0:00:02 > 0:00:05Our venue for today's Antiques Roadshow has a double boast.
0:00:05 > 0:00:08Not only is it one of the most spectacular
0:00:08 > 0:00:13country houses in the land, it's also in epic surroundings.
0:00:13 > 0:00:17Welcome to a second visit to Chatsworth House in Derbyshire.
0:01:03 > 0:01:06Sometimes in history partnerships occur
0:01:06 > 0:01:08that combine great ambition with great vision.
0:01:08 > 0:01:11And that's what happened when the 6th Duke of Devonshire
0:01:11 > 0:01:15employed a genius of garden design and engineering,
0:01:15 > 0:01:21Joseph Paxton, as head gardener of Chatsworth in 1826.
0:01:23 > 0:01:25On his first day at work,
0:01:25 > 0:01:26so the story goes,
0:01:26 > 0:01:28Paxton scaled the kitchen wall,
0:01:28 > 0:01:31jumped over the garden gate, clapped eyes on a girl,
0:01:31 > 0:01:34fell in love, and she with him, and all before nine o'clock.
0:01:34 > 0:01:37And that's how his remarkable 32-year career
0:01:37 > 0:01:39began here at Chatsworth.
0:01:41 > 0:01:43Paxton was organised and ambitious
0:01:43 > 0:01:46and after seeing the scale of his rockery, the Duke of Wellington
0:01:46 > 0:01:49told the 6th Duke that he'd like Paxton as one of his generals.
0:01:57 > 0:01:59Horticultural one-upmanship was rife
0:01:59 > 0:02:01when it came to stately home garden design,
0:02:01 > 0:02:04but never had such a gigantic
0:02:04 > 0:02:08theatrical stage-set of rocks been conceived.
0:02:08 > 0:02:12It was so monumental that Paxton invented special
0:02:12 > 0:02:16steam lifting equipment to put the giant boulders in place.
0:02:20 > 0:02:23Water features and fountains were a hobby of the rich and famous
0:02:23 > 0:02:25in the 18th and 19th century,
0:02:25 > 0:02:28so when the fountain-loving Tsar Nicholas was due to visit
0:02:28 > 0:02:31the 6th Duke, Paxton hatched a plan to build one.
0:02:31 > 0:02:34It was typically grand.
0:02:34 > 0:02:37At 300 feet, the Emperor Fountain was the highest in the world
0:02:37 > 0:02:40at the time, and it's staggering to think
0:02:40 > 0:02:42gravity alone pushes it that high.
0:02:42 > 0:02:45Sadly, the Tsar never saw it.
0:02:45 > 0:02:49Paxton's crowning glory was his great conservatory.
0:02:49 > 0:02:51In 1840 it was the world's largest,
0:02:51 > 0:02:54and the forerunner to Crystal Palace.
0:02:54 > 0:02:59To keep it tropically warm, men would drag 300 tons of coal
0:02:59 > 0:03:03along this tunnel, under the glasshouse, straight to the boiler.
0:03:10 > 0:03:13A maze sits on the spot now, but when Queen Victoria visited
0:03:13 > 0:03:16the conservatory in 1843, she was driven through it
0:03:16 > 0:03:17in a horse and carriage.
0:03:17 > 0:03:22She said of Paxton, "He was a very clever man, quite a genius."
0:03:26 > 0:03:28Paxton is buried in the grounds of the great house,
0:03:28 > 0:03:31with his sweetheart Sarah, the girl he fell in love with
0:03:31 > 0:03:34after leaping a Chatsworth gate on his first day at work.
0:03:34 > 0:03:39What a superb horticultural setting for today's Roadshow.
0:03:40 > 0:03:42So you like blue and white?
0:03:42 > 0:03:45Yeah, I've been collecting blue and white transfer ware
0:03:45 > 0:03:46for quite a while now.
0:03:46 > 0:03:50Yes. And this one, this one depicts Chatsworth itself.
0:03:50 > 0:03:52That's the newest one I've got, yeah,
0:03:52 > 0:03:54just because of the interest of it being Chatsworth
0:03:54 > 0:03:56and the date being erroneous.
0:03:56 > 0:04:00- It says 1792 on there. - Down there, 1792.
0:04:00 > 0:04:04And that wing on here, wasn't actually built till the 1820s.
