0:00:02 > 0:00:05We found so many treasure at Tatton Park we're back for more
0:00:05 > 0:00:07and this is one of Tatton's very own antiques,
0:00:07 > 0:00:09and I don't mean you, Graham.
0:00:09 > 0:00:11What a great way to start. Off we go.
0:00:58 > 0:01:00Welcome back to Tatton Park in Cheshire,
0:01:00 > 0:01:02a stunning estate left to the National Trust
0:01:02 > 0:01:05after being owned for 360 years by the Egerton family,
0:01:05 > 0:01:09and Maurice, the 4th Baron Egerton of Tatton,
0:01:09 > 0:01:13used to own this marvellous car and he used to tour around the estate in it.
0:01:15 > 0:01:18It's called a Benz Comfortable Motor Carriage
0:01:18 > 0:01:22and this wonderful film of Maurice Egerton driving it around
0:01:22 > 0:01:24in his stable yard was taken in the 1920s.
0:01:24 > 0:01:29In 1903, he'd been the first to register a car in Cheshire.
0:01:29 > 0:01:32Maurice had chosen the distinctive numberplate M1,
0:01:32 > 0:01:34which he now proudly showed off.
0:01:35 > 0:01:40Maurice had gone in for personalised numberplates long before they became fashionable,
0:01:40 > 0:01:44certainly he could never have anticipated anything like today's demand.
0:01:44 > 0:01:48It was agreed that the M1 registration plate should be put up at auction,
0:01:48 > 0:01:52sold in 2006 to raise money for things like conservation here at Tatton.
0:01:52 > 0:01:57A businessman in Cheshire made an anonymous bid for that M1 registration plate
0:01:57 > 0:02:02for over £300,000, a world record at the time.
0:02:02 > 0:02:07What's even more remarkable is it's understood that he bought it for his six-year-old son.
0:02:07 > 0:02:08Lucky boy.
0:02:08 > 0:02:11I'm guessing his name begins with M.
0:02:16 > 0:02:20So when he's old enough to drive, you may well see that M1 numberplate out on the road,
0:02:20 > 0:02:26but for now Maurice's car can still use the original M1 numberplate here in private on the Tatton Estate.
0:02:26 > 0:02:27Thanks very much, Graham.
0:02:27 > 0:02:32I wonder if anything else will register that kind of value at today's Roadshow.
0:02:32 > 0:02:33Let's find out.
0:02:34 > 0:02:39Now, is it true that you put flowers in this vase?
0:02:39 > 0:02:41- Yes, I do.- And how long have you been doing that?
0:02:41 > 0:02:4525 years. My grandmother had it and just before I got married...
0:02:45 > 0:02:46And she used it for flowers.
0:02:46 > 0:02:49She gave it to me and I've used it for flowers.
0:02:49 > 0:02:50Oh, incredible.
0:02:50 > 0:02:53You know, and I thought you were sophisticated
0:02:53 > 0:02:55here in this part of Cheshire.
0:02:55 > 0:02:59It's just that for me, you know, this is a piece of sculpture.
0:02:59 > 0:03:02You know who made it, and I know who made it.
0:03:02 > 0:03:05A mark on the base tells us that it was made by Rene Lalique.
0:03:05 > 0:03:10No surprises there, but I have to say that this just happens to be
0:03:10 > 0:03:13- one of my favourite, favourite Lalique vases.- Ah!
0:03:13 > 0:03:16And where do you have it on display?
0:03:16 > 0:03:20- It's literally in a glass cupboard. - Oh, not such a good idea.
0:03:20 > 0:03:21- Do you have a cat?- Yes.
0:03:21 > 0:03:23Get rid of the cat and bring it out, OK?
0:03:23 > 0:03:25Because if I can just show...
0:03:25 > 0:03:27- This is called Violettes.- Right.
0:03:27 > 0:03:29And it dates from around about 1930.
0:03:29 > 0:03:33And it's just such a lovely shape, and the opalescence,
0:03:33 > 0:03:36if I can put it against my jacket, look.
0:03:36 > 0:03:39You can see how it sort of, how it just works, doesn't it?
0:03:39 > 0:03:42It really does work. So it's an inheritance.
0:03:42 > 0:03:43It is really.
0:03:43 > 0:03:48So what price? A piece of Lalique, you know, the prices vary
0:03:48 > 0:03:52dramatically depending on the particular design.
0:03:52 > 0:03:55Well, let me just say that if I wanted to buy this,
0:03:55 > 0:03:58and I've wanted to buy one for a long time,
0:03:58 > 0:04:00I don't think I'd get away with paying
0:04:00 > 0:04:03less than £1,200 to £1,500 for one.
0:04:03 > 0:04:06Oh, my God! Really?
0:04:06 > 0:04:11- Oh, I don't mess around where money's concerned.- How many have they made?
0:04:11 > 0:04:15Well, at the last count I think it's 1,323 but I could be out on that one.
0:04:15 > 0:04:18I've no idea how many they made, no,
0:04:18 > 0:04:22but I think this is a classic case of less is more.
0:04:22 > 0:04:23Wow, thank you very much.
0:04:24 > 0:04:28It's very rare to find such a fabulous conversation piece.
0:04:28 > 0:04:30Oh, good.
0:04:30 > 0:04:32Now tell me a bit of history.
0:04:32 > 0:04:35Well, my father bought it about 50 years ago
0:04:35 > 0:04:39in an antique shop in Derby, as far as I know,
0:04:39 > 0:04:44and when he died it came to me, and it hangs above the fireplace.
0:04:44 > 0:04:48All I know is it's perhaps by an artist called Hayllar,
0:04:48 > 0:04:50who I believe was Victorian,
0:04:50 > 0:04:54and it's a group of cottagers sitting outside,
0:04:54 > 0:04:56perhaps three generations,
0:04:56 > 0:05:00looking on while the young son reads a newspaper,
0:05:00 > 0:05:03which I presume was quite a rare occurrence then.
0:05:03 > 0:05:05Absolutely.
0:05:05 > 0:05:07So you know a little bit about James Hayllar.
0:05:07 > 0:05:11I don't really know where he came from,
0:05:11 > 0:05:15other than that he did a lot of paintings of cottage scenes.
0:05:15 > 0:05:21Well, let me help you there. Hayllar was born in Chichester in 1829.
0:05:21 > 0:05:26- Right.- Now I see your picture is signed and dated 1890.
0:05:26 > 0:05:30- Yes.- So he's 61 when he painted this picture.- Oh.
0:05:30 > 0:05:36- But by this stage, in about 1870, he's living in Wallingford near the Thames.- Oh, right.
0:05:36 > 0:05:39- And what I notice on this particular painting...- Yes.
0:05:39 > 0:05:43..is that the paper the little boy's reading, it reads "The Berks and Oxon Advertiser".
0:05:43 > 0:05:47So that would have been that part, northern part of the Thames.
0:05:47 > 0:05:48- Absolutely.- Right.
0:05:48 > 0:05:52Now Hayllar was a great technician, fabulous figurative artist.
0:05:52 > 0:05:56- He exhibited 20 times at the Royal Academy.- Right.
0:05:56 > 0:06:01But what I love about this particular painting is the subject.
0:06:01 > 0:06:03These type of Victorian paintings
0:06:03 > 0:06:07- really tell a story about everyday life.- Yes.
0:06:07 > 0:06:11They are obviously pretty content,
0:06:11 > 0:06:16and the thing with Hayllar is that he breaks down his subject by...
0:06:16 > 0:06:19In fact, you've got several portraits going on in this picture
0:06:19 > 0:06:22and actually if you look on the left hand side,
0:06:22 > 0:06:26you feel that Granny is looking at Mum, and Mum is sewing,
0:06:26 > 0:06:30but you get a real sense of the cycle of life that
0:06:30 > 0:06:35Hayllar's almost painted the mother's face in a way that you get the sense
0:06:35 > 0:06:38that she is becoming Granny eventually, a real cycle of life.
0:06:38 > 0:06:39Yes, yes, that's very true.
0:06:39 > 0:06:43And the gentleman on the right hand side, again a portrait in itself.
0:06:43 > 0:06:50I think that possibly the gentleman seated next to the young boy could potentially be the boy's father.
0:06:50 > 0:06:55He's obviously worked incredibly hard but I think you get a sense of pride
0:06:55 > 0:06:57- from all three gentlemen.- Yes.
0:06:57 > 0:07:01And of course what's happening here, it's very unusual,
0:07:01 > 0:07:04is that the young lad is reading the news
0:07:04 > 0:07:07to a group of adults who probably can't read.
0:07:07 > 0:07:08Yes, of course.
0:07:08 > 0:07:11And so there you sense the great pride
0:07:11 > 0:07:14that the family hold for the young boy,
0:07:14 > 0:07:17but this is a fabulous picture and it's in lovely original condition.
0:07:17 > 0:07:21Now in terms of value, have you ever thought of what this might be worth?
0:07:21 > 0:07:25It was bought, I believe, for about £200 40 years ago,
0:07:25 > 0:07:28but I've no idea what it would be worth today.
0:07:28 > 0:07:30I could see this painting making
0:07:30 > 0:07:32at least £15,000 in the present market.
0:07:32 > 0:07:36Wow, gosh! What a surprise. I'm amazed.
0:07:40 > 0:07:43"Thomas Sapwell, Officer.
0:07:43 > 0:07:47"1 Farrers Rents, Ward of Bishopsgate."
0:07:47 > 0:07:49Do you know what this is?
