0:00:02 > 0:00:05This fountain is fed by water travelling down a pipe
0:00:05 > 0:00:07from high up in the Cotswold hills,
0:00:07 > 0:00:12and gravity alone thrusts it high up into the air, 300 foot.
0:00:12 > 0:00:16This is the highest gravity-fed fountain in the world.
0:00:17 > 0:00:20It's a modern addition to this historic landscape,
0:00:20 > 0:00:24which gave rise to a particularly British style of gardening.
0:00:24 > 0:00:25Come for a stroll with me
0:00:25 > 0:00:29around Stanway House and Water Gardens in Gloucestershire.
0:01:17 > 0:01:20Stanway is a flower in the Cotswold countryside
0:01:20 > 0:01:23and here saw the first buds of a distinctively British style
0:01:23 > 0:01:26of country garden in the 18th century.
0:01:27 > 0:01:31Before this, the trendy estate garden looked for inspiration
0:01:31 > 0:01:34to Europe with its high walls and formal layout.
0:01:34 > 0:01:37Stanway's revolutionary garden design
0:01:37 > 0:01:40blew down the constrictions of the walled garden,
0:01:40 > 0:01:43opening it up to the surrounding countryside.
0:01:43 > 0:01:48It's hard to appreciate now, just how groundbreaking this idea was,
0:01:48 > 0:01:52and it's all attributed to garden designer Charles Bridgeman.
0:01:52 > 0:01:55The trick was to sympathetically blend
0:01:55 > 0:01:57the natural features of the landscape
0:01:57 > 0:02:01with some of the formal features which had been hidden behind walls.
0:02:01 > 0:02:03This is a classic example of Bridgeman's work -
0:02:03 > 0:02:05a 500 foot long canal,
0:02:05 > 0:02:09and up here a cascade which is the longest in England
0:02:09 > 0:02:13and it's fed from a pond up there, behind the pyramid.
0:02:13 > 0:02:15They were marvels of their day.
0:02:17 > 0:02:20Between 1725 and 1735,
0:02:20 > 0:02:24Stanway became one of the grandest water gardens in England,
0:02:24 > 0:02:25and it's hard to believe,
0:02:25 > 0:02:28but all this was lost for over 150 years
0:02:28 > 0:02:33until a lawnmower lost a blade on a stone from the overgrown cascade
0:02:33 > 0:02:35back in the '80s.
0:02:46 > 0:02:48Over the course of ten years,
0:02:48 > 0:02:50the canal and cascade were revealed
0:02:50 > 0:02:53and restored to their former 18th century glory,
0:02:53 > 0:02:57and as a final flourish, the fountain was added.
0:02:58 > 0:03:01Let's hope that's the only drenching we're likely to see today
0:03:01 > 0:03:05as our experts are once again primed and ready for action
0:03:05 > 0:03:06on the lawns of Stanway.
0:03:06 > 0:03:08When I first saw this picture,
0:03:08 > 0:03:12I saw it from about 100 metres away up the lawn, she really beckoned me.
0:03:12 > 0:03:16I have to say, now I'm up close, I'm not the slightest bit disappointed.
0:03:16 > 0:03:17- Good.- She's lovely.
0:03:17 > 0:03:19Yes, she's beautiful. We love her.
0:03:19 > 0:03:21So how did she come into your life?
0:03:21 > 0:03:25Many years ago it belonged to my parents-in-law down in Brighton,
0:03:25 > 0:03:28they were antique dealers, small time antique dealers,
0:03:28 > 0:03:30they went out on a house clearance
0:03:30 > 0:03:33and it came home on top of their Vauxhall Victor Estate.
0:03:33 > 0:03:37From then on it hung in their flat, and then a few years ago,
0:03:37 > 0:03:40I loved her so much my mother-in-law gave her to me,
0:03:40 > 0:03:41so we could hang her at home.
0:03:41 > 0:03:45- And so you adopted her? - We did, indeed, she's lovely, yes.
0:03:45 > 0:03:46I have to say, she really is
0:03:46 > 0:03:49and there's all sorts of reasons why it is, in my mind,
0:03:49 > 0:03:52but let's start with the signature because it's very bold.
0:03:52 > 0:03:55You don't often get them so clearly expressed.
0:03:55 > 0:03:59Bottom left, "John Wood 1840". Now do you know about John Wood?
0:03:59 > 0:04:03Not a lot. Um, we've tried the usual sort of internet search
0:04:03 > 0:04:06and found out that he did exhibit at the Royal Academy,
0:04:06 > 0:04:09but apart from that we know nothing more about him.
0:04:09 > 0:04:13Well, John Wood was a very prominent, eminent figure in England
0:04:13 > 0:04:15in the 1830s, '40s, '50s and '60s...
0:04:15 > 0:04:17He exhibited a huge amount.
0:04:17 > 0:04:20I think there's something like 110 works or so on record
0:04:20 > 0:04:22as being exhibited by him,
0:04:22 > 0:04:26and this, I guess is one of those, because I couldn't help noticing
0:04:26 > 0:04:30behind there is a label and it says "Royal Academy Exhibition".
0:04:30 > 0:04:32And so it's one of those.
0:04:32 > 0:04:34This is one of those trophies
0:04:34 > 0:04:40the artist was very happy to see represented at The Royal Academy.
0:04:40 > 0:04:43But this artist was no normal portrait painter.
0:04:43 > 0:04:47He was a subject painter as well, he painted biblical subjects,
0:04:47 > 0:04:49he painted narrative pictures,
0:04:49 > 0:04:53so his paintings have an undercurrent, a further message.
0:04:53 > 0:04:55He's trying to say something through the face.
0:04:55 > 0:05:00And I don't know about you but I find her face very reflective,
0:05:00 > 0:05:02very introspective as well.
0:05:02 > 0:05:07It's something more than averagely expressive, wouldn't you say?
0:05:07 > 0:05:10Every time we look at her, we see something different.
0:05:10 > 0:05:13Every time I walk into the dining room where she hangs,
0:05:13 > 0:05:17sometimes I think she's sad, sometimes I think she's wistful,
0:05:17 > 0:05:20sometimes I think she's just not really sure how she feels
0:05:20 > 0:05:22about sitting there to have her portrait painted.
0:05:22 > 0:05:24She's always got a different expression.
0:05:24 > 0:05:26I love that, that's lovely.
0:05:26 > 0:05:29- That's, I have to say, how I respond as well.- Yeah.
0:05:29 > 0:05:32I also like her slightly coquettish tilt of the head, don't you?
0:05:32 > 0:05:34Mm. It's a little bit cheeky.
0:05:34 > 0:05:38Yeah, and this is a very interesting time in portraiture,
0:05:38 > 0:05:40because it's 1840 - we're into Victorian England
0:05:40 > 0:05:44and yet this is the last gasp of - to my mind - of the Regency look,
0:05:44 > 0:05:46the feeling of glamour,
0:05:46 > 0:05:49the feeling of first quarter of the 19th century.
0:05:49 > 0:05:52Oh, no, I envy you owning this picture,
0:05:52 > 0:05:55I'd really happily live with that, you know.
0:05:55 > 0:05:56And I'm very choosy.
0:05:56 > 0:05:58LAUGHTER
0:05:58 > 0:06:01So we need to talk about value.
0:06:01 > 0:06:03Well, look, it came with a lot of other things,
0:06:03 > 0:06:06it probably wasn't really given any value at all,
0:06:06 > 0:06:10it just came as a job lot, so we have no idea to be quite truthful.
0:06:10 > 0:06:12I would be very comfortable
0:06:12 > 0:06:15putting a valuation of around £10,000.
0:06:15 > 0:06:18Really? Wow! That's fabulous, yes.
0:06:18 > 0:06:19That's really lovely.
0:06:19 > 0:06:22Yeah, she deserves it. She's lovely. Thank you.
0:06:22 > 0:06:26This is a super pot, isn't it?
0:06:26 > 0:06:29I suppose it's an oil lamp base, isn't it?
0:06:29 > 0:06:32Intended for screwing in an oil lamp,
0:06:32 > 0:06:36and under the base there, on the side,
0:06:36 > 0:06:39is the original factory mark.
0:06:39 > 0:06:41WP for Winchcombe Pottery -
0:06:41 > 0:06:43- not far down the road from here! - About five miles.
0:06:43 > 0:06:45Five miles!
0:06:45 > 0:06:48- And MC for Michael Cardew himself. - That's right.
0:06:48 > 0:06:52The great owner originally of the factory.
0:06:52 > 0:06:56He restarted the pottery, it was a little village pottery at one time,
0:06:56 > 0:07:01and he restarted it in the 1920s and made a fantastic success of it.
0:07:01 > 0:07:03He is now regarded as one of our great potters
0:07:03 > 0:07:07and I think his work is remarkably great,
0:07:07 > 0:07:09baked from the clay behind the factory
0:07:09 > 0:07:12and they're wonderful little things.
0:07:12 > 0:07:15It's absolutely splendid to see. How did you come by it?
0:07:15 > 0:07:19We went to Cheltenham car boot and I bought it for 50p.
0:07:19 > 0:07:21LAUGHTER
0:07:21 > 0:07:2350p. That's not fair.
0:07:23 > 0:07:26I didn't believe it either. I'd have paid a pound.
0:07:26 > 0:07:29A public boot fair?
0:07:29 > 0:07:32- It was in a box under a table. - In Cheltenham Race Course?- Yeah.
0:07:32 > 0:07:36Well, it's a very unusual pot to have this screw top in it,
0:07:36 > 0:07:39the decoration is absolutely marvellous,
0:07:39 > 0:07:40I love him very much!
0:07:40 > 0:07:46And I suppose your 50p is now £1,000.
0:07:46 > 0:07:48Good Lord!
0:07:48 > 0:07:50Wow!
0:07:50 > 0:07:52- Really?- Yes, yes.- Oh, God!
0:07:52 > 0:07:54Worth quite a lot. Congratulations!
0:07:54 > 0:07:56Thank you.
0:07:56 > 0:08:00Well, this is an amazing collection here of letters.