0:04:04 > 0:04:06- I see, so they fiddled things a bit. - Yeah.
0:04:06 > 0:04:09So how do you know about Chatsworth, then?
0:04:09 > 0:04:13- Because I've worked here for 25 years.- Have you really? - I work in the gift shop.
0:04:13 > 0:04:16Oh, right, so that's where you acquired these plates, is it?
0:04:16 > 0:04:17Unfortunately not.
0:04:17 > 0:04:21Well, it's particularly interesting seeing this scene of Chatsworth,
0:04:21 > 0:04:25looking up at it, and there, but of course it's a fiddled date.
0:04:25 > 0:04:27- That's it and it's only a very modern plate.- I mean...
0:04:27 > 0:04:30Oh, it is quite a modern plate, I think, what is the date here?
0:04:30 > 0:04:33It says "England" on it, so it's made after 1891.
0:04:33 > 0:04:37- Yeah.- And anything with "England" on it, or the country of origin,
0:04:37 > 0:04:42isn't going to be before 1890, but these two are older.
0:04:42 > 0:04:44- This one, the Ladies of Llangollen. - That's right.
0:04:44 > 0:04:50They were two bonny ladies, weren't they, who lived together and became, became rather famous didn't they?
0:04:50 > 0:04:54So you know all about the ladies there. It's a lovely plate isn't it?
0:04:54 > 0:04:57Yeah, I only knew about the ladies after I bought the plate.
0:04:57 > 0:04:58Oh, yes, and that one is...
0:04:58 > 0:05:01- This one is just... - ..a landscape scene.
0:05:01 > 0:05:06That's right and it was just because of the unusual transfer, I particularly liked this,
0:05:06 > 0:05:09because it shows a little bit of the animal falling off the bridge on it.
0:05:09 > 0:05:11The animal, poor old animal falling off the bridge.
0:05:11 > 0:05:14Rather like they do in the River Derwent here.
0:05:14 > 0:05:16- But it's great fun, isn't it?- Yeah.
0:05:16 > 0:05:19- And these are sort of middle 19th century.- Yeah.
0:05:19 > 0:05:221860s something like that.
0:05:22 > 0:05:26But this piece is much earlier than any of those.
0:05:26 > 0:05:29- Oh. I thought that was the newest. - So how did you get one,
0:05:29 > 0:05:34- come by it?- Um, I saw a lady who was clearing out at a car boot sale.
0:05:34 > 0:05:38She'd been collecting blue and white, I bought some things,
0:05:38 > 0:05:40and that was among it, and I think it was 50p.
0:05:40 > 0:05:44- Yes, but these were a bit more than 50p?- That was £1.
0:05:44 > 0:05:47That was a pound, and this one?
0:05:47 > 0:05:49- I think that was a pound as well. - That was a pound, a pound.
0:05:49 > 0:05:53- That might have gone as far as a couple of pounds.- Couple of pounds!
0:05:53 > 0:05:56Well, these are going to be... that's going to be just your pound.
0:05:56 > 0:05:59Even though it's got Chatsworth.
0:05:59 > 0:06:02£10, £15, £15-£20.
0:06:02 > 0:06:05But this little chappie,
0:06:05 > 0:06:11who was 50p, is actually about 1760 in date,
0:06:11 > 0:06:14so it's the date this one's pretending to be.
0:06:14 > 0:06:20- Yes.- It really is, it's made in Delft ware, that's English tin-glazed
0:06:20 > 0:06:25pottery there, on little peg legs, and it's intended as a...
0:06:25 > 0:06:28I suppose a bon-bon or sweet meat or something.
0:06:28 > 0:06:30With little dishes put into those.
0:06:30 > 0:06:33- Well, that's what we've been using it for.- Well fine.
0:06:33 > 0:06:34For nuts and stuff.
0:06:34 > 0:06:39But made either in Bristol or Liverpool, must be one or other
0:06:39 > 0:06:45of those places, and instead of being just a couple of odd quid,
0:06:45 > 0:06:49your 50p is now worth £800.
0:06:49 > 0:06:51Oh, my goodness!
0:06:51 > 0:06:54Even in that condition?
0:06:54 > 0:06:57It's a little bit damaged, but, what the heck?!
0:06:57 > 0:07:00I mean, you're entitled to be damaged after 250 years.
0:07:00 > 0:07:03I'm a little damaged after less!