0:07:49 > 0:07:53Yes, I think it's a silver-gilt tipstaff.
0:07:53 > 0:07:57The High Sheriffs used them in London before the police force,
0:07:57 > 0:07:58and the warrant was inside,
0:07:58 > 0:08:02and you would touch the tipstaff and arrested.
0:08:02 > 0:08:05That's right, absolutely, and where did you get it from?
0:08:05 > 0:08:08- I saw it advertised at Asprey's in London.- Oh, really?
0:08:08 > 0:08:10It was advertised at approximately 350
0:08:10 > 0:08:12and I bargained with them over the phone.
0:08:12 > 0:08:16I was later told, "You don't bargain with people like Asprey's".
0:08:16 > 0:08:20However I saw something later I was interested in,
0:08:20 > 0:08:23and I rang them again and asked to speak to the gentleman I dealt with
0:08:23 > 0:08:26and they said "Oh, no", he was no longer with them,
0:08:26 > 0:08:29so I hope he didn't lose his job on behalf of me bargaining with him.
0:08:29 > 0:08:31Well it's an absolute beauty.
0:08:31 > 0:08:35It's got the arms of the City of London engraved on the front here,
0:08:35 > 0:08:40and the motto for the City of London underneath.
0:08:40 > 0:08:44Thomas Sapwell and his initials are on the bottom here,
0:08:44 > 0:08:48lovely script, "TS", on the base.
0:08:48 > 0:08:51On the front, we've got hallmarks here for 1803
0:08:51 > 0:08:55and the maker's mark is not quite visible.
0:08:55 > 0:09:00It's "M" something, it's not one I recognise,
0:09:00 > 0:09:02but I love these things.
0:09:02 > 0:09:05I think the whole symbolism behind them.
0:09:05 > 0:09:07They developed out of the mace,
0:09:07 > 0:09:10and we've all seen the mace at the Houses of Parliament
0:09:10 > 0:09:13which is one of the great maces of the 17th century.
0:09:13 > 0:09:18But out of the mace which, the mace by the way, came out of an old battle club,
0:09:18 > 0:09:23and originally that's how maces developed, out of 14th century battle clubs.
0:09:23 > 0:09:30But by this time they were very often ceremonial, but these tipstaff,
0:09:30 > 0:09:34which is like a mini mace, developed from that.
0:09:34 > 0:09:37So we've got the crown at the top like a big mace
0:09:37 > 0:09:39and we've got this lovely engraving on it.
0:09:39 > 0:09:41And I think it's absolutely gorgeous.
0:09:41 > 0:09:44I love it, I love the history behind them.
0:09:44 > 0:09:46What did you pay for it?
0:09:46 > 0:09:48- In the end I paid £300 for it.- 300?
0:09:48 > 0:09:51- Yes.- Can you remember what you bargained them down from?
0:09:51 > 0:09:54- Yes, I think it was 370. - Oh, very good!
0:09:54 > 0:09:59I'm very, very pleased to tell you that something like this now
0:09:59 > 0:10:01is worth between £2,000 and £3,000.
0:10:01 > 0:10:03Thank you very much.
0:10:03 > 0:10:06Very saleable, very collected, and a great object.
0:10:06 > 0:10:08- Bless you, thank you very much. - Thank you.
0:10:10 > 0:10:14All these items in this diorama are like the most wonderful day
0:10:14 > 0:10:16at the Antiques Roadshow all put together.
0:10:16 > 0:10:18- Right.- Tell me the story about it.
0:10:18 > 0:10:23Well, this was made by my great grandfather for my grandmother
0:10:23 > 0:10:31in 1859, when she was two years old, as a present.
0:10:31 > 0:10:34And it's, to my knowledge, it's never been...
0:10:34 > 0:10:36That glass has never been taken off.
0:10:36 > 0:10:40I've known it all my life but I don't think the glass has ever been removed.
0:10:40 > 0:10:45Well, it is absolutely a fantastic documentary piece about that period.
0:10:45 > 0:10:50- Yes.- We see all this doll's furniture would have been made in Germany at the time,
0:10:50 > 0:10:54that was the big centre for making doll's furniture. Very high quality.
0:10:54 > 0:10:57There's Venetian glass, all in miniature,
0:10:57 > 0:10:59and daguerreotypes on the wall.
0:10:59 > 0:11:01I've never seen them that small.
0:11:01 > 0:11:03- Tiny, aren't they?- Tiny.
0:11:03 > 0:11:05I understand that these, all of them,
0:11:05 > 0:11:08are my distant relations in the past.
0:11:08 > 0:11:13Well, I've looked at all these fabulous little dolls, all dressed so beautifully.
0:11:13 > 0:11:18- This is high Victorian, high society at its most luxurious.- Right.
0:11:18 > 0:11:22It is a wonderful glimpse of an interior of that period
0:11:22 > 0:11:24and very important because of that.
0:11:24 > 0:11:29Not many little girls of two in 1859 would have this.
0:11:29 > 0:11:33The father was a gold worker, according to her birth certificate.
0:11:33 > 0:11:35So did you know your grandmother?
0:11:35 > 0:11:39I did, I did and I have a photograph of her here, on the right hand side.
0:11:39 > 0:11:41- This is you?- Yes.
0:11:41 > 0:11:44- How old were you then? - About six, yes.
0:11:44 > 0:11:45And this is your grandmother?
0:11:45 > 0:11:48- My grandma, yes. - This was made for her.- Yeah.
0:11:48 > 0:11:51That's a lovely piece to have,
0:11:51 > 0:11:55and rare and unusual as this is, have you ever thought about value?
0:11:55 > 0:11:59I don't know, not really.
0:11:59 > 0:12:01Can you put a value on it?
0:12:01 > 0:12:04I would be really comfortable in saying
0:12:04 > 0:12:06you would certainly have to pay £2,000 to £3,000.
0:12:06 > 0:12:10- How much, sorry? - £2,000 to £3,000.- £2,000 to £3,000.
0:12:10 > 0:12:13For this, but very difficult to find.
0:12:13 > 0:12:14Oh, indeed.
0:12:14 > 0:12:19Anyway, it's going to stay in the family so it's not going on the market.
0:12:19 > 0:12:21- Thank you very much.- Thank you.
0:12:22 > 0:12:25Do you have much concept of the number of pairs of cuff links
0:12:25 > 0:12:27we have brought into the Roadshow?
0:12:27 > 0:12:29I haven't, actually, no.
0:12:29 > 0:12:31You cannot believe it,
0:12:31 > 0:12:32how many pairs of cuff links.
0:12:32 > 0:12:36First World War, 1920's, 1930's, gold, engraved,
0:12:36 > 0:12:39plaques, ovals, hearts, the lot.
0:12:39 > 0:12:43Never in my career have I ever come across
0:12:43 > 0:12:46a pair of gold plaque cuff links
0:12:46 > 0:12:52which are decorated with little pictures of nursery rhymes.
0:12:52 > 0:12:54Well, these were given to my father
0:12:54 > 0:12:57for his christening off one of his uncles,
0:12:57 > 0:13:01and then they were given to me when my father passed away,
0:13:01 > 0:13:03when I got married, to wear on my wedding day.
0:13:03 > 0:13:08- Shall we go through them together? - Yeah, we'll go through them together, yeah.
0:13:08 > 0:13:10Um, we've got Tom, Tom, the piper's son.
0:13:10 > 0:13:11Tom, Tom, the piper's son.
0:13:11 > 0:13:13- Old Mother Hubbard. - Old Mother Hubbard.
0:13:13 > 0:13:17- I'm thinking of the nursery rhymes. - That one's blackbirds in a pie.
0:13:17 > 0:13:19Four and twenty blackbirds baked in a pie.
0:13:19 > 0:13:23- And that one will be...- Simple Simon met the pie man.- Met the pie man.
0:13:23 > 0:13:27And they are enamelled in different colours,
0:13:27 > 0:13:30and incidentally these were made in around about 1910
0:13:30 > 0:13:33so I think they're pre-First World War.
0:13:33 > 0:13:35The enamel is pristine,
0:13:35 > 0:13:39the gold is unscratched, the designs, you can't stop looking at them.
0:13:39 > 0:13:44These must be worth, to a collector, £1,500 to £2,000.
0:13:46 > 0:13:49Oh, she's going to love us. Me mother wants...
0:13:49 > 0:13:53There's a jewellers in Chapel, offered her between £100 and £120.
0:13:53 > 0:13:55That's all they were worth, he said.
0:13:55 > 0:13:58A little gentle on his estimate, wasn't he, don't you think?
0:13:58 > 0:14:00A bit of a stranger to the truth.
0:14:00 > 0:14:02There are people who are aficionados, love cuff links,
0:14:02 > 0:14:04collect nothing else but cuff links,
0:14:04 > 0:14:08and when they were looking, they'd think, "My goodness me!"
0:14:08 > 0:14:12As someone who loves his cuff links, yes, they talk to me.
0:14:12 > 0:14:16- These are special. Look after them, they're great.- Thank you.
0:14:17 > 0:14:20In the 1960s, I was very, very excited by Art Nouveau.
0:14:20 > 0:14:22I discovered it for the first time,
0:14:22 > 0:14:26as many young collectors did, and of course great names to me then were
0:14:26 > 0:14:28Alfons Mucha, Sarah Bernhardt,
0:14:28 > 0:14:31and here we have that magic combination of those two names.
0:14:31 > 0:14:33Did you feel the same?
0:14:33 > 0:14:35Not exactly, not at the time.