0:08:00 > 0:08:03We normally encourage people to bring only five items in,
0:08:03 > 0:08:07- because there's normally queues of people.- Yes, yes.
0:08:07 > 0:08:08You've brought well over a thousand.
0:08:08 > 0:08:11- Yes, um...- Tell me about it, tell me about them.
0:08:11 > 0:08:17The tin trunk was not investigated by anybody in the family,
0:08:17 > 0:08:20- we didn't know anything about it till my grandmother died.- Yes.
0:08:20 > 0:08:23And then it was handed over to me, as the eldest grandson
0:08:23 > 0:08:26and after a little while I took the courage to open it
0:08:26 > 0:08:28and started investigating,
0:08:28 > 0:08:30and what I didn't know about at all
0:08:30 > 0:08:33was that it would tell me about a secret engagement
0:08:33 > 0:08:37that my grandmother had in 1912 for a whole year.
0:08:37 > 0:08:38Why was it secret?
0:08:38 > 0:08:42Well, it was secret because she was the youngest of ten children.
0:08:42 > 0:08:46- Yes.- And her father, it was obvious would not approve
0:08:46 > 0:08:49of her getting married or engaged to a young man
0:08:49 > 0:08:51who had not yet got a job,
0:08:51 > 0:08:54- and had not finished his training as an accountant.- Right.
0:08:54 > 0:08:56So, they had secret meetings.
0:08:56 > 0:08:59She used to go away from home to house parties
0:08:59 > 0:09:01and he would meet her at Charing Cross.
0:09:01 > 0:09:04- And here they are. Is that them? - Here they are.
0:09:04 > 0:09:08This is Clare, my grandmother, and this is Reggie, my grandfather.
0:09:08 > 0:09:10Very First World War uniform there.
0:09:10 > 0:09:13Yes, this is a formal portrait that was taken
0:09:13 > 0:09:15after the beginning of the war.
0:09:15 > 0:09:19So they had these meetings at London stations,
0:09:19 > 0:09:22at Charing Cross for instance, she would come up to Charing Cross
0:09:22 > 0:09:25and he would take her in a taxi across to Paddington.
0:09:25 > 0:09:28Oh, it all sounds terribly Brief Encounter, doesn't it?
0:09:28 > 0:09:30Very, very Brief Encounter indeed, yes,
0:09:30 > 0:09:33but that was the only way they could manage really
0:09:33 > 0:09:35in that sort of situation.
0:09:35 > 0:09:38Then when they became engaged, it all went public,
0:09:38 > 0:09:42so in the box there's lots and lots of letters from 1912 and '13
0:09:42 > 0:09:47and then a blank until he went to the Western Front.
0:09:47 > 0:09:50So what we find is, they advanced across the Somme battlefield...
0:09:50 > 0:09:55- This is early 1917. - This is the 1917 one?
0:09:55 > 0:10:00These are April 1917, but these two letters tell us about the first time
0:10:00 > 0:10:04he was actually under fire and they were advancing down a hill
0:10:04 > 0:10:06to take this village on the next hill -
0:10:06 > 0:10:08I've been to the site where this was -
0:10:08 > 0:10:12and he was in the front line at this point, early in the morning,
0:10:12 > 0:10:14and a snowstorm developed.
0:10:14 > 0:10:18And as he says in the letter to his wife rather elliptically
0:10:18 > 0:10:20"It was the snowstorm that saved us."
0:10:20 > 0:10:24Because of the snowstorm, the German guns didn't know where to fire.
0:10:24 > 0:10:28No. Now this one looks rather important, what is this one?
0:10:28 > 0:10:32Significance of this one? It's got a little red seal on it.
0:10:32 > 0:10:36Yes, well this, this is the letter he wrote at the end of 1917
0:10:36 > 0:10:40when he's more of a hardened soldier
0:10:40 > 0:10:45and he realises the chances of course of being killed are very considerable
0:10:45 > 0:10:49and like many soldiers did, he sent a letter to the bank to be left,
0:10:49 > 0:10:53as it says on here, on the front,
0:10:53 > 0:10:56it says, "Left in the case of my death to be passed to my wife."
0:10:56 > 0:10:59So he was actually killed during the...
0:10:59 > 0:11:02- He was killed, he was killed on 21st March 1918.- This is...
0:11:02 > 0:11:07The great German offensive and it's a very moving letter of course.
0:11:07 > 0:11:09"Well, the war is over for me
0:11:09 > 0:11:12"and will I hope soon be over for everyone.
0:11:12 > 0:11:15"It's a bad business for the whole world.
0:11:15 > 0:11:19"Goodbye, my Clare, your own, Reg".
0:11:19 > 0:11:21And then there's a PS -
0:11:21 > 0:11:27"I meant to copy this out but just do not have time. Goodbye darling, Reg."
0:11:27 > 0:11:30- Well, that's incredibly sad.- Yes.
0:11:30 > 0:11:33Well, where are all these going, what's going to happen with these?
0:11:33 > 0:11:36- Well...- Hundreds and thousands of love letters.
0:11:36 > 0:11:38Well, the idea is to leave them to the college
0:11:38 > 0:11:41- that he was at in Oxford, Merton College.- Yes.
0:11:41 > 0:11:43And the college is very pleased
0:11:43 > 0:11:46and has agreed in principle to receive all these
0:11:46 > 0:11:47and to look after them properly.
0:11:47 > 0:11:51I think Merton College are getting a very good deal out of this,
0:11:51 > 0:11:55and I think that it should be valued somewhere in the region of £5,000.
0:11:55 > 0:11:58- That's interesting to know that. - Thank you for bringing them in.
0:11:59 > 0:12:05This beautiful musical box, I can date exactly to 1874
0:12:05 > 0:12:06from the serial number,
0:12:06 > 0:12:08and I believe actually the summer of that year.
0:12:08 > 0:12:12But that's what I know about it. What can you tell me about it?
0:12:12 > 0:12:15Well, all I know is that it was my grandmother's,
0:12:15 > 0:12:18and I can remember seeing it in my grandmother's bedroom
0:12:18 > 0:12:20ever since... Well, always.
0:12:20 > 0:12:23So could have bought it new from her mother
0:12:23 > 0:12:24or something like that?
0:12:24 > 0:12:26Possibly yes, or grandmother.
0:12:26 > 0:12:28What about its more recent history?
0:12:28 > 0:12:33It was damaged in the floods of July '07.
0:12:33 > 0:12:35I was actually down in Evesham shopping
0:12:35 > 0:12:39and at eleven o'clock in the morning, the petrol station,
0:12:39 > 0:12:42one of the petrol stations was completely under water.
0:12:42 > 0:12:46- This was at eleven o'clock in the morning on that Friday.- Frightening.
0:12:46 > 0:12:50It was... Oh, it was just dreadful, it was unbelievable.
0:12:50 > 0:12:54Anyhow, the water kept rising and it came up and over the garden wall
0:12:54 > 0:12:57and it hadn't got anywhere else to go except in the house.
0:12:57 > 0:13:01- To experience that must have been really frightening.- It was.
0:13:01 > 0:13:04And within ten minutes, it was complete and utter devastation,
0:13:04 > 0:13:06it was devastating.
0:13:06 > 0:13:09- So you thought at that stage your musical box...- We thought...
0:13:09 > 0:13:12- Your heirloom was gone for ever. - Yeah.
0:13:12 > 0:13:14Now what often happens with water damage
0:13:14 > 0:13:18- is veneer and marquetry often pops up, had that happened?- Yes, it did.
0:13:18 > 0:13:22Yes, it had. Where the water had made it all sort of swell
0:13:22 > 0:13:26and you could see... Well, it was just awful.
0:13:26 > 0:13:28But now it's better than new.
0:13:28 > 0:13:30It's beautiful. It's really, really beautiful.
0:13:30 > 0:13:33And inside the mechanism is all shining
0:13:33 > 0:13:36- and probably, as you say, better than it ever was.- Yes.
0:13:36 > 0:13:39What I like about this particular musical box
0:13:39 > 0:13:42that makes it, in my opinion, quite a rarity,
0:13:42 > 0:13:44is this tiny little document here.
0:13:44 > 0:13:47I don't know how many hundreds of musical boxes
0:13:47 > 0:13:49I've seen on the Antiques Roadshow,
0:13:49 > 0:13:52but it's many many, and this is the original maker's -
0:13:52 > 0:13:56Gremond directions concerning the musical box in the winter.
0:13:56 > 0:13:59"To avoid affect caused by a sudden transition of temperature,
0:13:59 > 0:14:02"you must on arrival with the musical box
0:14:02 > 0:14:04"leave it during some hours in a warm room
0:14:04 > 0:14:07- "before opening the glass cover." - Yes, it's amazing, isn't it?
0:14:07 > 0:14:09Then how to transport it...
0:14:09 > 0:14:13These bits of document get lost, so, so rare.
0:14:13 > 0:14:17Please do keep that in a very safe place, because it's an exception.
0:14:17 > 0:14:20But also the proof of the pudding is what does it sound like?
0:14:20 > 0:14:23It's beautiful, it really is beautiful.
0:14:23 > 0:14:26Well, just before we play it, we have to talk about price.
0:14:26 > 0:14:29It probably cost an arm and a leg to get it restored.
0:14:29 > 0:14:31Yes, it was quite expensive.
0:14:31 > 0:14:33- But it was worth every penny. - Absolutely.
0:14:33 > 0:14:36So, at auction, we're probably talking about a figure
0:14:36 > 0:14:38of between £2,500 and £3,000.
0:14:38 > 0:14:42- Really?- But let's give it a whirl, let's see what it sounds like.
0:14:42 > 0:14:44Yes, absolutely, yes.
0:14:47 > 0:14:51MUSIC CHIMES
0:15:08 > 0:15:13My great-great-great-grandfather left Essex to build bridges in China
0:15:13 > 0:15:14- with the Royal Engineers.- Right.
0:15:14 > 0:15:19And he met and married Amoi, or Amy, as we've translated it.
0:15:19 > 0:15:20And this is Amy here?