0:07:03 > 0:07:06Yes! Thank you.
0:07:06 > 0:07:12Look at this fascinating 18th century example of footballers' wives.
0:07:12 > 0:07:15These ladies sitting round this table
0:07:15 > 0:07:19with the wonderful feathers in their hair, taking tea.
0:07:19 > 0:07:23And of course tea was a tremendously important ceremony,
0:07:23 > 0:07:25really, at this period.
0:07:25 > 0:07:28Tea was coming in from China with all the porcelains.
0:07:28 > 0:07:31People wanted to show off their fabulous wealth.
0:07:31 > 0:07:35Look at their dresses, really dressed to kill, and of course,
0:07:35 > 0:07:40you know, in those days, to have a black servant was very much in vogue.
0:07:40 > 0:07:43It was one of the things, a lot of these people might have had estates,
0:07:43 > 0:07:46and they would have had the black servants.
0:07:46 > 0:07:50So this lady who's hosting this party is showing all along,
0:07:50 > 0:07:53- look at this wonderful turkey carpet.- Oh, right.
0:07:53 > 0:07:58Which was made in Persia. Again there's so many details here that tell you how rich these people were.
0:07:58 > 0:08:01- Yes.- It was all these things about,
0:08:01 > 0:08:03it depended what colour you painted your walls.
0:08:03 > 0:08:07If you had purple on your walls you were incredibly rich.
0:08:07 > 0:08:09Everything about this is quality.
0:08:09 > 0:08:13- The person that commissioned this to be done, was again showing their wealth.- Yes.
0:08:13 > 0:08:15And what do you know about this embroidery?
0:08:15 > 0:08:18The only thing we do know is that it came down through the family.
0:08:18 > 0:08:20It was my great grandfather's,
0:08:20 > 0:08:23and it's just come down through the family from him.
0:08:23 > 0:08:25But we've no idea before then, where it's come from,
0:08:25 > 0:08:27or anything, haven't a clue.
0:08:27 > 0:08:31I think it's probably somewhere around 1740 when,
0:08:31 > 0:08:33as I say, this whole thing about tea...
0:08:33 > 0:08:36tea was incredibly expensive.
0:08:36 > 0:08:38These ships that came over,
0:08:38 > 0:08:42if you take the Nanking cargo, which sank in the 1750s,
0:08:42 > 0:08:46- 70% of the value of the cargo was the tea.- Yes.
0:08:46 > 0:08:50So it was very, very important to show off, and this is fabulous.
0:08:50 > 0:08:51Look at the detailing.
0:08:51 > 0:08:54I love these tassels, they're actually bigger than the...
0:08:54 > 0:08:59- Yeah.- ..this person was not that good at perspective!
0:08:59 > 0:09:01Because if you look at the table, then it's...
0:09:01 > 0:09:03- Flat.- It's flat! They're going to...
0:09:03 > 0:09:05All the tea cups are going to fall onto the ground!
0:09:05 > 0:09:09And fabulous, fabulous little dog curled up here.
0:09:09 > 0:09:10- I know, he's so cute, isn't he? - Cute.
0:09:10 > 0:09:14And would you ever have seen this on the back of a chair?
0:09:14 > 0:09:16Erm, I don't know.
0:09:16 > 0:09:19- Did you consider this shape? - Yes, it is, isn't it?
0:09:19 > 0:09:21It's a very unusual shape.
0:09:21 > 0:09:22- Yes, it is.- So I can...
0:09:22 > 0:09:25And can you imagine if you had a set of these? Wow!
0:09:25 > 0:09:28I know. You wouldn't want to sit on them though, would you?
0:09:28 > 0:09:29- Just look at them.- Yeah, yeah.
0:09:29 > 0:09:32So I think this is... fabulous colours,
0:09:32 > 0:09:37really rare subject, these wonderful rich women sitting round taking tea.
0:09:37 > 0:09:40It's a very, very unusual subject.
0:09:40 > 0:09:44- So, the early ladies that lunched? - The early ladies at lunch, exactly.
0:09:44 > 0:09:46As I said, definitely the footballers' wives of the day.
0:09:46 > 0:09:49And value?
0:09:49 > 0:09:51No idea.
0:09:51 > 0:09:55If this came up in a good specialist sale,
0:09:55 > 0:10:00I could easily, easily, see this sell for £8,000.