0:14:35 > 0:14:40We were quite sort of dedicated Art Deco collectors at the time
0:14:40 > 0:14:42and we lived in the Thames Valley.
0:14:42 > 0:14:45We saw this nice gallery and were captivated
0:14:45 > 0:14:47immediately by this new,
0:14:47 > 0:14:51sort of more charming aspect of the poster.
0:14:51 > 0:14:55I mean Sarah Bernhardt is obviously an extraordinary name.
0:14:55 > 0:14:57I'm sure you know as much about her as I do.
0:14:57 > 0:15:02She was born in 1844 so when she did this poster, she was 60.
0:15:02 > 0:15:05I mean it doesn't quite look like that.
0:15:05 > 0:15:08Her life is fantasy, extraordinary things.
0:15:08 > 0:15:10She slept in a coffin and she was a great actress.
0:15:10 > 0:15:14We mustn't forget that above all else, she was a great actress.
0:15:14 > 0:15:20She met Mucha in 1894, and they formed a sort of bond.
0:15:20 > 0:15:22I don't know what sort of bond, let's not go there,
0:15:22 > 0:15:24but they both liked the macabre.
0:15:24 > 0:15:28But more important, he became in charge of her image
0:15:28 > 0:15:30and in a modern sense, he marketed her.
0:15:30 > 0:15:341894, she was at her peak, but she was 50.
0:15:34 > 0:15:38So things were beginning to change, and he projected this extraordinary
0:15:38 > 0:15:43sort of vampish, sensual image for the rest of her life.
0:15:43 > 0:15:47Mucha Bernhardt, you know, became an image for posters of all kinds.
0:15:47 > 0:15:50Now do you know what this poster is about?
0:15:50 > 0:15:56I think it's connected with the theatre that she played at, and it's a promotional poster done by Mucha.
0:15:56 > 0:15:59- That's my thought. - I'm going to ask you,
0:15:59 > 0:16:01- have you ever been in a French supermarket?- Yes.
0:16:01 > 0:16:04Have you been to the biscuit counter?
0:16:04 > 0:16:05Um, yes, I think I have.
0:16:05 > 0:16:08Well, does that mean anything to you? "LU".
0:16:08 > 0:16:10Not immediately.
0:16:10 > 0:16:16Right. You can still buy Biscuit LU and LU, Lefevre Utile, was,
0:16:16 > 0:16:20- and still is, a famous biscuit company.- Right.
0:16:20 > 0:16:23So this is not theatre, although she did lots of theatre,
0:16:23 > 0:16:26but she did advertise all sorts of things.
0:16:26 > 0:16:31She was such an image, she was bought by companies, like you might buy
0:16:31 > 0:16:35David Beckham or whoever now to be their image, to be their ambassador.
0:16:35 > 0:16:39This is a biscuit poster. What it actually says is, "I'm feeling very good today,"
0:16:39 > 0:16:43or, "I'm feeling better today because I've had one little biscuit
0:16:43 > 0:16:46"and I'm feeling even better if I've had two."
0:16:46 > 0:16:47- It was an advertising campaign. - Right.
0:16:47 > 0:16:50And I have to tell you, therefore, this is not a signature.
0:16:50 > 0:16:52- Ah, right. - It is part of the poster.- Right.
0:16:52 > 0:16:54It's her promoting the biscuits.
0:16:54 > 0:16:59It doesn't matter. It's a great image, it's a classic Mucha poster.
0:16:59 > 0:17:02- How much did you pay for it? - We paid £400.
0:17:02 > 0:17:03- When was that?- 1984.
0:17:03 > 0:17:07I don't think that's bad. I mean, Mucha was already a famous name.
0:17:07 > 0:17:10He was beginning to fetch money in poster sales.
0:17:10 > 0:17:12I think that was fair enough.
0:17:12 > 0:17:16There is damage. The signature, obviously is part of the image.
0:17:16 > 0:17:20But it's still a great poster. It's still Mucha and Bernhardt which is
0:17:20 > 0:17:25a magic combination, so I'm going to say it's going to be £800 to £1,000.
0:17:25 > 0:17:27- So you've done all right. - OK, that's great.
0:17:27 > 0:17:30But I'm just amazed that in whatever it is, 20 years,
0:17:30 > 0:17:32- you didn't think about biscuits.- No.
0:17:32 > 0:17:34HE LAUGHS
0:17:41 > 0:17:46This is my aunt, my late father's sister, and her eldest daughter.
0:17:46 > 0:17:48- And this is where?- In Venice,
0:17:48 > 0:17:53taken in about 1935, I think... and this is...
0:17:53 > 0:17:57- one of the daughters, again, with her sister...- Right.
0:17:57 > 0:17:59..taken in Brussels, where they lived,
0:17:59 > 0:18:03where they were being educated, and this is their son, Freddie.
0:18:03 > 0:18:04Oh, lovely, lovely photo.
0:18:04 > 0:18:10They were all living in Brussels during the war and in 1939,
0:18:10 > 0:18:15my father was afraid for their safety and they came back to Manchester,
0:18:15 > 0:18:19but when Chamberlain said, "Peace for our time,"
0:18:19 > 0:18:23they went back because of the elder daughter's exams.
0:18:23 > 0:18:27Sadly, it was a terrible decision, because they ended up in Auschwitz.
0:18:27 > 0:18:29- They were taken to the camps. - Oh, my goodness.
0:18:29 > 0:18:32These cards here that you have. What are these?
0:18:32 > 0:18:40These are letters that my aunt wrote to my father and his brother during the time they were in France.
0:18:40 > 0:18:43They were sent to a relative in Morocco because they realised
0:18:43 > 0:18:46if you sent them directly to my father and the Germans crossed
0:18:46 > 0:18:49the Channel, they would come directly to our house
0:18:49 > 0:18:52- and take our family because we were Jewish.- Goodness. Right.
0:18:52 > 0:18:54Then he didn't hear anything for the next few years.
0:18:54 > 0:18:57- The next few years? - Yes.- So he waited for...?
0:18:57 > 0:19:00Yes, he waited, not only till the end of the war, till the Red Cross
0:19:00 > 0:19:04got in touch, 1945, and they found out what had happened.
0:19:04 > 0:19:09- That they'd been taken to Auschwitz and gassed, burned in the crematorium.- Oh...
0:19:09 > 0:19:11- And so he...- With the children?
0:19:11 > 0:19:14- With the three children. - With the three children as well.
0:19:14 > 0:19:16- Yes, they were all taken. - Oh, goodness.
0:19:16 > 0:19:21So my father could have claimed reparation money but he didn't want
0:19:21 > 0:19:22to take money for life,
0:19:22 > 0:19:27but what did happen was a neighbour of my aunt got in touch with
0:19:27 > 0:19:33my father, my aunt must have left a phone number, and she brought all the jewels that had belonged
0:19:33 > 0:19:36to my aunt and, sadly, my father was so distraught at the time,
0:19:36 > 0:19:39- he never kept a record of who she was.- Right.
0:19:39 > 0:19:43And now, my brother and I are going to go to try to find...
0:19:43 > 0:19:46See if we can find this lady, or her descendants.
0:19:46 > 0:19:51Because somebody will know the story and we would like to thank them
0:19:51 > 0:19:56- for being so honest.- And this watch here is one of the collection
0:19:56 > 0:20:01that was then given back to your father by this neighbour, this lady.
0:20:01 > 0:20:04That's my very precious remnant of the story.
0:20:04 > 0:20:08The watch is dated 1925, so the Art Deco period.
0:20:08 > 0:20:14And this shows such a wonderful example of that era.
0:20:14 > 0:20:18It's made of platinum with diamonds, circular-cut diamonds,
0:20:18 > 0:20:21and you can tell that these exquisite little piercings
0:20:21 > 0:20:27of the foliate designs on the shoulders are so intricate and detailed, and this is because
0:20:27 > 0:20:30it's platinum, rather than before, it would have been silver,
0:20:30 > 0:20:33and silver's very soft and you wouldn't be able to get
0:20:33 > 0:20:36the fine delicate lines that platinum is able to give you.
0:20:36 > 0:20:40This is just such a wonderful example and you have on the side,
0:20:40 > 0:20:44a little cabochon onyx, black onyx on the winder as well,
0:20:44 > 0:20:47so lovely little attention to detail there.
0:20:47 > 0:20:52And it's on its original strap too, so it is such an elegant watch,
0:20:52 > 0:20:55which goes with the elegance of your aunt in the photograph
0:20:55 > 0:20:58that you showed us. Did your aunt come from round here?
0:20:58 > 0:20:59She grew up in Manchester.
0:20:59 > 0:21:05She went to Withington High School and then went on to the Northern College but then she met her
0:21:05 > 0:21:10husband, who was Italian, and then they moved from Milan to Brussels.
0:21:10 > 0:21:13- Right. - But she was a Manchester girl, so...
0:21:13 > 0:21:16- Oh.- You don't expect a Manchester girl to have died
0:21:16 > 0:21:18- in the Holocaust. - No, of course not.
0:21:18 > 0:21:21That's a very sad story and my father could never talk about it.
0:21:21 > 0:21:25He was just heart-broken and so it's left to our generation
0:21:25 > 0:21:29to keep the memory of it alive and their memory.
0:21:29 > 0:21:33I wish you all the luck to find the neighbour or the descendants of the neighbour.
0:21:33 > 0:21:36- Yes, we will try.- It would be nice. It would be lovely to be able
0:21:36 > 0:21:37to thank her, or thank them, yes.