0:15:20 > 0:15:24That's... Yes. And she was born and raised in China as a Chinese woman.
0:15:24 > 0:15:28- OK, so...- But she wore those in all her photographs that we have of her.
0:15:28 > 0:15:31These ear pendants. Always worn them?
0:15:31 > 0:15:34Always worn them, doesn't matter if she's gardening or wherever,
0:15:34 > 0:15:35she is always wearing the pendants.
0:15:35 > 0:15:36And when do you think...?
0:15:36 > 0:15:40I mean, these to me seem to be in the date of around about 1860,
0:15:40 > 0:15:44so do you think that she was given them?
0:15:44 > 0:15:46Well, my belief is - from some of the letters -
0:15:46 > 0:15:49- that she was given them by her mother.- Oh, right.
0:15:49 > 0:15:54She married my great-great-great grandfather in 1863.
0:15:54 > 0:15:57- Right.- And in all of his pictures of her,
0:15:57 > 0:15:59she was certainly wearing them then,
0:15:59 > 0:16:04and then in 1867 they moved back to England.
0:16:04 > 0:16:07- Right.- And I guess it was so totally unacceptable,
0:16:07 > 0:16:09as actually we thought it would have been in China too,
0:16:09 > 0:16:13- but she always had support from her family.- What was unacceptable?
0:16:13 > 0:16:14- A mixed marriage.- Gosh.
0:16:14 > 0:16:18A mixed marriage back in the mid 19th century, so...
0:16:18 > 0:16:20- It was quite shocking, was it? - It was quite shocking.
0:16:20 > 0:16:23It was quite shocking when they moved back with two children
0:16:23 > 0:16:25who had been born in China
0:16:25 > 0:16:27and they managed to stay here for about 15 months.
0:16:27 > 0:16:31I gather life was pretty miserable for them as far as acceptance.
0:16:31 > 0:16:34- Here in the UK. - And then they moved to Canada.
0:16:34 > 0:16:39He unfortunately died about five years after they came to Canada.
0:16:39 > 0:16:42- Oh, really?- And she was left a widow with eight children.
0:16:42 > 0:16:44Goodness me! That to me,
0:16:44 > 0:16:47there must have been so much love there
0:16:47 > 0:16:48to have gone through all that.
0:16:48 > 0:16:51I think it really was a true love match.
0:16:51 > 0:16:53Well, she was wearing these ear pendants
0:16:53 > 0:17:00with these beautiful dragons that are curling round this ball,
0:17:00 > 0:17:03- and the dragon symbolises good fortune.- Yes.
0:17:03 > 0:17:06So I think, no wonder she never took them off,
0:17:06 > 0:17:10because I think she clearly had good fortune and good stamina.
0:17:10 > 0:17:16What I love about these ear pendants is the attention to detail.
0:17:16 > 0:17:19- Underneath, where you don't normally see it.- Yes.
0:17:19 > 0:17:21You know, that's what's fascinating.
0:17:21 > 0:17:24Now the only thing negative about these
0:17:24 > 0:17:27is that they're not the original ear fitting.
0:17:27 > 0:17:31- Um, I believe my grandmother changed those.- She did?
0:17:31 > 0:17:35Because she liked to wear them because it was a hoop.
0:17:35 > 0:17:37- Just a plain hoop. - It was just a plain hoop.
0:17:37 > 0:17:40- I think she thought she might lose them.- Might lose one.
0:17:40 > 0:17:43Unfortunately they're not, but I believe that's the reason.
0:17:43 > 0:17:47And I would say at auction you'd be looking at around about,
0:17:47 > 0:17:52in the condition that they're in, it's about £1,000 to £1,500.
0:17:52 > 0:17:55- Thank you.- I just love the story, it's a fabulous story.
0:17:55 > 0:17:57It is and it's a romantic story.
0:17:57 > 0:17:59It is and you wear them? Do you wear them?
0:17:59 > 0:18:02I do occasionally, but they are very heavy,
0:18:02 > 0:18:05so I don't know how great-great-great grandmother wore them.
0:18:05 > 0:18:08They are hollow, but they have got a lot of weight in them,
0:18:08 > 0:18:10they're 18 carat gold but maybe you should wear them
0:18:10 > 0:18:14- and they'll bring you good fortune as well.- That would be great.
0:18:14 > 0:18:15- Thank you very much.- Thank you.
0:18:15 > 0:18:19If you had to ask anyone in the Roadshow today
0:18:19 > 0:18:22who the most famous wrist watch manufacturer was in the world,
0:18:22 > 0:18:23they'd probably say...
0:18:23 > 0:18:28- Rolex.- Exactly right, which is what we have here.
0:18:28 > 0:18:32And when you first took it out of your pocket and showed it to me,
0:18:32 > 0:18:34I took a double take at this watch,
0:18:34 > 0:18:37because although it doesn't look the part,
0:18:37 > 0:18:40it is in fact quite a special piece.
0:18:41 > 0:18:44But before I go any further, what do you know about it?
0:18:44 > 0:18:45Not a lot really.
0:18:45 > 0:18:48I brought some other watches and my friend said,
0:18:48 > 0:18:50"I've got a couple of watches in a drawer,
0:18:50 > 0:18:52"belonged to my grandfather".
0:18:52 > 0:18:55He said, "Take them along with you" That's as far as I know.
0:18:55 > 0:18:59No evidence of any scientific interest in his family, do you know?
0:19:00 > 0:19:02He worked in a power station.
0:19:02 > 0:19:03His grandfather, or him?
0:19:03 > 0:19:07- His grandfather.- Did he?- Yeah. - Now that's fascinating.
0:19:07 > 0:19:09What's the significance of that?
0:19:09 > 0:19:12The fact that if he was in the power industry,
0:19:12 > 0:19:15this would have been given to his grandfather,
0:19:15 > 0:19:20because they were resistant to the electromagnetic fields,
0:19:20 > 0:19:23because they put a special coating around the movement.
0:19:23 > 0:19:29It's a steel case, and it has a very special seconds hand
0:19:29 > 0:19:31- shaped in the form of a lightning bolt.- Yes.
0:19:31 > 0:19:35And the only time Rolex used lightning bolts seconds hand
0:19:35 > 0:19:39was with a special watch they produced called the Milgauss.
0:19:39 > 0:19:41And the Milgauss...
0:19:41 > 0:19:43I think I'm right in saying that 'gauss'
0:19:43 > 0:19:47is a measurement of electromagnetic power.
0:19:47 > 0:19:52And the Milgauss was specially made by Rolex
0:19:52 > 0:19:57for workers in the electromagnetic industry
0:19:57 > 0:20:00in around the 1950s, 1960s.
0:20:00 > 0:20:02Now they made various different versions of it
0:20:02 > 0:20:07and those that were made with this slightly browned version
0:20:07 > 0:20:10of the honeycomb dial were the rarest of all.
0:20:10 > 0:20:14When you take a glass, an eyeglass, and look closely at the dial
0:20:14 > 0:20:17you get, "Oh, my goodness me! It's dreadfully oxidised and rusty
0:20:17 > 0:20:19"and it's all gone wrong"
0:20:19 > 0:20:21But that's what collectors like.
0:20:21 > 0:20:24Now, an awful lot of Rolexes have been faked over the years,
0:20:24 > 0:20:26as we all know.
0:20:26 > 0:20:28Why collectors like them in this condition
0:20:28 > 0:20:31is because they look right, they feel right.
0:20:31 > 0:20:35There's always a downside to this though, there's always something.
0:20:35 > 0:20:40The band going around the dial is plain, it's steel.
0:20:40 > 0:20:45- This bevel band that runs around the dial.- Yes.
0:20:45 > 0:20:47If you put your finger inside it,
0:20:47 > 0:20:51there's a little, there's a slightly sort of sharp edge to it,
0:20:51 > 0:20:54and that indicates to me that originally
0:20:54 > 0:20:57it had an enamelled band going around it
0:20:57 > 0:21:00and that has been chipped and it's been taken out,
0:21:00 > 0:21:03because it probably would have looked ugly.
0:21:03 > 0:21:04That won't help its value.
0:21:06 > 0:21:09But it's a rare piece and your friend's a lucky fellow.
0:21:09 > 0:21:12- Is he really?- He is.
0:21:12 > 0:21:16If this were to come up for sale today, it's worth somewhere between
0:21:16 > 0:21:19£5,000 and £15,000.
0:21:19 > 0:21:20Is it really?
0:21:20 > 0:21:21It is.
0:21:21 > 0:21:23And if I were to say to you
0:21:23 > 0:21:29that last week a Milgauss sold for just over 150,000,
0:21:29 > 0:21:34but it was extra special and it was a rarer version of this,
0:21:34 > 0:21:36that might tell you why your friend needs to go to Rolex
0:21:36 > 0:21:37to get it researched.
0:21:37 > 0:21:40- I'll have to tell him that. - It's absolutely intriguing.
0:21:40 > 0:21:42I'll be fascinated to hear more about it.
0:21:42 > 0:21:45- I'll certainly tell him and see what he can find out.- Fantastic.
0:21:45 > 0:21:47He'll be over the moon.
0:21:49 > 0:21:51People come from far and wide to see the Roadshow
0:21:51 > 0:21:54and to bring their items along for the experts to have a look at.
0:21:54 > 0:21:57Today we've got some people who've come from further
0:21:57 > 0:22:00than I've ever heard of before, starting with you.
0:22:00 > 0:22:02Now where have you come from?
0:22:02 > 0:22:04- I've come from Toronto. - From Canada?- Yes, yes.
0:22:04 > 0:22:07Goodness me! Do you know the Antiques Roadshow in Canada?
0:22:07 > 0:22:10Oh, absolutely, there are three Antiques Roadshows at home -
0:22:10 > 0:22:13the American, the Canadian and the real one, the BBC.
0:22:13 > 0:22:15Oh, an embarrassment of roadshows.
0:22:15 > 0:22:18Yes, but on Sunday afternoon I think Canada stops
0:22:18 > 0:22:21to watch the Antiques Roadshow from the BBC.