0:10:00 > 0:10:01Oh, really?!
0:10:01 > 0:10:03How fabulous.
0:10:03 > 0:10:07That's wonderful! It's staying in the family though.
0:10:07 > 0:10:09Your son can have this now.
0:10:09 > 0:10:12Yeah!
0:10:12 > 0:10:15Yeah, he's one of four, so maybe not.
0:10:15 > 0:10:18- They'll be arguing. - There'll be arguments now.
0:10:18 > 0:10:21Well, I'd normally ask you what you know about this,
0:10:21 > 0:10:24but it actually says it all on the dial, doesn't it?
0:10:24 > 0:10:28- It does.- A bit of a giveaway. Liberty & Co., Regent Street,
0:10:28 > 0:10:30it says it's eight days and it says it's a quarter repeater.
0:10:30 > 0:10:33Now do you know what the quarter repeating bit means?
0:10:33 > 0:10:37It means that when you press the button on the top, it tells you the time.
0:10:37 > 0:10:42That's absolutely right. It repeats to the preceding quarter.
0:10:42 > 0:10:46We'll come to that later, but meanwhile let's look at the watch.
0:10:46 > 0:10:50It's what we call a Goliath watch, it's Swiss
0:10:50 > 0:10:54- and it's nickel-plated.- Oh.
0:10:54 > 0:10:56- So, have you ever looked inside it? - Er, no.
0:10:56 > 0:10:59OK, there's a double back, so you've got that,
0:10:59 > 0:11:02then you've got the inner back, the cuvette,
0:11:02 > 0:11:06and there we have a three-quarter plate movement
0:11:06 > 0:11:09with a nice lever escapement.
0:11:09 > 0:11:14And you can see the coiled gongs on which the watch repeats.
0:11:14 > 0:11:20The date is roughly 1910, when we imported these.
0:11:20 > 0:11:22These were never worn on the person,
0:11:22 > 0:11:27always made to go with a stand like this.
0:11:27 > 0:11:31But this is a wonderfully ornate stand - and do you know why that is?
0:11:31 > 0:11:35No, I don't know anything about the case at all.
0:11:35 > 0:11:38- The case is made by Liberty. - Oh, really.
0:11:38 > 0:11:46And it is absolutely typical of the Liberty Arts and Crafts movement of the early part of the 20th century.
0:11:46 > 0:11:50And being silver, it has a hallmark conveniently - L&C, Liberty & Co -
0:11:50 > 0:11:54and that's hallmarked Birmingham 1911.
0:11:54 > 0:11:56So it all ties in absolutely perfectly.
0:11:56 > 0:11:59It is an Irish Celtic design,
0:11:59 > 0:12:04typically Arts and Crafts, and it's on this lovely oak carcass.
0:12:04 > 0:12:09Most of these things aren't nearly as nice as that.
0:12:09 > 0:12:12So the watch - it's appearing to say about eight minutes to five,
0:12:12 > 0:12:14let's do the repetition...
0:12:19 > 0:12:23So it did the four and then the three individual quarters.
0:12:23 > 0:12:27And it would have been used probably on a bedside cabinet or
0:12:27 > 0:12:31a dressing table, so that somebody at night could have just stretched out,
0:12:31 > 0:12:38pressed that button and told the time without having to light a candle or to turn on a gas lamp.
0:12:38 > 0:12:41I love it. Do you like it?
0:12:41 > 0:12:42- We love it.- And how did you get it?
0:12:42 > 0:12:47We inherited it in 1988, when my husband's godmother died.
0:12:47 > 0:12:50- Lovely thing to be given. - Yes, yes.- Lovely thing.
0:12:50 > 0:12:54When you inherited it, did you have any valuation or anything done?
0:12:54 > 0:12:57We did, yes, and we had it serviced at that time, cos it wasn't working.
0:12:57 > 0:12:59What sort of ideal did they come up with?
0:12:59 > 0:13:05Er, they said £1,000 for the watch and £300 to £500 for the case.
0:13:05 > 0:13:08- Right.- That was in 1988.
0:13:08 > 0:13:10Well, you'll be delighted to hear
0:13:10 > 0:13:12that the market's moved on a bit since then,
0:13:12 > 0:13:16and certainly in a good shop or at a good high-quality antiques fair,
0:13:16 > 0:13:19somebody would be asking at least £3,000 for that today.