0:21:37 > 0:21:40Yes, yes, somebody might know the story.
0:21:40 > 0:21:42You know, the value of the piece is probably
0:21:42 > 0:21:45between £2,000 to £3,000 but I know that's
0:21:45 > 0:21:48totally immaterial and irrelevant, but it's just such a wonderful story
0:21:48 > 0:21:52- and I wish you all the luck for pursuing...- Our ambition.
0:21:52 > 0:21:55- Your ambition, yes, exactly. - Thank you very much.
0:21:55 > 0:22:00Well, amongst the most desirable, and therefore most expensive, pieces
0:22:00 > 0:22:04of 18th-century English furniture that we have today are serpentine chests.
0:22:04 > 0:22:08And they're pretty rare. Most of them are in mahogany but it's very rare
0:22:08 > 0:22:13to have them in walnut, let alone in burr elm that we have here.
0:22:13 > 0:22:17This fantastic combination of burr elm on the drawers which is figured,
0:22:17 > 0:22:19almost like a marble, exotic timber,
0:22:19 > 0:22:23and then with the walnut, cross-banded top as well.
0:22:23 > 0:22:24Where did this come from?
0:22:24 > 0:22:26It came down through my family.
0:22:26 > 0:22:33There was a family trust which finished when my father died, and so it was divided up
0:22:33 > 0:22:35between myself and my two brothers and my sister,
0:22:35 > 0:22:38and this is one of the pieces I chose, simple as that.
0:22:38 > 0:22:40I don't know anything about it, apart from that.
0:22:40 > 0:22:42It's a fascinating puzzle.
0:22:42 > 0:22:45It's obviously had a bit of a life in the past.
0:22:45 > 0:22:47It's got, as you can clearly see,
0:22:47 > 0:22:50the shadows of previous handles along the front.
0:22:50 > 0:22:52- They would have been larger drop handles.- Right.
0:22:52 > 0:22:56Which are stylistically the sort of handles you would get in the 1750s,
0:22:56 > 0:23:011760s, and certainly having a serpentine-fronted commode with this
0:23:01 > 0:23:08- fantastic figured burr elm drawer is consistent with that sort of date, the George II period.- Right. OK.
0:23:08 > 0:23:15What I particularly like, if we take out this drawer here, is that the drawer linings, instead of being
0:23:15 > 0:23:20- in a soft wood or indeed in mahogany, are in solid elm as well.- Elm?
0:23:20 > 0:23:22- So you've got elm sides and elm base. - Right, OK.
0:23:22 > 0:23:28Particularly nice is this rather wonderful brand at the bottom of the drawer saying "House"
0:23:28 > 0:23:31which suggests an illustrious house they originally came from,
0:23:31 > 0:23:34and they must be branding between "house" and "estate."
0:23:34 > 0:23:38Probably a house not unlike Tatton in terms of scale and proportions.
0:23:38 > 0:23:41- Right.- There's certainly a lot of grandeur in that.
0:23:41 > 0:23:44So, that all sounds very promising, doesn't it?
0:23:44 > 0:23:48But the combination of burr elm
0:23:48 > 0:23:53and then having walnut banding and the walnut on the top,
0:23:53 > 0:23:56as well as the fact that the feet themselves,
0:23:56 > 0:23:59- which are in walnut, are later replacements.- OK.
0:23:59 > 0:24:01- And the back boards.- OK.
0:24:01 > 0:24:05I'm afraid tells a slightly different story, because originally
0:24:05 > 0:24:09this burr elm chest was the top of a serpentine tallboy.
0:24:09 > 0:24:12- So what we're missing...- Oh, no!
0:24:12 > 0:24:16..maybe it was split with the other members of the family - is the base.
0:24:16 > 0:24:19No, it was always like this as far back as we remember.
0:24:19 > 0:24:22When do you think it was bought?
0:24:22 > 0:24:26I would guess the middle of the 19th century.
0:24:26 > 0:24:29Right. Now if this had been the great burr elm
0:24:29 > 0:24:34George II serpentine chest, I think you'd be looking at 30, 40, £50,000.
0:24:34 > 0:24:40As a slightly made up part of something with the alterations
0:24:40 > 0:24:45it's had, I'm afraid we're looking at a rather more sober £1,500.
0:24:45 > 0:24:49- Fine, didn't cost me a penny. - Didn't cost you a penny.
0:24:49 > 0:24:52- But it tells a story, doesn't it? - Yes, lovely, yes.
0:24:55 > 0:24:56This is glowing in the sun.
0:24:56 > 0:24:58It's a really nice thing and I got
0:24:58 > 0:25:01- the impression you've known it a while.- I have.
0:25:01 > 0:25:04I left school at 15 and I went to work in a junk shop,
0:25:04 > 0:25:10what they called them in those days, and my job was to wash everything that came in.
0:25:10 > 0:25:14And one day I picked that up...
0:25:14 > 0:25:19and I'd never seen anything like it before, so I thought, "Oh, that's unusual."
0:25:19 > 0:25:23- I thought, "I think that's mine". - How brilliant.
0:25:23 > 0:25:31I went and had a word with the gentleman I worked for at the time and I said "Could I buy it off you?"
0:25:31 > 0:25:33and he said, "Who's it for?"
0:25:33 > 0:25:36I said "It's for me." He said, "You can."
0:25:36 > 0:25:39He said, "It will cost you sixpence."
0:25:39 > 0:25:41Sixpence? So that's two-and-a-half pence.
0:25:41 > 0:25:44- Two-and-half pence. - And when was that?
0:25:44 > 0:25:46- It was in 1947.- Just after the war.
0:25:46 > 0:25:51- Yes.- And how much were you getting paid at the time?- £1, £1 a week.
0:25:51 > 0:25:55- Oh, I see, so it wasn't even that much for you, sixpence to a pound, in '47.- No, no.
0:25:55 > 0:25:59Well, I don't need to tell you that it's the work of Emile Galle.
0:25:59 > 0:26:03- That's right.- Because his name is written nicely and boldly here.
0:26:03 > 0:26:07The star next to the signature means that it was made after his death.
0:26:07 > 0:26:11- Right.- In 1905, so it's just immediately after his death.
0:26:11 > 0:26:14None the less, it's a nice piece of French Art Nouveau glass,
0:26:14 > 0:26:16acid cameo with pansies and stuff
0:26:16 > 0:26:20- and you're still as keen on it now, as you were then?- I am indeed.
0:26:20 > 0:26:22- I bet you are.- Very much so.
0:26:22 > 0:26:27It's a little bit tired, we've got some question marks of condition here.
0:26:27 > 0:26:31As it stands, I guess your two-and-a-half pence
0:26:31 > 0:26:34has been transformed to about between £600 and £800.
0:26:34 > 0:26:39If you spend about £50 having this restored, I think you're going to add
0:26:39 > 0:26:43about £200 further to its value, pushing, nudging it up
0:26:43 > 0:26:46towards £1000, which for two-and-a-half pence...
0:26:46 > 0:26:50Well, I'll give you seven pence for it, if you like.
0:26:53 > 0:26:56You're instantly recognisable here, sitting outside your Wendy house
0:26:56 > 0:27:00with your dollies in a line, and then there's another picture,
0:27:00 > 0:27:03not of you, but with a whole lot of teen dolls,
0:27:03 > 0:27:06presumably this one, and this is what, a childhood friend?
0:27:06 > 0:27:09Yes, this is my friend Heather with her dolls as well.
0:27:09 > 0:27:17OK, what's your first memory of getting this doll? I'm not going to say what she is yet.
0:27:17 > 0:27:23I remember at Christmas seeing the box and knowing what was in the box and being so excited.
0:27:23 > 0:27:27- Which year do you think that was? - I think it was 1965.- Brilliant.
0:27:27 > 0:27:31Well, now we'll do the reveal and to say that she's not Barbie,
0:27:31 > 0:27:37she's not Sindy, but she's a doll that I had too, a doll called Tressy.
0:27:37 > 0:27:43And I tell you, looking out over all these assembled outfits and accessories and booklets and so on,
0:27:43 > 0:27:48I feel as if I'm back in the '60s again. And I have to say, I wasn't a dolly girl.
0:27:48 > 0:27:52I played with Meccano and with Dinky Toys and with construction toys
0:27:52 > 0:27:55and all that kind of stuff, and I never considered myself a dolly girl.
0:27:55 > 0:28:02But Tressy wasn't about being a dolly girl. You could live your life through Tressy, couldn't you?
0:28:02 > 0:28:06- Yes, very much.- And looking at the Tressy glamour book,
0:28:06 > 0:28:12at the back here, she could be in the office, she could be on the beach,
0:28:12 > 0:28:16she could be in her baby-doll outfit, and the great thing is,
0:28:16 > 0:28:19you look as if you've almost got all the outfits.
0:28:19 > 0:28:22Yes, quite an avid collector of them at the time.
0:28:22 > 0:28:24Why did you want a Tressy?
0:28:24 > 0:28:30Well, in the '60s, everyone had really straight hair and it was always beautifully styled.
0:28:30 > 0:28:34My hair was really curly and I could never do anything with it.
0:28:34 > 0:28:36And then I got my Tressy doll
0:28:36 > 0:28:40and I could live out my fantasies of hairstyles through my Tressy doll,
0:28:40 > 0:28:45- so it's a very deep psychological thing for me, the Tressy.- I can see.
0:28:45 > 0:28:49Of course, there was the jingle, wasn't there, that went with Tressy.