0:22:21 > 0:22:26Oh, that's what we like to hear. So Canada. And you've come from...?
0:22:26 > 0:22:28- Sydney, Australia. - Sydney, Australia.
0:22:28 > 0:22:30And do you watch it out there?
0:22:30 > 0:22:36Yes, every night, every afternoon, 5.30, Monday to Friday.
0:22:36 > 0:22:38- What, you watch the Roadshow every day?- Yeah.
0:22:38 > 0:22:41Oh, my goodness, you must be our biggest fans. Thank you!
0:22:41 > 0:22:43What devotion, my goodness!
0:22:43 > 0:22:46- What is it you like about the show? - Just very interesting.
0:22:46 > 0:22:50There's different things which you don't normally see.
0:22:50 > 0:22:53People bring things out the woodwork, it's just amazing,
0:22:53 > 0:22:54what's in the closet.
0:22:54 > 0:22:56You've come to Stanway in Gloucestershire today
0:22:56 > 0:22:58because you're on holiday?
0:22:58 > 0:23:01Or did you find out where we were and plan your trip around it or...
0:23:01 > 0:23:04- Yes, yes, exactly right. Yes.- Really?
0:23:04 > 0:23:07Yes, this part of the trip, we did, yes.
0:23:07 > 0:23:09- Fantastic!- We're great fans.
0:23:09 > 0:23:13Well, we're very glad to have you, wonderful. So you're from Australia.
0:23:13 > 0:23:15Moving on.
0:23:15 > 0:23:18- And where are you guys from? - Wellington, New Zealand.
0:23:18 > 0:23:19Wellington, New Zealand!
0:23:19 > 0:23:23So you win the prize for having come the furthest, fantastic!
0:23:23 > 0:23:25How did you find out that we were here?
0:23:25 > 0:23:27Did you plan your trip around it?
0:23:27 > 0:23:30We've followed the Antiques Roadshow for quite some time,
0:23:30 > 0:23:32last time we were in England we planned on coming,
0:23:32 > 0:23:35but unfortunately we weren't in the area in which you were in,
0:23:35 > 0:23:36but this time you are
0:23:36 > 0:23:39and we're coming to a wedding reception in Kendal,
0:23:39 > 0:23:40so we're not too far away.
0:23:40 > 0:23:44Now I know that the Roadshow has been to Canada,
0:23:44 > 0:23:45it's been to Australia.
0:23:45 > 0:23:47We haven't been to New Zealand.
0:23:47 > 0:23:49- We're waiting on it. - We're waiting patiently.
0:23:49 > 0:23:52You and me both. I think next stop - New Zealand.
0:23:55 > 0:23:58I'm sure people will be wondering
0:23:58 > 0:24:02- why we're looking at furniture like this.- Yes, on the Antiques Roadshow!
0:24:02 > 0:24:05Exactly. And also perhaps why I'm doing furniture.
0:24:05 > 0:24:06But it's interesting that the furniture chaps
0:24:06 > 0:24:11were not particularly familiar with 20th century furniture.
0:24:11 > 0:24:14Particularly, this is Cotswolds 20th century furniture.
0:24:14 > 0:24:16Why did you buy it?
0:24:16 > 0:24:20Well, we bought it mainly because John and I, at the time,
0:24:20 > 0:24:22both worked from home
0:24:22 > 0:24:24and we needed some office furniture.
0:24:24 > 0:24:27We have quite a large room dedicated to the office
0:24:27 > 0:24:29and just fell in love with it really,
0:24:29 > 0:24:33the lovely sort of rounded smooth lines of it
0:24:33 > 0:24:34and the contrast in the wood,
0:24:34 > 0:24:36we felt it would be a real statement in the room.
0:24:36 > 0:24:39So the manufacturer was Gordon Russell
0:24:39 > 0:24:44and it takes us right back to the Broadway tradition,
0:24:44 > 0:24:46where Gordon Russell's workshops were.
0:24:46 > 0:24:50Rather different in style but very much a Cotswold's thing nonetheless,
0:24:50 > 0:24:52so was that why you bought it?
0:24:52 > 0:24:54When we found out it was Gordon Russell,
0:24:54 > 0:24:58for me personally, with my family being from Broadway,
0:24:58 > 0:25:01and obviously Gordon Russell originating there,
0:25:01 > 0:25:04that made it sort of, "Yes, I really want that now".
0:25:04 > 0:25:07Well, it was designed by a man called Ray Leigh.
0:25:07 > 0:25:09Do you know what date it is?
0:25:09 > 0:25:14Well, I thought it was 1960's, but I'm not entirely sure, actually.
0:25:14 > 0:25:17Well, it's known as a sycamore suite.
0:25:17 > 0:25:22- Right.- And it was made in the early to mid 1980's.
0:25:22 > 0:25:26- Oh, really?- And each piece, I think, is so redolent
0:25:26 > 0:25:30- of the 1930s with this use of blonde wood and contrasts and so on.- Yeah.
0:25:30 > 0:25:34And I think, you know, particularly this simple plain plinth
0:25:34 > 0:25:35and cornice here
0:25:35 > 0:25:40and the concealed handles is, so, so very 1930s, isn't it?
0:25:40 > 0:25:41Mm, absolutely.
0:25:41 > 0:25:44Well, when we bought it from the dealer in Pershore,
0:25:44 > 0:25:48he said that it was made for an executive in Birmingham
0:25:48 > 0:25:51and he paid £8,000 for it new.
0:25:51 > 0:25:52What did it cost?
0:25:52 > 0:25:56Well, we moved house and we had a Victorian oak wind-out table,
0:25:56 > 0:25:59dining table and it didn't really fit in the house,
0:25:59 > 0:26:03so we went back to the dealer we bought that table from ten years ago
0:26:03 > 0:26:07and asked if we could exchange it for some office furniture.
0:26:07 > 0:26:10And we looked at various pieces, but, as I say, when I saw this,
0:26:10 > 0:26:12I just fell in love with it.
0:26:12 > 0:26:14Did you buy the chair with it as well?
0:26:14 > 0:26:16Yes. Although we were unsure
0:26:16 > 0:26:20whether that was a Gordon Russell chair at the time.
0:26:20 > 0:26:23- Yes.- It seems to match perfectly. - It seems to match, doesn't it?- Mm.
0:26:23 > 0:26:25Well, we can probably find out.
0:26:25 > 0:26:27Oh, I'd love to know. Yes, I would.
0:26:27 > 0:26:30We could find out now, because we have Ray Leigh here.
0:26:30 > 0:26:32Oh, how fantastic!
0:26:32 > 0:26:35- Hello, pleased to meet you. - Hello, nice to meet you.
0:26:35 > 0:26:39Very nice to meet you, yes. And very exciting to see this, yes.
0:26:39 > 0:26:44- Oh, fantastic.- So you like it? - I do, I love it very much.- Good.
0:26:44 > 0:26:47Well, Ray designed this suite and Ray, did you make the chair?
0:26:47 > 0:26:49No, we didn't make the chair.
0:26:49 > 0:26:52No, I don't know where the chair comes from,
0:26:52 > 0:26:54- but, no, that wasn't us.- Ah!
0:26:54 > 0:26:58And how much were you charging for a piece like this?
0:26:58 > 0:27:02Well, I'm trying to cast... Cos this was designed back in '84.
0:27:02 > 0:27:08- Right.- And casting my mind back, we think probably about £200-250
0:27:08 > 0:27:10- for the desk at that time. - Oh, gosh! Ah.
0:27:10 > 0:27:15So the figure of 8,000 that I was told was inflated.
0:27:15 > 0:27:16- 8,000?- Yeah, somewhat.
0:27:16 > 0:27:20I'd like to think it was 8,000, but no, it wasn't.
0:27:20 > 0:27:22- Right, OK.- So you swapped the table.
0:27:22 > 0:27:24- Yes.- And you bought the suite
0:27:24 > 0:27:29- and it cost you what, about £1,300 £1,400 in all?- Yes £1,350 yes.
0:27:29 > 0:27:34- You did well.- It's probably worth perhaps £300 per piece.- Right.
0:27:34 > 0:27:38So that's 300, £400 per piece, so it's about what you paid for it,
0:27:38 > 0:27:40which you know just goes to show
0:27:40 > 0:27:43- how incredibly good value it is today.- Yes.
0:27:43 > 0:27:46So there we are, and you had no idea that it was by Ray Leigh.
0:27:46 > 0:27:49- No.- There we are. - Oh, very nice to meet you.
0:27:49 > 0:27:51Nice to meet you and nice to know...
0:27:51 > 0:27:53I hope it gives you years of pleasure.
0:27:53 > 0:27:55Yes, it will and it's very useful. We use it so...
0:27:55 > 0:27:59- I'll leave you chatting then. - Thank you.- Oh, it's great fun.
0:27:59 > 0:28:00- Thanks a lot.- Thank you.
0:28:02 > 0:28:05- Do you know you've answered two prayers.- I have?
0:28:05 > 0:28:06You have.
0:28:06 > 0:28:08Lovely, I'm pleased about that.
0:28:08 > 0:28:10One is arriving in this area
0:28:10 > 0:28:14and I thought to myself, "What would be wonderful to turn up?"
0:28:14 > 0:28:17And you've brought it along for me. Guild of Handicraft pieces!
0:28:17 > 0:28:24Wonderful! And of course made in Chipping Camden, just down the road.
0:28:24 > 0:28:26That's right.
0:28:26 > 0:28:30Guild of Handicraft, absolutely fascinating, Ashbee's designs here.
0:28:30 > 0:28:31What made you buy them?
0:28:31 > 0:28:34I'm just fascinated with the Guild of Handicraft work,
0:28:34 > 0:28:37the way they've made them, all by hand,
0:28:37 > 0:28:39the craftsmen have done it
0:28:39 > 0:28:42and it's just fantastic as far as I'm concerned.
0:28:42 > 0:28:45The marvellous thing with the Guild of Handicraft
0:28:45 > 0:28:50was this idea of getting back to the medieval system, a small workshop,
0:28:50 > 0:28:54each man knew the limitations, the capabilities of the other -
0:28:54 > 0:28:57they worked together, it was a creative joint process,
0:28:57 > 0:29:00and all this of course had been inspired by William Morris.