0:13:19 > 0:13:23Goodness me. Thank you very much!
0:13:23 > 0:13:26- Thank you.- Thanks.
0:13:26 > 0:13:28It belonged to my father,
0:13:28 > 0:13:35who, since he was born in 1901, my guess would be that this was when
0:13:35 > 0:13:41he was a young lad, so shall we say, I would reckon he had it about 1910.
0:13:41 > 0:13:44Right, and do you remember it going?
0:13:44 > 0:13:45Just once.
0:13:45 > 0:13:48It was kept in my grandparents' house -
0:13:48 > 0:13:50my father had never taken it from there.
0:13:50 > 0:13:56and when we visited there, I think it must have been around about 1937,
0:13:56 > 0:13:58when I was about six or seven years old,
0:13:58 > 0:14:03it was got out and I was allowed to see it going.
0:14:03 > 0:14:07- But you couldn't touch? - I wasn't allowed to do much, anything, with it.
0:14:07 > 0:14:12- And so that was a single experience. - A single experience...- And then it was back in the cupboard?
0:14:12 > 0:14:16It was probably put away finally around about 1950...
0:14:16 > 0:14:21- Right.- ..and hasn't seen the light of day until about a year or so ago.
0:14:21 > 0:14:23Well, it's great that it's come out, you know.
0:14:23 > 0:14:28It's an astonishing survivor of a train set, of about the period you're talking about.
0:14:28 > 0:14:30- Yes.- This is made by Bing of Nuremberg,
0:14:30 > 0:14:33one of the great names of that period.
0:14:33 > 0:14:39Germany was the dominant force in both model railways and toy trains through the Victorian period.
0:14:39 > 0:14:44What we're looking at is therefore something made in Germany, but very much for the British market.
0:14:44 > 0:14:49Clearly marked MR - Midland Railway - we're right in the heart of the Midland Railway here.
0:14:49 > 0:14:51- It couldn't be in a better place. - Quite.
0:14:51 > 0:14:55Indeed the German manufacturers made them for various British railway companies at that time.
0:14:55 > 0:14:59So if you were living in the west, you could have a Great Western set.
0:14:59 > 0:15:03Steam-powered and fired by methylated spirits.
0:15:03 > 0:15:07This was a common experience for wealthy children of that period.
0:15:07 > 0:15:12The thing though that excites me most of all, apart from the train, is actually this catalogue.
0:15:12 > 0:15:15I don't think you probably appreciate how rare this is.
0:15:15 > 0:15:17I gather it must be pretty rare.
0:15:17 > 0:15:21Here we have the catalogue for the railway of that day,
0:15:21 > 0:15:25with lots of layouts, how to lay out your track, but best of all,
0:15:25 > 0:15:28we've got a catalogue page of carriages,
0:15:28 > 0:15:31and we can identify those particular pieces.
0:15:31 > 0:15:33And if we turn over,
0:15:33 > 0:15:36we've got wonderful visions of equipment and cranes and
0:15:36 > 0:15:41sheds and stations and turntables. I imagine you've got all these at home.
0:15:41 > 0:15:43Oh, wish I had!
0:15:43 > 0:15:44HE LAUGHS
0:15:44 > 0:15:46This is a 1903 catalogue,
0:15:46 > 0:15:50so therefore it dates you precisely to what you were talking about.
0:15:50 > 0:15:56- It came into your family 1905-1910, thereabouts.- Yes.
0:15:56 > 0:15:59I love it. What are you going to do with it now?
0:15:59 > 0:16:05Well, probably sell it to help finance university fees for grandchildren.
0:16:05 > 0:16:09I think that's a very noble effort. Have you asked them if they'd rather have the train?
0:16:09 > 0:16:14- I haven't!- Well, I think, please do that - they might prefer a train to a university education.
0:16:14 > 0:16:16- They need the choice.- They do.
0:16:16 > 0:16:22You don't want them saying, "I wish you'd never sold that train. OK, I've got a degree - but so what?"
0:16:22 > 0:16:23HE LAUGHS
0:16:23 > 0:16:25Anyway, it's a great set.
0:16:25 > 0:16:27In that case, what are you going to get for it?