0:28:49 > 0:28:53"Tressy's got a secret, be the one who knows, her hair grows",
0:28:53 > 0:28:55and there was a little line that went with that.
0:28:55 > 0:28:58You pulled the central section of Tressy's hair out
0:28:58 > 0:29:01and it came into a long sort of ponytail
0:29:01 > 0:29:04and then there was a key in the back - there's the key -
0:29:04 > 0:29:06and you could wind it back in again.
0:29:06 > 0:29:11- We also have a friend here for Tressy, her sister, Toots.- Yes.
0:29:11 > 0:29:15And Toots had a different sort of life, but also rather a fun life.
0:29:15 > 0:29:18- She did a lot of baking, I seem to remember.- Yes, and bowling.
0:29:18 > 0:29:24Baking and bowling and going to school, exactly, and we've got her various outfits here.
0:29:24 > 0:29:27I think it was a brilliant idea.
0:29:27 > 0:29:31It started, I think it was first produced in '64, in America,
0:29:31 > 0:29:37and Palitoy is how we know it here in the UK.
0:29:37 > 0:29:42I would love to say that you and I are in possession of a priceless heirloom
0:29:42 > 0:29:45which would mean that I can retire from the Roadshow
0:29:45 > 0:29:48and go and live on a desert island for the rest of my life.
0:29:48 > 0:29:51- Sadly, that's not the case.- No.
0:29:51 > 0:29:55The Tressy that you have here, she's going to be worth £30, £40,
0:29:55 > 0:30:01Toots perhaps a bit less, and the costumes, the various accessories,
0:30:01 > 0:30:09I would say that that will add perhaps another £150, £200, perhaps, to the grand mix.
0:30:09 > 0:30:16So yes, it's not a fortune, but you know, there is my childhood.
0:30:16 > 0:30:19- Thank you very much indeed. - Thank you.
0:30:19 > 0:30:23Lennox, I've got to show you this, because we can't bring it to you,
0:30:23 > 0:30:26- because we're not allowed to take dogs into Tatton Park.- Right.
0:30:26 > 0:30:31Not only the chest do I want to show you, and Pam the owner, but the mode of transport.
0:30:31 > 0:30:35You've been dragging it along. You're exhausted now, aren't you?
0:30:35 > 0:30:37- What's his name?- Denzil. - And what kind of dog is he?
0:30:37 > 0:30:40- A Bouvier des Flandres. - A what?- A Bouvier des Flandres.
0:30:40 > 0:30:43You've had this harness specially made for him
0:30:43 > 0:30:45so that he can pull things along?
0:30:45 > 0:30:50Yes, but there is quite a lot of dogs who do carting, so it's just a standard dog harness.
0:30:50 > 0:30:52- He's been pulling your chest along all day.- Yes.
0:30:52 > 0:30:55Well, he's absolutely flat out now, isn't he?
0:30:55 > 0:30:57So Lennox, what do you think?
0:30:57 > 0:31:02This is interesting. It's a 17th-century oak coffer, and where do you keep it?
0:31:02 > 0:31:07In the dining room, actually, and as you can see, with flowers on.
0:31:07 > 0:31:12- Right.- So, you know, really, when was it made? And, in fact, it's got all sorts of interesting bits.
0:31:12 > 0:31:15- Right.- Which hopefully you can tell me about.
0:31:15 > 0:31:18It hasn't got the original hinges and I don't know what it's lined with.
0:31:18 > 0:31:24OK. Originally, you keep it in the dining room, it was a bedroom piece.
0:31:24 > 0:31:26- Yes.- To put in your clothes.
0:31:26 > 0:31:31These were family pieces to keep your clothes which you treasured.
0:31:31 > 0:31:36It's made of oak, it's made about 1690, so it's 17th century.
0:31:36 > 0:31:40It's beautifully carved in the front, and let's have a look inside.
0:31:40 > 0:31:47- If we lift the top up, which is a one plank coffer, this is linen, so it's lined in linen.- Oh, yeah.
0:31:47 > 0:31:51- At one end there would have been a little box for holding the candles.- Yeah.
0:31:51 > 0:31:53So a little candle box. Interesting hinges,
0:31:53 > 0:31:59so whether they're original, but the main thing about it, I love the carving in the front.
0:31:59 > 0:32:06It's got this wonderful warm, rich patination, which is really dirt, but it works terribly well. Value?
0:32:06 > 0:32:09It's worth between £300 and £500.
0:32:09 > 0:32:14Oh, good. I didn't want it to be worth a fortune because I like it and I'll live with it.
0:32:14 > 0:32:16- Lovely.- I was frightened to death
0:32:16 > 0:32:21you'd say it was worth a fortune and then I'd be worried, so I can take it back and put the flowers back on.
0:32:21 > 0:32:24- And he's going to walk?- Yes, he's going to take it back, I hope.
0:32:24 > 0:32:28I think he's too tired, Pam, look at him. He's tuckered out.
0:32:28 > 0:32:31Yes! Yes!
0:32:47 > 0:32:50I'm sure you must be as much a lover of pots as I am.
0:32:50 > 0:32:53This is only part of your collection, is it?
0:32:53 > 0:32:54Just a bit of it, yeah.
0:32:54 > 0:32:56I've got a lot more at home.
0:32:56 > 0:32:59- Have you, really?- Yes.- And what set you off in collecting pots?
0:32:59 > 0:33:02It all started, really, years ago.
0:33:02 > 0:33:05I got sent across by me mum when I was about eight or nine
0:33:05 > 0:33:08just to a little fair across the road,
0:33:08 > 0:33:13with some money to buy some sweets, and ended up coming back with a bag full of pots.
0:33:13 > 0:33:15I can't even explain why, to be honest.
0:33:15 > 0:33:18That's just exactly like my son John did.
0:33:18 > 0:33:22I did a bit of research into the ones I'd got.
0:33:22 > 0:33:26- Yes.- And then from then on, I just kept buying more and more and more.
0:33:26 > 0:33:28These are incredibly interesting.
0:33:28 > 0:33:33- I know this one because it's in a great book about Solon's collection, isn't it?- Yes.
0:33:33 > 0:33:37Solon was one of the great decorators of the late 19th century,
0:33:37 > 0:33:42a Frenchman, came over to work at Minton's and studied pottery like mad at Stoke-on-Trent.
0:33:42 > 0:33:48He knew more about Stoke-on-Trent pottery than probably anybody else, and when he retired finally,
0:33:48 > 0:33:52he sold his great collection on, so it's marvellous.
0:33:52 > 0:33:56I've got the catalogue with all the prices, but I can't remember how much this went for.
0:33:56 > 0:33:58It was £10 and 10 shillings in 1912.
0:33:58 > 0:34:01Ten guineas. Ten guineas, yes.
0:34:01 > 0:34:05I say. One always used to worry about the date on this.
0:34:05 > 0:34:101571 seems an impossible date for a puzzle jug.
0:34:10 > 0:34:14In the 19th century, some of these were reproduced by Castle Hedingham in Essex.
0:34:14 > 0:34:19You have to cover up these little holes and nozzles and drink from one of the nozzles.
0:34:19 > 0:34:22- It's easier, perhaps, to see on this one.- Yes.
0:34:22 > 0:34:26This is a creamware puzzle jug with a gorgeous scene of Gretna Green.
0:34:26 > 0:34:31This is ready for patterns to be put on, decorations on it.
0:34:31 > 0:34:34Dated around about 1790, 1800.
0:34:34 > 0:34:41- Yeah.- But this one has puzzled me always when I saw it in the Solon collection as being that date.
0:34:41 > 0:34:45- How did you acquire this one? - I bought that off the internet.
0:34:45 > 0:34:49Off the internet? Good God! How much did you actually pay for it?
0:34:49 > 0:34:51When I bought that, I paid quite a lot for it,
0:34:51 > 0:34:55because I knew it was quite a rare piece myself, so I paid £500 for it.
0:34:55 > 0:34:58£500. That's really nothing at all. And these other ones...
0:34:58 > 0:35:02This is German stoneware.
0:35:02 > 0:35:07This one's a German stoneware pot and these are English tea caddies.
0:35:07 > 0:35:12And two little English birds. You're still going on buying?
0:35:12 > 0:35:14Oh, yeah, still buying now, yes.
0:35:14 > 0:35:17It's nice to talk to someone who's really interested.
0:35:17 > 0:35:18I try and trace all the history back,
0:35:18 > 0:35:21as much as I can find out about 'em and so on.
0:35:21 > 0:35:23- Yes, of course.- Most of my things I paid very little for.
0:35:23 > 0:35:26When you say "very little", I mean what...?
0:35:26 > 0:35:28That one was 99 pence.
0:35:28 > 0:35:31- This German stoneware. - 99 pence, yeah.
0:35:31 > 0:35:33- It should have a cover on top.- Yeah.
0:35:33 > 0:35:41Even without the cover, I mean, one's looking at, I suppose about £200, something like that.
0:35:41 > 0:35:42I think the little birds are wonderful,
0:35:42 > 0:35:45they must be about £200 or £300 each,
0:35:45 > 0:35:50and this puzzle jug is gorgeous with the Gretna Green decorating on it.
0:35:50 > 0:35:52Must be, I don't know, £500.
0:35:52 > 0:35:57The two caddies must be heading towards the £600, £700 a piece.
0:35:57 > 0:36:02But I suppose the most fascinating one of course is this puzzle jug.
0:36:02 > 0:36:08Because it belonged to Solon, even though it probably is a later piece,
0:36:08 > 0:36:11I think it's now worth £600 or £700.