0:29:00 > 0:29:02The Guild moved - as I'm sure you know -
0:29:02 > 0:29:05in 1902 to Chipping Camden and lovely,
0:29:05 > 0:29:09this was actually - the mustard pot was made in 1902.
0:29:09 > 0:29:14The bowl, 1905, so all very nicely within that period.
0:29:14 > 0:29:16So, tell me about the saucepan.
0:29:17 > 0:29:21I saw it and it was advertised as Paul de Lamerie,
0:29:21 > 0:29:26so I like Paul de Lamerie's work, I'm fascinated with Paul de Lamerie,
0:29:26 > 0:29:29so when I acquired it,
0:29:29 > 0:29:32I looked in some books, did some research
0:29:32 > 0:29:35and found it could have been Pierre Platel,
0:29:35 > 0:29:38but not knowing the difference, so I thought the Antiques Roadshow,
0:29:38 > 0:29:42- see what they can come up with. - Brilliant.
0:29:42 > 0:29:45It absolutely shrieks quality.
0:29:45 > 0:29:49When you look at the back here, that's known as cut card work,
0:29:49 > 0:29:52a strengthening plate essentially,
0:29:52 > 0:29:55but the wonderful shaping we've got there.
0:29:55 > 0:30:00Lovely formal baroque armorial.
0:30:00 > 0:30:06And what you get so often with these top Huguenots -
0:30:06 > 0:30:10just a maker's mark, no complete set of hallmarks.
0:30:10 > 0:30:15They quite liked not sending things through the Assay Office.
0:30:15 > 0:30:17So is it Lamerie? Is it Platel?
0:30:18 > 0:30:19Please tell me.
0:30:19 > 0:30:21- It's Platel.- It is?
0:30:21 > 0:30:23Which I think is brilliant.
0:30:23 > 0:30:30Pierre Platel, one of the greatest goldsmiths the world has ever known.
0:30:30 > 0:30:32Fabulous goldsmith!
0:30:32 > 0:30:37He took on Paul de Lamerie as his apprentice in 1713
0:30:37 > 0:30:42and, not surprisingly, Paul de Lamerie ends up
0:30:42 > 0:30:45as one of the most fabulous goldsmiths in the world.
0:30:45 > 0:30:48And how we know that it's not the sterling standard mark
0:30:48 > 0:30:50of Paul de Lamerie, which would have been PL,
0:30:50 > 0:30:52you look between the marks.
0:30:52 > 0:30:55- Lamerie put a little dot in between the P and the L.- Right.
0:30:55 > 0:30:58- There's no dot here, it's Platel. - It's Platel.
0:31:00 > 0:31:02So values.
0:31:02 > 0:31:05What did you pay for them?
0:31:06 > 0:31:08- Er, I think that one was £800.- Right.
0:31:08 > 0:31:13- And that one, I think that was £200 £300 somewhere around there.- Yes.
0:31:13 > 0:31:15And that was £2,000.
0:31:15 > 0:31:22Right, OK. I think that's easily doubled up on that - £1,600.
0:31:22 > 0:31:25I mean, in recent years Ashbee's been doing very well
0:31:25 > 0:31:28and even in the current situation Ashbee's doing jolly well.
0:31:28 > 0:31:32That is a rare piece,
0:31:32 > 0:31:34the mustard pot.
0:31:34 > 0:31:37I think that's closer to the value,
0:31:37 > 0:31:40but, you know, maybe £3,000 today for that.
0:31:40 > 0:31:42It is an unusual one to find.
0:31:42 > 0:31:46And the Platel, I think we're looking more
0:31:46 > 0:31:50towards the £3,000, £4,000 quite easily on that one.
0:31:50 > 0:31:53I mean, Platel is just so fabulous.
0:31:53 > 0:31:57- Wow!- So you really have made my day.
0:31:57 > 0:31:59You've made my day, thank you very much indeed.
0:31:59 > 0:32:01A pleasure.
0:32:01 > 0:32:04Now is the reason you own this is
0:32:04 > 0:32:08because there's a hairdresser in the family or something to do with that?
0:32:08 > 0:32:11No, there are no hairdressers in the family at all.
0:32:11 > 0:32:13This was bequeathed to me
0:32:13 > 0:32:18by my father when he passed away two years ago at the age of 104.
0:32:18 > 0:32:21- 104 that's a very good age. - Yes, it is indeed.
0:32:21 > 0:32:24Goodness, he didn't have his cut like Samson or someone like that?
0:32:24 > 0:32:28- No, he was as bald as a coot.- Was he?
0:32:28 > 0:32:29Yes.
0:32:29 > 0:32:32- What a lovely story but... - And not much taller than me either.
0:32:32 > 0:32:35But to survive until 104, that's a great age.
0:32:35 > 0:32:36Exceptional, yes.
0:32:36 > 0:32:39And how did he get this bronze?
0:32:39 > 0:32:45He was a gardener/chauffeur down in Thurleston in Devon,
0:32:45 > 0:32:48and this was given to him as a leaving present
0:32:48 > 0:32:50for services rendered.
0:32:50 > 0:32:53What a lovely thing to get.
0:32:53 > 0:32:57Well, here we've got an Italian bronze,
0:32:57 > 0:32:59at the front it actually says "Roma".
0:32:59 > 0:33:02- Yes.- With a signature above it which could read Banellini.
0:33:02 > 0:33:04- It's not terribly clear.- Right.
0:33:04 > 0:33:08- But it's dated 1881, so we've got that.- Yes, yes.
0:33:08 > 0:33:13And this man, I don't know whoever, if it's father or quite who it is,
0:33:13 > 0:33:17has caught his child with his trousers down
0:33:17 > 0:33:19for his first ever haircut.
0:33:19 > 0:33:21And you can see the child doesn't really like it.
0:33:21 > 0:33:24Definitely resistance there, isn't there?
0:33:24 > 0:33:26There's a broken pot on the stand here,
0:33:26 > 0:33:32and presumably this is the hair cutter's hat,
0:33:32 > 0:33:37and I wonder whether he's an Alpine shepherd or someone like this,
0:33:37 > 0:33:39who's come back with his sheep clippers,
0:33:39 > 0:33:43enormously big for the job of cutting hair.
0:33:43 > 0:33:47- Absolutely.- Anyway, great subject, I think there's humour in it...
0:33:47 > 0:33:51the first haircut being quite so ghastly for the child.
0:33:51 > 0:33:55- It certainly is.- Um, and I think if it went to an auction it would make
0:33:55 > 0:33:57between £600 and £900.
0:33:57 > 0:33:59Right, thank you.
0:33:59 > 0:34:01Thank you.
0:34:01 > 0:34:05My husband bought it for me from a second-hand jewellers in Cheltenham
0:34:05 > 0:34:09about four or five years ago and I absolutely love it,
0:34:09 > 0:34:12and I wear it on a long gold chain, but I don't know anything about it
0:34:12 > 0:34:15other than that I love it and I imagine it's old,
0:34:15 > 0:34:17but I don't know whether it's ecclesiastical...
0:34:17 > 0:34:21Why did he go into a shop to buy a cross specifically?
0:34:21 > 0:34:24- Because I love crosses. - You love crosses, yes.- So...
0:34:24 > 0:34:28and I think he thought it was very, well I think he thought that it was
0:34:28 > 0:34:31modern-looking but fascinating because it obviously wasn't modern.
0:34:31 > 0:34:35Well, gold cap finials,
0:34:35 > 0:34:39and the frame of the cross itself is made out of...
0:34:39 > 0:34:42cut from solid rock crystal.
0:34:42 > 0:34:46- Now rock crystal looks like glass but it's not glass.- No.
0:34:46 > 0:34:48Rock crystal is a natural material.
0:34:48 > 0:34:54So what someone's done is carefully cut the rock crystal panel out,
0:34:54 > 0:34:58and then they've very very carefully made these gold cap finials.
0:34:58 > 0:35:02They've put little beaded motifs around the caps
0:35:02 > 0:35:04and engraved the caps too.
0:35:04 > 0:35:06And do you know where you think it was made? I don't.
0:35:06 > 0:35:10I just couldn't imagine it being English but I just don't know.
0:35:10 > 0:35:12It's difficult to say where it was made.
0:35:12 > 0:35:14- It looks English to me.- Really?
0:35:14 > 0:35:17- That is amazing.- Date, 1825, 1830.
0:35:17 > 0:35:20- Oh, gosh.- So it's a Georgian cross.
0:35:20 > 0:35:23- How amazing.- And it's the box that really adds to the virtue, isn't it?
0:35:23 > 0:35:27I love the box, virtually as much as the cross.
0:35:27 > 0:35:31Let's come back to that one and now let's look at this bangle.
0:35:33 > 0:35:35"Dulcis vita"
0:35:35 > 0:35:39on a yellow bangle, now tell me a little bit about that one.
0:35:39 > 0:35:42Well, my husband again bought that from an auction
0:35:42 > 0:35:47and I know on the description it just said "gold bangle"
0:35:47 > 0:35:48inscribed "sweet life".
0:35:48 > 0:35:52Sweet life, so the inscription sweet life...dulcis vita.
0:35:52 > 0:35:55So I, yes, but I didn't know whether it was in its original box.
0:35:55 > 0:35:58I mean I imagined it was gold, but I just didn't know whether
0:35:58 > 0:36:00it was English in its original box.
0:36:00 > 0:36:02He's got good taste, hasn't he, your husband?
0:36:02 > 0:36:05I like to think so, yes. I've trained him!
0:36:05 > 0:36:09He really has. Did you? Well, this is a quality piece because
0:36:09 > 0:36:12the clasp is difficult to spot.
0:36:12 > 0:36:15- Here on each side, we've got what you might call batons.- Yeah.
0:36:15 > 0:36:18And I think it's worth showing how we open it.
0:36:18 > 0:36:24You put your thumb nail into that little groove,
0:36:24 > 0:36:26and you pull it back
0:36:26 > 0:36:29and look at the subtlety, look at the quality of that.