0:16:27 > 0:16:31All the vehicles, the track, the train set,
0:16:31 > 0:16:35- should be £1,500-£2,000. So...- It's more than I expected.
0:16:35 > 0:16:38- But it won't pay a year's tuition fees.- It won't, no.
0:16:38 > 0:16:42However, the good news is that this actually is very rare indeed.
0:16:42 > 0:16:48A collector would probably pay £400 for that.
0:16:48 > 0:16:50That's much rarer than the train.
0:16:50 > 0:16:52- So we're getting there. - We're getting there.
0:16:52 > 0:16:55£2,500. You've only got 500 to find.
0:16:57 > 0:16:59First year looked after!
0:16:59 > 0:17:01- Yes.- It's easy.- Quite.- Thank you.
0:17:01 > 0:17:03Thank you!
0:17:05 > 0:17:10I've always been interested in walking, I've always been a walker and a rock climber and I always
0:17:10 > 0:17:12spent a lot of time walking in the Peaks.
0:17:12 > 0:17:16And where did you find your first Ramblers Handbook?
0:17:16 > 0:17:18The Clarion Ramblers Club was selling off some
0:17:18 > 0:17:21of their old books quite cheaply,
0:17:21 > 0:17:26so I opted to buy, I think I bought five for about a fiver.
0:17:26 > 0:17:29- Great. And how many have you got now? - 41 now.
0:17:29 > 0:17:31OK - and what sort of range in date?
0:17:31 > 0:17:33I've got them from 1923 up to 1964,
0:17:33 > 0:17:36which is when the last one was produced.
0:17:36 > 0:17:39Right, and this is your earliest, you said, 1923-24?
0:17:39 > 0:17:40That's the oldest one, yes.
0:17:40 > 0:17:45And what's in them? I mean I gather it's just a description of a walk?
0:17:45 > 0:17:49Well, the books are the complete guide for anyone that's interested in the Peak District.
0:17:49 > 0:17:52For instance it tells you that they'll meet at Leopold Street
0:17:52 > 0:17:56- in Sheffield at 8.50 in the morning, get the train...- Not too early then!
0:17:56 > 0:18:00No, and it gives a clearly defined route that they're going to follow.
0:18:00 > 0:18:03They're going to stop at Langsett for tea, and in a lot of them
0:18:03 > 0:18:06it'll tell you it'll cost you one and nine pence
0:18:06 > 0:18:07for a scone and a cup of tea.
0:18:07 > 0:18:11It'll tell you you're going to walk 17 miles.
0:18:11 > 0:18:14The fare will be two and three pence and the leader will be Mr W Marshall.
0:18:14 > 0:18:19- That's incredible.- Yeah, and as I say, that's the information you get for every week of the year.
0:18:19 > 0:18:21It's absolutely fascinating.
0:18:21 > 0:18:28Now I did notice inside the front cover, there's an advert for an old hobnail boot - 39 and six.
0:18:28 > 0:18:30- Yeah.- My god, they look uncomfortable though.
0:18:30 > 0:18:33I mean, the blisters people must have ended up with.
0:18:33 > 0:18:35Yeah, a little bit different to today's stuff, yeah.
0:18:35 > 0:18:39Yeah, and no doubt the advertisers helped with the printing costs at the time.
0:18:39 > 0:18:44Well, I notice there's a portrait of George Ward, who I have heard of,
0:18:44 > 0:18:49and he, to me, he's almost like the Wainwright of the Peak District.
0:18:49 > 0:18:53Yes, I'm an admirer of Wainwright, but actually I prefer
0:18:53 > 0:18:57this chap, Ward, because he was involved from 1900,
0:18:57 > 0:19:00and he was involved very early in the mass trespass on Kinder Scout.
0:19:00 > 0:19:06Yes, which was a crucial moment, when the sort of the common people, for want of a better word,
0:19:06 > 0:19:09wanted access to paths that had been formerly off-limits.
0:19:09 > 0:19:14- Absolutely.- And it was the start of something that presumably led to the formation of The Ramblers.
0:19:14 > 0:19:18Which Ward was instrumental in setting that up, along with a lot of other things.
0:19:18 > 0:19:22And even today, the Clarion Ramblers who still exist over 100 years later
0:19:22 > 0:19:27still call him The Leader, and he's been dead since 1957.
0:19:27 > 0:19:29Fantastic, and certainly a man of the hills.