0:36:11 > 0:36:13Congratulations and thanks so much for bringing them in.
0:36:17 > 0:36:20Shall I tell you what the most incredible thing about this is?
0:36:20 > 0:36:23- Oh, yes, please. - The fact that it's survived.
0:36:23 > 0:36:25- Well, that's right, yes. - Where have you kept it?
0:36:25 > 0:36:29- Well, it's probably been in the loft for 15 to 20 years.- Seriously?
0:36:29 > 0:36:33- Yes.- Maybe that's why it's in such pretty good condition
0:36:33 > 0:36:35because it's only made of tin plate.
0:36:35 > 0:36:37It's a very basic thing.
0:36:37 > 0:36:40It has, for instance, a paper dial.
0:36:40 > 0:36:42It's not a quality object.
0:36:42 > 0:36:45Now, do you know who might have made it,
0:36:45 > 0:36:48because there are crossed arrow marks there.
0:36:48 > 0:36:53- Oh, no.- That is the trademark of the Hamburg American Clock Company.
0:36:53 > 0:36:58- Right.- Nowhere near Hamburg or the States, but actually in Wurttemberg,
0:36:58 > 0:37:03and I see also it slightly gives it away, because it says "Made in Wurttemberg".
0:37:03 > 0:37:05Now it has a patent there dated 1900.
0:37:05 > 0:37:08- Have you done any research on that at all?- Well, we have.
0:37:08 > 0:37:12- My husband wrote off to the patent office and we got this back. - Oh, that's fantastic.
0:37:12 > 0:37:15And it's got the plan of it and everything on the back, so...
0:37:15 > 0:37:17Let's just have a look at that.
0:37:17 > 0:37:23It has, it's got the plan, it's got everything and it even shows how it is linked to the movement.
0:37:23 > 0:37:26- Now do you know much about Ferris wheels?- No.
0:37:26 > 0:37:31Nor do I, but I can tell you that there was a very large one
0:37:31 > 0:37:33in the Paris Exhibition of 1900,
0:37:33 > 0:37:39so that ties in with this exactly, and it was then disassembled some time later
0:37:39 > 0:37:41and sold to the Austrians
0:37:41 > 0:37:44and that is the wheel that then went to Vienna.
0:37:44 > 0:37:50- Right.- This is obviously to mark that occasion of a fantastic Ferris wheel in 1900.
0:37:50 > 0:37:54- And you haven't seen it working? - No. I just didn't think it worked.
0:37:54 > 0:38:01Let's just very briefly look. It says, "the connecting driving cord is preferably made of
0:38:01 > 0:38:06"a very light endless helical metal spring which is very flexible
0:38:06 > 0:38:09"and at the same time elastic and durable".
0:38:09 > 0:38:17It's still there. Look at it, it is still there, that flexible helical spring,
0:38:18 > 0:38:21and let us just start the balance going...
0:38:21 > 0:38:25and he's ticking and there goes the wheel.
0:38:25 > 0:38:30So it's obviously been lying on its back for ages at home, hasn't it?
0:38:30 > 0:38:35- Yes.- If it was valuable, would you ever have it out on display?
0:38:35 > 0:38:38I may do, yes. It wouldn't go with my house, I don't think.
0:38:38 > 0:38:46Yes, but I'm going to stick my neck out, and as a novelty item say to you £1,500 to £2,000.
0:38:46 > 0:38:48Oh, you're joking!
0:38:48 > 0:38:50I nearly threw it.
0:38:50 > 0:38:54It is a lovely, lovely thing.
0:38:54 > 0:38:57As I say, for a clock man, it's not that exciting,
0:38:57 > 0:38:59but it's a great piece on its own.
0:39:01 > 0:39:04- Ooh, my goodness me. - So, is it going to come out now?
0:39:04 > 0:39:05Oh, it may do, yes.
0:39:06 > 0:39:11Oh, I'm going to sit and watch it go, that's for sure!
0:39:14 > 0:39:18- Now I know you're not related to one another.- Correct.
0:39:18 > 0:39:21- But did you know your jugs are?- No. - No. Definitely not.
0:39:21 > 0:39:22This is your jug isn't it?
0:39:22 > 0:39:24- It is.- And this is yours.- Yes.
0:39:24 > 0:39:26- And before today, you never met? - No.
0:39:26 > 0:39:30Your jugs sort of did, because they're both from the same area.
0:39:30 > 0:39:31This one is from Sunderland
0:39:31 > 0:39:34in the north-east of England and so is this one.
0:39:34 > 0:39:39My neck of the woods, although I'm from Newcastle, which is a big difference in football terms.
0:39:39 > 0:39:45This, I have to say, is the biggest Sunderland jug I have ever seen.
0:39:45 > 0:39:48And it's very magnificent.
0:39:48 > 0:39:51How did it come into your life?
0:39:51 > 0:39:57My father purchased it about 35 years ago, from a jewellers in Crewe, actually.
0:39:57 > 0:40:01It was a family jewellers and I believe it was sitting underneath a bench.
0:40:01 > 0:40:03He saw it, asked them if they wanted to sell it.
0:40:03 > 0:40:08They said no at the time and he went in two or three times until he persuaded them to sell it.
0:40:08 > 0:40:09- Wore them down.- Yes.
0:40:09 > 0:40:12Well, you could hardly miss it, could you?
0:40:12 > 0:40:14I mean that sitting on the floor. It's enormous.
0:40:14 > 0:40:17Normally a Sunderland jug is that size, or at the most, that size,
0:40:17 > 0:40:19and to make something of that size.
0:40:19 > 0:40:24This is hand thrown, so they've taken a huge ball of clay, thrown it on a potter's wheel,
0:40:24 > 0:40:28cut a piece out to add the spout, added the handle on,
0:40:28 > 0:40:31it's been transfer printed and painted in colours and lustred.
0:40:31 > 0:40:36Its value is in the size and sheer hugeness of it.
0:40:36 > 0:40:40Now when we come to yours, yours is much smaller.
0:40:40 > 0:40:43- Yes.- But it's in some ways much more interesting.
0:40:43 > 0:40:47It's got a portrait on the front of Henry Hunt Esquire.
0:40:47 > 0:40:49Do you know much about him?
0:40:49 > 0:40:53I did look up on the internet and read about the Peterloo Massacre.
0:40:53 > 0:40:57That's exactly what it is, this is to commemorate the Peterloo Massacre of 1819.
0:40:57 > 0:41:01And here we've got the depiction of St Peter's Field, which was
0:41:01 > 0:41:07a field surrounded by houses in the middle of Manchester, and here we have the throng of people and here,
0:41:07 > 0:41:12rather terrifyingly, we have the army going in with their sabres
0:41:12 > 0:41:14and ten to 15 people were murdered in effect.
0:41:14 > 0:41:18Hundreds were injured, many of whom died from their injuries afterwards.
0:41:18 > 0:41:22And it's really hard to imagine in a country such as Britain,
0:41:22 > 0:41:25so famous across the world for freedom of speech and liberty,
0:41:25 > 0:41:29- that as little ago, less than 200 years ago, 191 years ago...- Yes.
0:41:29 > 0:41:33..people who met in a peaceful demonstration in the streets
0:41:33 > 0:41:36to protest that they were not allowed to vote...
0:41:36 > 0:41:38Making a terrible political sign here!
0:41:38 > 0:41:40They weren't allowed to vote,
0:41:40 > 0:41:43were actually mown down by the army. It's kind of...
0:41:43 > 0:41:44It's terrifying really,
0:41:44 > 0:41:48it's like something that happens abroad, that doesn't happen here.
0:41:48 > 0:41:52- Yes.- So this was a commemoration, as you say, of the Peterloo Massacre
0:41:52 > 0:41:55and this was something which a lot of people were shocked by,
0:41:55 > 0:41:59and potteries, like potteries in the north-east, potteries in Yorkshire,
0:41:59 > 0:42:04- potteries in Staffordshire, often commemorated these pieces and they are quite rare.- Right.
0:42:04 > 0:42:07So the rarity in this is the subject.
0:42:07 > 0:42:10- Yes.- The rarity in this is the size. - Right.
0:42:10 > 0:42:16- So bizarrely, they're actually both worth the same amount of money.- OK.
0:42:16 > 0:42:21- Right.- This one because it's big, this one because it's a rare print
0:42:21 > 0:42:25and I'm quite happy to say that in the right auction,
0:42:25 > 0:42:29- a collector would pay £1,500. - Goodness, right.- Crikey.
0:42:29 > 0:42:32- For yours, and for yours.- Right, yes.
0:42:32 > 0:42:36That's lovely, thank you.
0:42:36 > 0:42:37They were my grandmother's.
0:42:37 > 0:42:41I don't know much about the elements because she never used to wear them much,
0:42:41 > 0:42:44she used to keep them away, and that's about it really.
0:42:44 > 0:42:46I don't really know too much about them.
0:42:46 > 0:42:51May I be a little depressing and say that the vast majority of the items
0:42:51 > 0:42:58that you've brought in here are decorative, colourful, modern items of very little commercial merit.
0:42:58 > 0:43:04But there's one item here, just one, that's a little bit different from the rest of the collection.
0:43:06 > 0:43:11Did you ever look at that and think to yourself, what have we got here?
0:43:11 > 0:43:13Is it something slightly more unusual?
0:43:13 > 0:43:15My grandmother has mentioned that one.
