
0:42:20 > 0:42:26What's happened here is that the potter has picked up the wrong tool,
0:42:26 > 0:42:31and he's picked up a Wedgwood Pearl tool and gone...
0:42:31 > 0:42:35and put the wrong mark on it, isn't that wonderful? I love it, it's good stuff.
0:42:35 > 0:42:42Well, I like that very much, um...
0:42:42 > 0:42:45This is much later. This is Wedgwood again,
0:42:45 > 0:42:50decorated at the end of the 19th Century, I think probably by a man
0:42:50 > 0:42:54called Harry Barnard, looks like his work to me.
0:42:54 > 0:42:57And although that's a late piece in Wedgwood terms,
0:42:57 > 0:43:03- that's going to be worth around, um, £600 to £1,000.- It's stunning.
0:43:03 > 0:43:06- You like it, do you?- Yeah, love it. - Beautiful.- Best?- Yes.- Yeah.
0:43:06 > 0:43:08- We love it.- OK.
0:43:08 > 0:43:12Would you swap it for that?
0:43:14 > 0:43:18- Obviously, that's worth more the way...- The way you're coming across.
0:43:18 > 0:43:20- You reckon? - Yeah. But that is prettier.
0:43:20 > 0:43:23Ah, you girls always go for the pretty.
0:43:23 > 0:43:25- This is yours.- Thank you.
0:43:25 > 0:43:27And the other one's mine.
0:43:27 > 0:43:34- That's worth £4,000 to £6,000. - Ah!- Ah! You're joking!
0:43:34 > 0:43:36- £4,000 to £6,000.- No!
0:43:36 > 0:43:39And I actually failed to put a price on this stuff, didn't I?
0:43:39 > 0:43:45- Yeah.- Well, another £15,000 there.
0:43:45 > 0:43:46You're joking!
0:43:49 > 0:43:53- Thank you for coming in, thank you, Auntie.- Oh, God...
0:43:53 > 0:43:55I'm shaking!
0:43:57 > 0:44:00I think I need the gin!
0:44:03 > 0:44:07A thing of beauty may be a joy forever but a television programme I'm afraid,
0:44:07 > 0:44:10only has a certain amount of time, and ours is up for this week.
0:44:10 > 0:44:13So from the glories of Banqueting House in Whitehall,
0:44:13 > 0:44:16the Roadshow heads back to its humble headquarters in Bristol.
0:44:16 > 0:44:18It's good enough for the likes of us.
0:44:18 > 0:44:21Until the next time, goodbye.