0:36:29 > 0:36:31And may I just show that...
0:36:31 > 0:36:37that when you push it back gently, that little bead slots into place.
0:36:37 > 0:36:41Yes, I just think it's amazing and it's like the cross in the sense
0:36:41 > 0:36:43that it's so modern-looking for something that...
0:36:43 > 0:36:44- It's timeless, isn't it?- Yes.
0:36:44 > 0:36:47All right, now let me tell you a little bit
0:36:47 > 0:36:48about the company that made it.
0:36:48 > 0:36:52Phillips of Cockspur Street, London.
0:36:52 > 0:36:57Robert Phillips of Cockspur Street was one of the great jewellers
0:36:57 > 0:37:00who was working in the mid-part of the Victorian period.
0:37:00 > 0:37:04Now at that time, there was an incredible interest for things
0:37:04 > 0:37:06to do with the classics.
0:37:06 > 0:37:13- And so what date do you think that is?- About 1860, 1865 I would say.
0:37:13 > 0:37:15All right, let's talk about some prices now.
0:37:15 > 0:37:17This is very simple and plain.
0:37:17 > 0:37:20Now crosses are not everybody's cup of tea, it has to be said,
0:37:20 > 0:37:23so you have to take a little bit of a careful view on it,
0:37:23 > 0:37:28but I think that probably if it were ever sold on the market again
0:37:28 > 0:37:32- would make £1,500... that sort of figure.- Goodness.
0:37:32 > 0:37:37Now the dulcis vita, sweet life, bangle,
0:37:37 > 0:37:42in that condition, Robert Phillips of Cockspur Street,
0:37:42 > 0:37:44I suppose we're looking at what, £4,000, £5,000.
0:37:44 > 0:37:47Oh, my God! Oh, my God!
0:37:47 > 0:37:50Oh, my goodness, oh, my goodness!
0:37:50 > 0:37:53Oh, my goodness!
0:37:53 > 0:37:56Oh, my God, he's going to have a heart attack.
0:37:56 > 0:37:58I hope not.
0:37:58 > 0:38:01How bizarre! Oh, my goodness!
0:38:01 > 0:38:05I'm imagining this in the middle of your table full of fruit...
0:38:05 > 0:38:06am I right or wrong?
0:38:06 > 0:38:09No, it sits on the display stand, but it is a fruit dish.
0:38:09 > 0:38:13It is, so have you known it a long time, or have you just bought it?
0:38:13 > 0:38:15No, I had it, it was left to me by my aunt,
0:38:15 > 0:38:20and she's had it ever since I was a small child, and I always admired it
0:38:20 > 0:38:22and she said, "that's yours when I go"
0:38:22 > 0:38:24and it was left to me when she died.
0:38:24 > 0:38:26So, other than inheriting it from an aunt,
0:38:26 > 0:38:29- you've no idea where it was made? - No idea about it, no.
0:38:29 > 0:38:32Well, it's a type of ware called majolica
0:38:32 > 0:38:34which is a glazed earthenware,
0:38:34 > 0:38:39it was made in Italy in the 16th, 17th century.
0:38:39 > 0:38:43But in the Victorian period there were some noted manufacturers,
0:38:43 > 0:38:46- Minton, Wedgwood and George Jones in particular.- Yes.
0:38:46 > 0:38:48And this one was made by a firm called George Jones,
0:38:48 > 0:38:52the big give away is this sort of tortoiseshell glaze underneath
0:38:52 > 0:38:55and this little patch here where they've put a little crescent
0:38:55 > 0:38:58and the pattern number, is a giveaway for being George Jones.
0:38:58 > 0:39:01- Right.- And it's really a rather splendid thing.
0:39:01 > 0:39:05Made, probably it would have been a set, there might have been four
0:39:05 > 0:39:07would have gone down the table.
0:39:07 > 0:39:11Majolica is really quite collectible.
0:39:11 > 0:39:13It has gone back a little bit in value.
0:39:13 > 0:39:17Did you know the top's actually been restored, there's been some damage?
0:39:17 > 0:39:19You didn't break it as a child?
0:39:19 > 0:39:21- No.- You weren't the guilty party.- No I wasn't.
0:39:21 > 0:39:22There has been a couple of cracks.
0:39:22 > 0:39:24The good thing about majolica is, majolica collectors
0:39:24 > 0:39:28aren't that bothered about damage and restoration.
0:39:28 > 0:39:32- They're looking for key pieces and this is a rare piece.- Yes.
0:39:32 > 0:39:38And I think that if this was in the right sale and the right collector,
0:39:38 > 0:39:45it could still make as much as between £4,000 and £6,000.
0:39:45 > 0:39:47Really?
0:39:47 > 0:39:51So here we have one of the most famous novels
0:39:51 > 0:39:55in the whole of English literature, I would say, "Pride and Prejudice"
0:39:55 > 0:39:57by Jane Austen.
0:39:57 > 0:40:01Now it was not considered seemly for women to put their names on novels
0:40:01 > 0:40:03because they wouldn't sell or people would be
0:40:03 > 0:40:08prejudiced against them I suppose, and so her name is not there.
0:40:08 > 0:40:11I mean, later on you get George Eliot,
0:40:11 > 0:40:14who was Marian Evans of course, and people like that
0:40:14 > 0:40:16who tried to disguise their femininity
0:40:16 > 0:40:18to get their books published.
0:40:18 > 0:40:21But one of the most famous books in the English language,
0:40:21 > 0:40:23a first edition, 1813.
0:40:23 > 0:40:29My worry about it is, you've got them all here, you've got "Emma",
0:40:29 > 0:40:33"Pride and Prejudice" obviously, and you've also got "Mansfield Park"
0:40:33 > 0:40:35but they're all in such appalling condition.
0:40:35 > 0:40:38- Yes, dreadful, yes. - Tell me about them.
0:40:38 > 0:40:42They've been in the suitcase in an attic for a long time and I came,
0:40:42 > 0:40:46they came down to me from my father who died 25 years ago, or so,
0:40:46 > 0:40:51and I think they came to him from a Godmother of his,
0:40:51 > 0:40:52and sort of had a close look at them.
0:40:52 > 0:40:54Lovely, did you read them in first edition?
0:40:54 > 0:40:57I haven't read them in first edition yet, no.
0:40:57 > 0:41:00- But you've done it in paperback I assume.- Oh, yes, often.
0:41:00 > 0:41:03- And watched the telly. - Oh, endlessly! I'm word perfect!
0:41:03 > 0:41:04Absolutely splendid stuff.
0:41:04 > 0:41:08They all need rebinding and so you've got nine volumes there,
0:41:08 > 0:41:10it's going to cost you £1,000 plus to have them all redone.
0:41:10 > 0:41:12Would it be worth it?
0:41:12 > 0:41:14I suppose it might.
0:41:14 > 0:41:16Are you asking me how much they're worth?
0:41:16 > 0:41:17Yes!
0:41:17 > 0:41:19That's what you came for, isn't it?
0:41:19 > 0:41:21Well, yes, I suppose it is. But also
0:41:21 > 0:41:24I was fascinated, I didn't actually know they were first editions.
0:41:24 > 0:41:27- Yes. They're first editions. - I hoped, but I didn't know.
0:41:27 > 0:41:30- First editions but in appalling condition.- Yes.
0:41:30 > 0:41:32- They would well be worth having them rebound.- Yes.
0:41:32 > 0:41:38Because I think that we're talking about certainly £5,000
0:41:38 > 0:41:42for this one "Pride and Prejudice", possibly £5,000 for "Emma"
0:41:42 > 0:41:45and possibly £5,000 for "Mansfield Park".
0:41:45 > 0:41:48That is a low estimate I hasten to add.
0:41:48 > 0:41:50How very nice.
0:41:50 > 0:41:53- And thank you for bringing them in. - Well, thank you.
0:41:59 > 0:42:02This series I'm finding out a little bit more about our team of experts.
0:42:02 > 0:42:06Now, you wouldn't be surprised to hear that they've all got
0:42:06 > 0:42:09wonderful collections and wonderful objects of their own at home,
0:42:09 > 0:42:11but you might be a bit more surprised
0:42:11 > 0:42:13to find out that even they have dropped the odd clanger...
0:42:13 > 0:42:15bought a fake perhaps,
0:42:15 > 0:42:17or something that's turned out to be a real disappointment.
0:42:17 > 0:42:20Clive Stewart Lockhart, let's not start with that,
0:42:20 > 0:42:23let's start on a high note, with which of these
0:42:23 > 0:42:26- is your most prized possession? - It's an object which...
0:42:26 > 0:42:28I'm the only member of the family that likes...
0:42:28 > 0:42:31my wife and children can't understand why I like it,
0:42:31 > 0:42:34but to me, it's the most important thing I have.
0:42:34 > 0:42:36And this is it?
0:42:36 > 0:42:38This, this is it, yes, this is...
0:42:38 > 0:42:40And what is it?
0:42:40 > 0:42:45It's a piece of Fijian bark cloth or tapper cloth, and it was given to me
0:42:45 > 0:42:49by my Godfather and you may ask why would he give me this?
0:42:49 > 0:42:54And I never really understood until, sort of later in his life,
0:42:54 > 0:42:57I unravelled his life story,
0:42:57 > 0:42:59which was just the most extraordinary life story.
0:42:59 > 0:43:04- Tell me a bit about him. - Well, he was born in Canada,
0:43:04 > 0:43:07he was a typical sort of Colonial,
0:43:07 > 0:43:12he joined the navy and had an illustrious war, won a DSC and Bar.
0:43:12 > 0:43:18His ship, HMS Zulu, was sunk at Tobruk, he was captured
0:43:18 > 0:43:20and, on his way to a prison camp,
0:43:20 > 0:43:25he was in a train and he decided that it was his duty to escape,
0:43:25 > 0:43:28and so he said to all the men in the train, "Well, who's for escaping?"