0:19:29 > 0:19:35- Yeah.- Obviously I don't see too many of these on the market, but I know that if they arrive at a specialist
0:19:35 > 0:19:38bookshop or seller, they're going to ask probably between,
0:19:38 > 0:19:40- what, £25 and £100 each.- Yeah.
0:19:40 > 0:19:43- Which is no small amount, is it?- No.
0:19:43 > 0:19:47So you've got 41. We're looking at over a thousand pounds' worth.
0:19:47 > 0:19:49Thank you.
0:19:52 > 0:19:56I always think collections of cups and saucers look lovely displayed together.
0:19:56 > 0:20:00- Are these ones you've collected?- No, I inherited them from my parents.
0:20:00 > 0:20:03Oh, right. And when did they buy them, or were they collected?
0:20:03 > 0:20:08Well, I suspect they must have got them in the '20s, and they were living in Hampstead then.
0:20:08 > 0:20:12And I know that they were sort of collecting things for their house at that time.
0:20:12 > 0:20:14So these are for the china cabinets, presumably?
0:20:14 > 0:20:17Yes, they lived in a display cabinet
0:20:17 > 0:20:20and I've got the display cabinet and they still live in it.
0:20:20 > 0:20:22Did they tell you much about them?
0:20:22 > 0:20:24I know nothing about them whatsoever.
0:20:24 > 0:20:27It's interesting seeing them here together,
0:20:27 > 0:20:30they have the same basic border, a border associated with Meissen,
0:20:30 > 0:20:32the great German factory.
0:20:32 > 0:20:36But of course Meissen designs have always been copied for a long time,
0:20:36 > 0:20:38and it's intriguing here to see
0:20:38 > 0:20:41a copy of Meissen, which is what this is, with the border,
0:20:41 > 0:20:42but done a long time ago.
0:20:42 > 0:20:46But this armorial design is Chinese,
0:20:46 > 0:20:51exported from China in around about 1740, the Meissen design gone out,
0:20:51 > 0:20:54copied for the border and someone's coat of arms...
0:20:54 > 0:20:56- You don't know whose arms? - No, I have no idea at all.
0:20:56 > 0:20:59There's a great coat of arms there, a lot of detail,
0:20:59 > 0:21:04and the whole set would have had badges of the different families, made in China in the very thin,
0:21:04 > 0:21:10delicate porcelain - as the Chinese invented the porcelain, and everybody wanted Chinese porcelain sets.
0:21:10 > 0:21:15Here we've got a Meissen design of harbour scenes with Chinese figures
0:21:15 > 0:21:16and a similar border,
0:21:16 > 0:21:20but I mean not perhaps as well-painted as you would like.
0:21:20 > 0:21:24- That's not bad but it's a bit sketchy, a little bit weak.- Yeah.
0:21:24 > 0:21:28This one, trying to be Meissen, but, oh, dear, the wrong mark.
0:21:28 > 0:21:33A pretend crossed swords, a little bit awkward,
0:21:33 > 0:21:38they're not the real Meissen - that one's a copy from 1880.
0:21:38 > 0:21:41But this one, well, it screams out, doesn't it?
0:21:41 > 0:21:44Just look how well-painted that is.
0:21:44 > 0:21:51In the background, the trees are delicate, the faces are so real.
0:21:51 > 0:21:53Little hand - isn't that beautifully painted?
0:21:53 > 0:21:56And there's...
0:21:56 > 0:21:59sprigs, flowers, filling up the design, and there's the Meissen
0:21:59 > 0:22:04crossed swords as it should be, with impressed numbers and signs.
0:22:04 > 0:22:08This is real Meissen, and that is 1740.
0:22:08 > 0:22:12So, lovely condition, isn't it?
0:22:12 > 0:22:15So, gorgeous things together, and nice comparison, because
0:22:15 > 0:22:20in a way, two different copies of Meissen and the real thing.
0:22:20 > 0:22:25And curiously, this one, although it's copying the design from Chinese,
0:22:25 > 0:22:27a nice armorial one,
0:22:27 > 0:22:31that's probably quite a valuable one, so I suppose that's going to be,
0:22:31 > 0:22:34erm, £1,000, a nice cup and saucer.
0:22:34 > 0:22:38Whereas that copy is the wrong one, out of period,
0:22:38 > 0:22:42and so probably only £100 for that.