0:43:15 > 0:43:22What an opal that is, because that is an opal of the most spectacular quality.
0:43:22 > 0:43:29What I'm hoping we can do in the sunshine is to pick up the sheer play of colour.
0:43:29 > 0:43:31Where does it come from? Australia.
0:43:31 > 0:43:37A particular mine, the Coober Pedy or Lightning Ridge Mine
0:43:37 > 0:43:43where opals like this, in Australia, are regarded with incredible significance.
0:43:43 > 0:43:46Why is it so good?
0:43:46 > 0:43:48Why is the colour so important?
0:43:48 > 0:43:50Because it's a black opal.
0:43:50 > 0:43:58Mostly when we see them, opals are white and there's a good example of a white opal and diamond ring.
0:43:58 > 0:44:04Not very inspiring, it's got a quite pretty play of colour, but when you look at this.
0:44:04 > 0:44:08Can you see the depth of all the different rainbow shades here?
0:44:08 > 0:44:12Yellows, tangerines, reds, blues -
0:44:12 > 0:44:16very, very significant piece of material.
0:44:16 > 0:44:20- Do you think the mount is rather unusual?- Er, yes.
0:44:20 > 0:44:23- Well, it's made out of white gold. - Right.
0:44:23 > 0:44:27And you've got this almost like a textured feather effect to the mount.
0:44:27 > 0:44:33But when we look inside the mount, and if I check it with my lens,
0:44:33 > 0:44:36it's hallmarked 1972 Birmingham
0:44:36 > 0:44:43and it's made by one of the great London society jewellers called Grima.
0:44:43 > 0:44:47So you haven't just got a fantastic opal,
0:44:47 > 0:44:52which for me, I'm melting, looking at it, but you have a Grima mount.
0:44:52 > 0:44:58We see opals all the time, like that one there, they're worth £200, £300.
0:44:58 > 0:45:01This opal is a little more substantial.
0:45:01 > 0:45:06The mount, excluding the stone, is at least £1,000 to £1,500.
0:45:06 > 0:45:12The stone, that's probably worth something in the region of £4,000.
0:45:12 > 0:45:19- Wow.- Your opal ring, disregarded here in the composition pile of biddly-do's...- Yes.
0:45:19 > 0:45:23- ..is worth at least £4,000 to £6,000.- Wow.
0:45:23 > 0:45:27- Fantastic! Well, done. - Thank you.
0:45:29 > 0:45:34Well, it belonged originally to my great grandfather and it was presented to him when Liverpool
0:45:34 > 0:45:40won the Championship in 1923 and it's come to me via my grandfather.
0:45:40 > 0:45:43But other than that, I really don't know a lot about the watch fob itself.
0:45:43 > 0:45:46So what's your connection with him? I mean he was your grandfather.
0:45:46 > 0:45:50- What did he do for the club? - He was one of the founding directors of Liverpool Football Club.
0:45:50 > 0:45:53Right. And this is a wonderfully decorative device.
0:45:53 > 0:45:57It's a commemorative medal, watch fob, as you say, to be been worn on a chain.
0:45:57 > 0:46:00Gold, enamel, the symbols of the club,
0:46:00 > 0:46:06Liverpool Association Football Club, and of course 1922-1923.
0:46:06 > 0:46:09The year they won the First Division Championship
0:46:09 > 0:46:11and it was the second year running they'd won it.
0:46:11 > 0:46:13- They also won in '21-'22.- Oh.
0:46:13 > 0:46:16So they won back-to-back Division One Championships.
0:46:16 > 0:46:20Liverpool has a complicated history because originally they were part of Everton.
0:46:20 > 0:46:27They were the same club, and John Holding, who was one of the directors, moved away
0:46:27 > 0:46:31and then he had a meeting in his house in Anfield on 15th March 1892
0:46:31 > 0:46:34with a few of his friends left from the Everton Board
0:46:34 > 0:46:39and they started a new club which became known as Liverpool Football Club.
0:46:39 > 0:46:41And so let's turn it over.
0:46:41 > 0:46:45- "W H Webb". Now he was your great grandfather.- Yes.
0:46:45 > 0:46:52- And this is a medal, a Championship Medal, which would only have been given to the directors.- Oh, right.
0:46:52 > 0:46:53This is a very rare early piece.
0:46:53 > 0:47:00I just think it's a great history of this area, this time when it was all so exciting and so dynamic.
0:47:00 > 0:47:04- Right.- It's going to be between £2,000 and £3,000.
0:47:04 > 0:47:06- Good grief.- So, look after it.
0:47:06 > 0:47:10- Absolutely.- Even as a Liverpool fan, you've still got to look after it.
0:47:10 > 0:47:13Yes, fantastic, thank you very much, that's brilliant.
0:47:18 > 0:47:25"In remembrance of joint serious work and cheerful conversation for big organizing in the Checker-hut."
0:47:25 > 0:47:28That's an interesting use of English. What does this mean?
0:47:28 > 0:47:32My father worked with these prisoners of war and they were all stationed locally here.
0:47:32 > 0:47:34German prisoners of war?
0:47:34 > 0:47:37German prisoners of war, and when they finished at the camp
0:47:37 > 0:47:40and repatriated back to their own countries,
0:47:40 > 0:47:43they gave him this box in remembrance of working alongside.
0:47:43 > 0:47:47They worked with him doing various things round the camp where they were stationed.
0:47:47 > 0:47:50- And this was after the Second World War.- Yes.
0:47:50 > 0:47:53- The fact that they talked about cheerful conversation, it sounds like they got on.- Yes.
0:47:53 > 0:47:58My father was quite a likeable character and I suppose they're just like ordinary men.
0:47:58 > 0:48:01The fact that they were fighting men, they were organised
0:48:01 > 0:48:04from their own country to fight, just like ours were here.
0:48:04 > 0:48:08You'd think that, given how many people died, that when the German prisoners of war were here,
0:48:08 > 0:48:13they would be much hated, and reviled in a community, but in many cases it wasn't like that, was it?
0:48:13 > 0:48:16- And obviously not in this case. - Not in this case, no.
0:48:16 > 0:48:19They worked on the farms locally and some of them even stayed.
0:48:19 > 0:48:22And did you used to play with them? Did they make things for you?
0:48:22 > 0:48:26They made yachts for my brother and I, we played with those.
0:48:26 > 0:48:28We've still got the yachts, after all those years.
0:48:28 > 0:48:31- And did your dad keep in touch with them, after they left?- Yes.
0:48:31 > 0:48:33He wrote until, I would say, the mid '50s,
0:48:33 > 0:48:38and they wrote back to him to tell him how they'd got back on when they went back to Germany.
0:48:38 > 0:48:42- And these are some of these letters are, are they? - Some of the letters, yes.
0:48:42 > 0:48:44Oh, hang on, you're mentioned here.
0:48:44 > 0:48:46"Does Philip play cricket or football?
0:48:46 > 0:48:49"Have you got plenty of chrysanthemums for your garden?
0:48:49 > 0:48:52"Otherwise I'll send you a few asters.
0:48:52 > 0:48:56"In our garden there are only vegetables because we cannot eat flowers."
0:48:56 > 0:48:59- It was pretty tough times in Germany after the war.- Yeah.
0:48:59 > 0:49:02Did your dad talk to you about them? He has good memories of them?
0:49:02 > 0:49:05He does, yeah. I mean, like I say, they were just ordinary guys
0:49:05 > 0:49:11and he worked alongside them and they worked alongside him. There was a camaraderie there.
0:49:11 > 0:49:13Is this something that your father treasured?
0:49:13 > 0:49:15Yes, he did, yes, and he left it to me.
0:49:15 > 0:49:19My mum's had it and then she gave it to me and my mum's still alive and she's 96,
0:49:19 > 0:49:25and she still talks about them even today, and only this week she was speaking about the guys.
0:49:25 > 0:49:30- Great. Well, it's a lovely, lovely story to hear, thank you. - Thank you very much.
0:49:30 > 0:49:33In all fairness, I think anybody could be forgiven,
0:49:33 > 0:49:37looking at this tea set, for assuming that it might
0:49:37 > 0:49:42have been used by Sergeant Pepper back in the days of psychedelia,
0:49:42 > 0:49:46because those colours really do hit the retina, don't they?
0:49:46 > 0:49:50- Yes, they do.- You know that this is not 1960s, do you?
0:49:50 > 0:49:52No, it belonged to my grandmother.
0:49:52 > 0:49:58I think she either bought it or it might have been a wedding present, and she got married in 1926.
0:49:58 > 0:50:07That's very, very interesting because the actual design itself is very much an Art Deco design.
0:50:07 > 0:50:13The are reminiscent of one person in particular, and that person is Clarice Cliff.
0:50:13 > 0:50:19- But you and I know that this is not by Clarice Cliff.- No.
0:50:19 > 0:50:25- No.- Because if we turn it upside down we can say... There we go,
0:50:25 > 0:50:28It says on there "Delhi hand painted"
0:50:28 > 0:50:31and the maker is Grimwades.
0:50:31 > 0:50:35And it says on there Royal Winton Ware or Royal Winton Ivory
0:50:35 > 0:50:38and the date on this, to be honest with you,
0:50:38 > 0:50:42I think it's a little bit later than her wedding date.
0:50:42 > 0:50:48I think this is probably more likely to be round about 1932-1935,
0:50:48 > 0:50:52but the colours are... Well, they take a bit of believing really, don't they?
0:50:52 > 0:50:56Yeah, they do, I think it's one of those things that you either,
0:50:56 > 0:50:58you love it or you loathe it really.