0:43:28 > 0:43:30and only two put their hands up
0:43:30 > 0:43:33and he cut a hole in the floor of the train with his penknife,
0:43:33 > 0:43:36and they dropped out through the moving train.
0:43:36 > 0:43:39- Dangerous!- And, er... very dangerous...and survived,
0:43:39 > 0:43:43- and they did some skiing on the way back to England.- No!
0:43:43 > 0:43:49Absolutely yes, and he rejoined and finished his naval career
0:43:49 > 0:43:52in the early, late '40's.
0:43:52 > 0:43:54Disappointed with Britain as it was,
0:43:54 > 0:43:57he decided to buy an island in the Pacific, as you do,
0:43:57 > 0:44:01and this island called Rendova, which was in the Solomon Islands...
0:44:01 > 0:44:04and set up this little mini-kingdom really,
0:44:04 > 0:44:07- he was king of all he surveyed. - Oh, and this must be him, is it?
0:44:07 > 0:44:10- That, that's him, yes. - You haven't told his name actually.
0:44:10 > 0:44:13He was called Ninian Scott Elliot and in fact his middle
0:44:13 > 0:44:15name was Balthazar which...
0:44:15 > 0:44:17- so Ninian Balthazar Scott Elliot. - What a name!
0:44:17 > 0:44:20Extraordinary name for an extraordinary character.
0:44:20 > 0:44:23Extraordinary character, and it turns out that
0:44:23 > 0:44:26actually a gift of a long piece of tapper cloth is quite an important
0:44:26 > 0:44:31gift from a tribal chief or a chief on an island, so I suppose he was
0:44:31 > 0:44:34sort of you know, the chief of the island and he was giving it to me.
0:44:34 > 0:44:36So this is your finest object.
0:44:36 > 0:44:39This therefore must be your biggest disappointment.
0:44:39 > 0:44:41It's not obvious, on the face of it, why.
0:44:41 > 0:44:43Well, it's not obvious, no.
0:44:43 > 0:44:47When I first started in the business I was still living at home,
0:44:47 > 0:44:51and I was only 19 and one day I was walking
0:44:51 > 0:44:56through one of the London salerooms and saw a painting by Alfred Wallis.
0:44:56 > 0:44:59Alfred Wallis was a St Ives artist, he was a sort of...
0:44:59 > 0:45:01rather like Douanier Rousseau...
0:45:01 > 0:45:04he was one of those sort of primitive artists who didn't see
0:45:04 > 0:45:07themselves as primitive, they just saw that's how you paint.
0:45:07 > 0:45:11and there was this picture and I was absolutely captivated by it.
0:45:11 > 0:45:15But the trouble was I didn't really know whether I should buy it,
0:45:15 > 0:45:18and foolishly went home and said to my mother, "Well, what do you think?
0:45:18 > 0:45:20"Can you come and have a look at it?"
0:45:20 > 0:45:22so the next day she came with me and said,
0:45:22 > 0:45:24"Oh, God, you don't want to buy that, it's awful".
0:45:24 > 0:45:27- She just didn't like the look of it? - She didn't,
0:45:27 > 0:45:30- she just thought it was awful. - And was it on sale for much?
0:45:30 > 0:45:34It was about £120 which at the time was about a month's salary.
0:45:34 > 0:45:37- Ooh crikey, so you... - I was never very highly paid.
0:45:37 > 0:45:40So you'd have to have really wanted it then.
0:45:40 > 0:45:42Exactly, I really wanted it and she said,
0:45:42 > 0:45:44"No, no, no you shouldn't, it's just no good",
0:45:44 > 0:45:48and so I didn't buy it, I listened to my mother...cautionary tale...
0:45:48 > 0:45:50and anyway,
0:45:50 > 0:45:55today, that picture would be worth perhaps £12,000, £15,000.
0:45:55 > 0:45:58- Ooh, no.- So that in itself is a bit of a sadness,
0:45:58 > 0:46:00but just to add insult to injury,
0:46:00 > 0:46:03and I have to say it has become a joke between me and my mother,
0:46:03 > 0:46:06she sends me Alfred Wallis Christmas cards.
0:46:06 > 0:46:09- She bought me this Alfred Wallis mug.- That's cruel!
0:46:09 > 0:46:12It's very cruel, very cruel, but it constantly reminds me
0:46:12 > 0:46:14that I should never have listened to her.
0:46:14 > 0:46:18I think that would put me off my cup of tea every time I drank from it!
0:46:19 > 0:46:22- Clive, thanks very much.- Not at all.
0:46:24 > 0:46:28I feel like Goldilocks with the three bears here... you know,
0:46:28 > 0:46:31big one, middle sized and the baby.
0:46:31 > 0:46:36And it's a huge privilege because each of these tin plate toy cars
0:46:36 > 0:46:37is a rarity in itself,
0:46:37 > 0:46:42and to have three here really is an embarrassment of riches.
0:46:42 > 0:46:48Thank you very much. Now did you start collecting cars
0:46:48 > 0:46:51or do you have a wider interest in toys and cars?
0:46:51 > 0:46:55Basically I've always been involved and interested in vintage cars,
0:46:55 > 0:47:00and I can remember many years ago being at Ragley Hall
0:47:00 > 0:47:04and there was an auto jumble there and there was a small tin plate toy
0:47:04 > 0:47:07again by George Carette, who made these, and I was just
0:47:07 > 0:47:12fascinated by it and a friend said, "What on earth do you want that for?"
0:47:12 > 0:47:13it was about £35 or something.
0:47:13 > 0:47:17Anyway, years later I found one or two more,
0:47:17 > 0:47:21because then this is 35, 40 years ago...
0:47:21 > 0:47:24if you looked carefully you could find these things.
0:47:24 > 0:47:28So, when one looks at a toy like this, you're looking at much more
0:47:28 > 0:47:30than the actual object.
0:47:30 > 0:47:34The maker, George Carette, based in Nuremberg,
0:47:34 > 0:47:37went out of business in 1917 but up until then,
0:47:37 > 0:47:41he was making some of the best toys that came out of Germany.
0:47:41 > 0:47:46- Yes.- Automotive, particularly, but also trains and boats.- And boats.
0:47:46 > 0:47:52These were the three sizes that the 1911 limousine came in,
0:47:52 > 0:47:56but if one looks carefully, one can see huge detail...
0:47:56 > 0:48:01the chauffeur, the lamps, both the front headlamps and the sidelamps,
0:48:01 > 0:48:03the levers on the side for the brakes,
0:48:03 > 0:48:07and the same with the middle size and the same with the small size,
0:48:07 > 0:48:10but of course they came in different qualities, didn't they?
0:48:10 > 0:48:13- Oh, yes, yes, yes.- These are the lithographed versions
0:48:13 > 0:48:17and the top quality was the hand-painted versions
0:48:17 > 0:48:19which had glazed windows...
0:48:19 > 0:48:21apart from just the front windscreen.
0:48:21 > 0:48:23- I think pneumatic tyres as well. - They did have rubber tyres.
0:48:23 > 0:48:26- Rubber tyres.- Yes, exactly, exactly.
0:48:26 > 0:48:28I personally like the little one.
0:48:28 > 0:48:30- I think...- I do too.- Do you?
0:48:30 > 0:48:33I mean particularly the colour scheme of this one too,
0:48:33 > 0:48:39but it's the size and the shape of it as compared,
0:48:39 > 0:48:42out of all of them, that's the one I'd take home.
0:48:42 > 0:48:43Exactly, exactly.
0:48:43 > 0:48:46As far as value is concerned,
0:48:46 > 0:48:50I would have said between £800 and £1,200 for that.
0:48:50 > 0:48:55This one I would put at around £2,000 to £3,000,
0:48:55 > 0:48:59and that one between about £5,000 and £8,000.
0:48:59 > 0:49:03But we have something equally lovely...
0:49:03 > 0:49:04May I?
0:49:04 > 0:49:07Yes, of course you can. Of course you can.
0:49:07 > 0:49:10Back here we have something much earlier.
0:49:10 > 0:49:12Now did this come to you privately?
0:49:12 > 0:49:16Yes, I bought it privately through another collector in Germany.
0:49:16 > 0:49:19- Did you? Recently?- Yes, yes, about three years ago.
0:49:19 > 0:49:25The maker of this one, it's slightly less obvious,
0:49:25 > 0:49:28I think it appeared in a 1901 catalogue by one maker,
0:49:28 > 0:49:30- Gebruder Bing.- Bing.
0:49:30 > 0:49:33But it could be... it's patently not by that maker,
0:49:33 > 0:49:34it's the wrong quality
0:49:34 > 0:49:37and there are three or four other makers it could be by.
0:49:37 > 0:49:40- Yes, yes.- All that I can say it it's a cracking car.
0:49:40 > 0:49:42What did you pay for it?
0:49:42 > 0:49:44Mm, it was,
0:49:44 > 0:49:47yes, it was...
0:49:47 > 0:49:49I'm sitting by my wife!
0:49:49 > 0:49:51Block your ears, you'll never know.
0:49:51 > 0:49:54It's not important.
0:49:54 > 0:49:56Seven...
0:49:56 > 0:50:00The, I won't by any means divulge what that figure was,
0:50:00 > 0:50:06but what I would say is that I would put this
0:50:06 > 0:50:10at between £6,000 and £8,000.
0:50:10 > 0:50:15It's slightly less easy to evaluate the price on it,
0:50:15 > 0:50:19but it is a huge rarity and I may be proved wrong on that.
0:50:19 > 0:50:21Yes, yes.
0:50:21 > 0:50:25I'm delighted to see them and I'm really, really pleased
0:50:25 > 0:50:29that you've decided to give me the little white one to go home with!
0:50:29 > 0:50:31- Thank you very much. - No problem at all.
0:50:31 > 0:50:34Thank you very much, thank you very much.
0:50:34 > 0:50:36Yes, such a simple little figure,
0:50:36 > 0:50:38almost crude and clumsy, so it's easy perhaps to just
0:50:38 > 0:50:42dismiss it as nothing, but holding it here I'm actually quite excited.
0:50:42 > 0:50:44What do you know about it?