0:50:58 > 0:51:01- There is no halfway house with your tea set.- No, not really.
0:51:01 > 0:51:03I'm hoping you love it.
0:51:03 > 0:51:06- Yeah, it's grown on me over the years.- Has it?
0:51:06 > 0:51:08I think when I was younger, I thought it was hideous,
0:51:08 > 0:51:10but as I've got older I like it more and more.
0:51:10 > 0:51:13You do? OK, now there's good news and bad news.
0:51:13 > 0:51:20I suppose the bad news is the shape, because the shape is a very traditional pedestrian shape.
0:51:20 > 0:51:23If that had been a very cubistic shape,
0:51:23 > 0:51:27I think that would have worked in its favour from a value point of view.
0:51:27 > 0:51:32I can give you what I would call a guesstimate rather than an estimate,
0:51:32 > 0:51:35- because you've got quite a quantity. - Yeah.
0:51:35 > 0:51:41And I think that what you have here is going to be worth in the region of around about £500.
0:51:41 > 0:51:43- CROWD:- Ooh. - Oh.- So do you like that?
0:51:43 > 0:51:44You were very good there.
0:51:44 > 0:51:49They're the best crowd we've had for some time, aren't they?
0:51:49 > 0:51:54I'm sure money means nothing to people in this part of the world,
0:51:54 > 0:51:57but for my money, I have to say,
0:51:57 > 0:52:01it's been an education because whenever I see this again,
0:52:01 > 0:52:04if I ever do, I will think of Tatton Park and you.
0:52:04 > 0:52:07- Thank you.- Is that OK? - Thank you very much.
0:52:07 > 0:52:10So, are you a collector of things from Great Exhibitions?
0:52:10 > 0:52:12No, I didn't know what it was at first.
0:52:12 > 0:52:15I just thought it was a shell and just picked it up.
0:52:15 > 0:52:17With all this wonderful engraving,
0:52:17 > 0:52:19you just thought it was a shell?
0:52:19 > 0:52:20Well, when I found it.
0:52:20 > 0:52:24Looking at it very closely, you could just about make out the engraving
0:52:24 > 0:52:27and there are a few bits of ink that must have been left over
0:52:27 > 0:52:30from when it was originally done, so I thought I'd take a chance
0:52:30 > 0:52:37and I went over it with a dry white marker and then wiped it off and it left it like that.
0:52:37 > 0:52:39Was it very expensive for you?
0:52:39 > 0:52:41Oh, all of ten pence it cost me.
0:52:41 > 0:52:43- Ten pence.- Oh, that's marvellous.
0:52:43 > 0:52:47You know of course the 1862 building then became
0:52:47 > 0:52:49the Natural History Museum,
0:52:49 > 0:52:53so it's quite nice to have a shell and the Natural History Museum together again.
0:52:53 > 0:52:55No, I didn't realise.
0:52:55 > 0:52:58And so you brought a shell to life.
0:52:58 > 0:53:04Great idea for all those people out there if they want to bring up engraving on 10p shells.
0:53:04 > 0:53:06Yes, ten pence in a car boot sale.
0:53:06 > 0:53:10Wonderful. Well, you've improved it somewhat, and the value.
0:53:10 > 0:53:17- I think now if you were to put it into an auction, you'd get £150 to £200.- Wow.
0:53:17 > 0:53:22- Not a bad profit, so well done. - Thank you.
0:53:22 > 0:53:29You've presented me with one of the biggest headaches I've ever had since I've been on the Roadshow.
0:53:29 > 0:53:30Sorry about that!
0:53:30 > 0:53:37Because there's something about this wonderful ink stand that is really rather special.
0:53:37 > 0:53:40Can you tell me how it ended up with you.
0:53:40 > 0:53:46Well, we like collecting silver and we went to an antique fair
0:53:46 > 0:53:50and saw it and fell in love with it.
0:53:50 > 0:53:53We just liked everything about it, so we bought it.
0:53:53 > 0:53:57So when you bought this from the dealer, did he say anything to you about it?
0:53:57 > 0:54:01Well, he said he didn't know the provenance of it, but he thought
0:54:01 > 0:54:06it was something important, and we loved it, so we decided to buy it anyway.
0:54:06 > 0:54:13And he said it would either be the most expensive piece of silver in an inkwell we'd bought,
0:54:13 > 0:54:18or it would turn out to be something important, in which case we would have got a good deal.
0:54:18 > 0:54:22- And what did you pay for it? Can you remember?- I can. £15,000.
0:54:22 > 0:54:27- Wow, well, that's quite a big price for an ink stand.- Oh, I know.
0:54:27 > 0:54:32Let's have a closer look at it because it's got two globes here,
0:54:32 > 0:54:34one celestial, the other terrestrial.
0:54:34 > 0:54:42- But if we open this one up, we can see that's the inkwell.- Yes.
0:54:42 > 0:54:45And if we open this one up,
0:54:45 > 0:54:48that's the sander for drying the ink.
0:54:48 > 0:54:53- Yes, yes.- So rather beautifully pierced, in fact.
0:54:53 > 0:54:58In the centre we've got this rather nice classical figure.
0:54:58 > 0:55:02She's obviously lamenting the fact that her husband is away at sea.
0:55:02 > 0:55:04She's got that sort of worried look about her.
0:55:04 > 0:55:07But rather wonderfully, the taper stick,
0:55:07 > 0:55:09which was used for melting the wax
0:55:09 > 0:55:14for sealing the letter, was modelled as an anchor.
0:55:14 > 0:55:19- So we've got a really nautical flavour to this ink stand.- Yes.
0:55:19 > 0:55:22Including these extraordinary feet which are modelled as...
0:55:22 > 0:55:23Well, they call them dolphins,
0:55:23 > 0:55:26they don't really look anything like a dolphin,
0:55:26 > 0:55:29- but that's what they're called in silversmithing terms.- Yes.
0:55:29 > 0:55:34And let's have a look underneath and see if it's got any marks.
0:55:34 > 0:55:40Yeah, we've got a nice set of hallmarks here. A date letter "K" for 1805
0:55:40 > 0:55:46and maker's mark "JE", that's for John Eames.
0:55:46 > 0:55:51A famous silversmith and produced a lot of very good silver
0:55:51 > 0:55:54in the early 19th century.
0:55:54 > 0:55:59The most important thing of all about this ink stand
0:55:59 > 0:56:04is this inscription on the front which says "Horatio from Emma".
0:56:04 > 0:56:11- Now, I can see now why you might have paid £15,000 for it.- Yes, yes.
0:56:11 > 0:56:18The dilemma is, is that inscription genuine, is it real?
0:56:18 > 0:56:22Well, a number of things make me think that it could be.
0:56:22 > 0:56:27Firstly, that John Eames is known to have made silver for Nelson.
0:56:27 > 0:56:33A number of pieces of Nelson silver have come up with his crest on, made by John Eames.
0:56:33 > 0:56:35So that's the first thing.
0:56:35 > 0:56:40I like sort of authentic things like on the globe here we've got
0:56:40 > 0:56:44- a map of Africa, and just on the front it's got "Barbary".- OK.
0:56:44 > 0:56:48Which was Northern Africa at the time.
0:56:48 > 0:56:56- Yes.- The date 1805 was of course a very auspicious year for Nelson.
0:56:56 > 0:57:01- In fact, not a very happy year for him, because it was the year he was killed.- Yes.
0:57:01 > 0:57:05But he wasn't killed until the Battle of Trafalgar in October 1805
0:57:05 > 0:57:10and it's quite possible that Emma Hamilton, his very public mistress,
0:57:10 > 0:57:14gave this to him at the beginning of the year.
0:57:14 > 0:57:17Now, it remains then to decide,
0:57:17 > 0:57:24you know, if it's right, if it's wrong, what could it be worth?
0:57:24 > 0:57:31If this is not substantiated, if it turns out to be wrong,
0:57:31 > 0:57:36- you bought a pretty expensive ink stand.- Yes.
0:57:36 > 0:57:40I would have only valued it at £6,000 to £8,000
0:57:40 > 0:57:44- if we can't substantiate that this is a genuine inscription.- Yes. Sure.
0:57:44 > 0:57:46But if this is genuine,
0:57:46 > 0:57:53and you might need to go to the National Maritime Museum, to Greenwich,
0:57:53 > 0:57:56- to try and start authenticating it.- Yes.
0:57:56 > 0:57:59That would be a good place to go.
0:57:59 > 0:58:03- We are talking of at least £40,000 to £50,000.- Right.
0:58:03 > 0:58:08There are very, very fanatical collectors of Nelsoniana.
0:58:08 > 0:58:17- I know, yes.- And something of such importance as this, is a very very special object indeed.- OK.
0:58:17 > 0:58:20- So you've really made my day by bringing this along.- Good.
0:58:20 > 0:58:24- Thank you so much. - Thank you, thank you.
0:58:24 > 0:58:28So what about that? That is potentially a very interesting little item.
0:58:28 > 0:58:32If we can, we'll follow that lady and see what happens when she goes to the National Maritime Museum.
0:58:32 > 0:58:34And look, what a glorious day!
0:58:34 > 0:58:38Fantastic sunshine, beautiful Tatton Park in Cheshire.
0:58:38 > 0:58:42From the Antiques Roadshow, until next time, bye-bye.
0:58:53 > 0:58:57Subtitles by Red Bee Media Ltd
0:58:57 > 0:59:03E-mail subtitling@bbc.co.uk