0:50:44 > 0:50:47Well, I was given it. My mother in law was moving house and gave
0:50:47 > 0:50:52me and my husband a box of china, and this was in the box of china.
0:50:52 > 0:50:53Right, and has it been treasured at all or...
0:50:53 > 0:50:56- No, not as far as I know.- So you don't know much about its history?
0:50:56 > 0:50:59I don't actually, I know it was kept in the kitchen I think,
0:50:59 > 0:51:02she had it on a shelf in the kitchen and that's all I know about it.
0:51:02 > 0:51:06Well, he's a little figure from the Italian comedy,
0:51:06 > 0:51:08he's a figure of Scapin,
0:51:08 > 0:51:12one of the great models made at Meissen in the 1730s,
0:51:12 > 0:51:15but the original Meissen model is superb quality
0:51:15 > 0:51:18and really a wonderful piece of early porcelain.
0:51:18 > 0:51:21But this was a copy, but a copy made in England, it was made at
0:51:21 > 0:51:25the Bow factory and it's really perhaps as rare an English porcelain
0:51:25 > 0:51:27- as you can actually find.- OK.
0:51:27 > 0:51:31Because at that time the porcelain from Meissen was rare in England,
0:51:31 > 0:51:33people wanted to own it,
0:51:33 > 0:51:36the factories in London at Chelsea and Bow borrowed examples from
0:51:36 > 0:51:40Meissen and made their own versions, but they weren't as good as Meissen,
0:51:40 > 0:51:44and the modelling is usually rather lost in translation.
0:51:44 > 0:51:45He has got a fair bit of detail added,
0:51:45 > 0:51:47with scratching into the clay,
0:51:47 > 0:51:50little scratching buttons and patterning there,
0:51:50 > 0:51:53which is typical of the Bow factory right at its beginning,
0:51:53 > 0:51:55we're looking here...
0:51:55 > 0:52:01a figure made in oh, 1750, 1751 and that's early for English,
0:52:01 > 0:52:06so it's a... and it's in wonderful condition, I mean, just in a kitchen
0:52:06 > 0:52:10knocking around in a box, there's nothing wrong with it.
0:52:12 > 0:52:16So, wonderful, very rare, very exciting.
0:52:16 > 0:52:18Expensive too...
0:52:19 > 0:52:20£6,000.
0:52:20 > 0:52:27Oh, no, that it staggering, oh, I don't know if I can touch it. Oh!
0:52:27 > 0:52:32There you are, hold it, you can hold it, there you are.
0:52:32 > 0:52:34- That is amazing. - But just be careful with it.
0:52:34 > 0:52:37Yes, OK. Well, thank you very much!
0:52:39 > 0:52:44I bought these as a young boy, 11 year old boy, early 1970's,
0:52:44 > 0:52:46went to a house auction sale with my mother.
0:52:46 > 0:52:50It was the contents of a house in Gloucester.
0:52:50 > 0:52:52Now one of the rooms was a lot,
0:52:52 > 0:52:55and within that room, all sorts of artist materials, et cetera.
0:52:55 > 0:52:59But underneath the table was a big brown paper parcel,
0:52:59 > 0:53:03I was a very busy-body 11-year-old, I thought I'd like to look at that,
0:53:03 > 0:53:06so I ripped the top off and there was a travel poster in there.
0:53:06 > 0:53:09I thought, "Ooh they look nice", so I went down to where they were
0:53:09 > 0:53:13doing the auction and I noticed a lady marked on her programme this
0:53:13 > 0:53:16particular lot, so I said to her, "If you buy that lot,
0:53:16 > 0:53:18"could I buy the posters off you?"
0:53:18 > 0:53:22and she said "I don't know that there are any posters but we'll see".
0:53:22 > 0:53:24You know, so I stood by her
0:53:24 > 0:53:27and she did win the lot, she bid for the lot, I think it was £13.
0:53:27 > 0:53:31So I thought, great, can we go and have a look and do the, you know,
0:53:31 > 0:53:32have a look at them, so went up.
0:53:32 > 0:53:35And she said, "Well, how much will you give me for them?"
0:53:35 > 0:53:37So I said "I'll give you 50p"
0:53:37 > 0:53:41and she said, "Yeah, great". I took them home and when we got them home,
0:53:41 > 0:53:47unwrapped them, and there were about 120 posters from about 1905 through
0:53:47 > 0:53:52to just before the Second World War, travel posters, railway posters.
0:53:52 > 0:53:55But what appealed to you, an 11-year-old boy?
0:53:55 > 0:53:59It was travel, it was trains, it was all, you know, it was just
0:53:59 > 0:54:04pictures of cars and boats and you know, who wouldn't be? You know,
0:54:04 > 0:54:08I mean and colours and you know, it was just, they were fantastic things.
0:54:08 > 0:54:11Because you really have got a great selection here
0:54:11 > 0:54:17of some of the great movers and shakers of the 1920's and '30's.
0:54:17 > 0:54:21I mean obviously ocean going ships, I mean wonderful Cook's ocean
0:54:21 > 0:54:25passage tickets, you know, I mean this is the White Star Line,
0:54:25 > 0:54:28really wonderful, the colours, the vibrancy.
0:54:28 > 0:54:33- So this is what appealed to you? - Yeah, when you see a ship like that
0:54:33 > 0:54:36coming out of the page at you as a kid, it's great,
0:54:36 > 0:54:39- just what you want on your wall. - Well, it is a great collection,
0:54:39 > 0:54:42I mean from, you know, you've got one here, the Buckingham Palace,
0:54:42 > 0:54:45McKnight, Korfer, I mean the great... he was called
0:54:45 > 0:54:49the Picasso of advertising design, highly desirable artist.
0:54:49 > 0:54:53The great thing about lots of these posters, they were commissioned
0:54:53 > 0:54:57by somebody called Frank Pick for London Transport who just wanted
0:54:57 > 0:54:59to bring great art to the masses.
0:54:59 > 0:55:03He thought "if we're having posters about London transport,
0:55:03 > 0:55:05why not have great artists doing it?"
0:55:05 > 0:55:08so he commissioned a lot of these artists
0:55:08 > 0:55:10and then we had all these fabulous posters.
0:55:10 > 0:55:15And you've got everything from really just sort of advertising
0:55:15 > 0:55:19posters, the telephone, absolutely top, Frank Newbold,
0:55:19 > 0:55:21great Art Deco designer,
0:55:21 > 0:55:25really wonderful, and you know, as I say those ships, highly collectible.
0:55:25 > 0:55:27I mean these in particular...
0:55:27 > 0:55:29I mean Jean Dupain,
0:55:31 > 0:55:36born in 1882 very well known as an artist and designer,
0:55:36 > 0:55:40won the Prix de Rome in 1911, so well established.
0:55:40 > 0:55:42By the time he started to work
0:55:42 > 0:55:48for London Transport in the 1930's and these... because of this logo...
0:55:48 > 0:55:51would have been done in 1933,
0:55:51 > 0:55:55and they are particularly stylish, I mean they're everything about that
0:55:55 > 0:56:01whole Art Deco movement, the very elongated slightly androgynous
0:56:01 > 0:56:05women, some of the girls in sort of quite masculine clothes, so really
0:56:05 > 0:56:10very, very stylish and quite avant garde even for the Art Deco period.
0:56:10 > 0:56:13He went on to design interiors for The Normandy
0:56:13 > 0:56:16and the famous liners of the day.
0:56:16 > 0:56:21Well, you know, posters like this advertising the telephone,
0:56:21 > 0:56:24that's wonderful typography for the Art Deco period
0:56:24 > 0:56:28and I could easily see that going for £500, £600.
0:56:28 > 0:56:32- Just a little one. - The little one, yeah, and you know,
0:56:32 > 0:56:36when you get into the White Star Line, the cruises, the ocean liners,
0:56:36 > 0:56:44you know these can tend to go for, you know £1,200, £1,500 each.
0:56:44 > 0:56:49And you know, McKnight Korfer, Buckingham Palace that comes from
0:56:49 > 0:56:53a series and they come up quite regularly and that's anywhere
0:56:53 > 0:56:56between maybe £1,200 to £1,500.
0:56:56 > 0:57:02- Wow, wow.- And then you come to the great Jean Dupain,
0:57:02 > 0:57:04these are very rare posters.
0:57:04 > 0:57:12Probably, this one would sell for maybe £7,000.
0:57:12 > 0:57:13Oh!
0:57:16 > 0:57:20And probably a little bit more for this one,
0:57:20 > 0:57:24- maybe £8,000.- Gosh.
0:57:24 > 0:57:29And elephant, the one to the zoo, again about £8,000 to £9,000
0:57:29 > 0:57:33so if I told you that the posters that we're looking at
0:57:33 > 0:57:39will probably sell for an excess of £30,000.
0:57:39 > 0:57:41So for a little boy of 11...
0:57:41 > 0:57:44That's quite a good return on my investment!
0:57:44 > 0:57:47I think I need a stiff drink after that!
0:57:49 > 0:57:52That was a very well-spent 50p!
0:57:52 > 0:57:56Wow! Gosh, gosh, well, thank you that's absolutely fantastic.
0:57:56 > 0:57:58Gosh.
0:57:58 > 0:58:00One of the wonderful things about Stanway House
0:58:00 > 0:58:03is they have their own brewery on the estate. It's just over there.
0:58:03 > 0:58:06It's been there since at least 1735
0:58:06 > 0:58:09and the workers on the estate used to get paid in beer,
0:58:09 > 0:58:12so if they did an hour's overtime, they got a pint of beer and then if
0:58:12 > 0:58:15they did another hour's overtime they got another pint of beer.
0:58:15 > 0:58:19Well, we've done quite a bit of overtime here at the Roadshow
0:58:19 > 0:58:20and all I've got is this cup of tea.
0:58:20 > 0:58:21Times have changed!
0:58:21 > 0:58:25From the Roadshow at Stanway House in Gloucestershire, bye bye.
0:58:49 > 0:58:51Subtitles by Red Bee Media Ltd
0:58:51 > 0:58:53E-mail subtitling@bbc.co.uk