0:22:42 > 0:22:46- Mm-hm.- But the real thing, with that quality from 1740,
0:22:46 > 0:22:48about 2,000 for that.
0:22:48 > 0:22:51Wow. Well, that's very nice to know.
0:22:51 > 0:22:53So, a lovely part of a display cabinet.
0:22:53 > 0:22:56Well, they'll be going back in the display cabinet this evening.
0:22:56 > 0:22:58Where they belong. Nice to see them.
0:22:58 > 0:22:59OK.
0:22:59 > 0:23:04Now, this photograph shows an RAF officer,
0:23:04 > 0:23:06- possibly from the Second World War period?- Yes.
0:23:06 > 0:23:08Now, who was he?
0:23:08 > 0:23:12He was my father, and he was based in the north-east of Scotland,
0:23:12 > 0:23:14just north of Fochabers,
0:23:14 > 0:23:17and he was part of the photo reconnaissance unit there.
0:23:17 > 0:23:21His job was to review all the literature that came in,
0:23:21 > 0:23:23film and such like, and interpret
0:23:23 > 0:23:28what was going on, and then arrange to sort out for the next sortie,
0:23:28 > 0:23:30the next day, or immediately.
0:23:30 > 0:23:33Now I guess that's why you've brought along an album here with lots
0:23:33 > 0:23:39of photographs of German shipping being attacked by Allied aircraft.
0:23:39 > 0:23:42This photograph is extraordinary.
0:23:42 > 0:23:45Look at the number of aircraft flying in this photograph.
0:23:45 > 0:23:49Yes, and in this particular attack, the speeds at which they're going at
0:23:49 > 0:23:55and also the fact that they're having to avoid fighters coming in, means that it's a general melee.
0:23:55 > 0:23:57We don't know where that is, I guess?
0:23:57 > 0:24:02Oh, it would be between what we call Fraserburgh and Scandinavia.
0:24:02 > 0:24:06OK, and it looks like a home-made album - is this something that he would have made himself?
0:24:06 > 0:24:08It doesn't look official to me...
0:24:08 > 0:24:12No, it's something he put together, really because
0:24:12 > 0:24:17he was told to destroy everything, so he decided to keep some of it for historical purposes.
0:24:17 > 0:24:20What was this, after the war, when the war finished?
0:24:20 > 0:24:24No, during. He felt that it would all be lost and for
0:24:24 > 0:24:28the number of men who'd lost their lives, he felt - in the squadrons -
0:24:28 > 0:24:30he felt this was a mark of respect.
0:24:30 > 0:24:33It wasn't just the fighting force who were important,
0:24:33 > 0:24:37but it was the men and the women in the intelligence
0:24:37 > 0:24:41part of the squadrons that were just as important,
0:24:41 > 0:24:45because it was their job to look at the photographs, to...
0:24:45 > 0:24:48explore the different types of equipment
0:24:48 > 0:24:52that the Germans were using, and if they realised that
0:24:52 > 0:24:56the Germans were using something more modern, something different -
0:24:56 > 0:25:00different ammunition, projectiles, flying styles, for example -
0:25:00 > 0:25:02then they would bring in the boffins,
0:25:02 > 0:25:07who would then interpret these photographs and come up with ways of countering the Germans.
0:25:07 > 0:25:11Absolutely. He discovered several fancy antennae
0:25:11 > 0:25:14on some of the submarines in this book,
0:25:14 > 0:25:16and also on some of these ships,
0:25:16 > 0:25:20which we weren't aware of, and that was the way, you know,
0:25:20 > 0:25:22it was up to him to interpret it,
0:25:22 > 0:25:25and send it off immediately for people to follow up.
0:25:25 > 0:25:31And we have a photograph here which I find rather bizarre, rather peculiar.
0:25:31 > 0:25:33Yes, this is a Mosquito,
0:25:33 > 0:25:37and basically there were two ships in this fjord hugging the coast,
0:25:37 > 0:25:40and what they're doing is coming in and strafing them
0:25:40 > 0:25:42with rocket-propelled incendiaries.
0:25:42 > 0:25:47Unfortunately, the German here has decided to fire up a grappling iron
0:25:47 > 0:25:50on the end of a steel cable, obviously to put off the pilot,
0:25:50 > 0:25:54and in this case the pilot will have been scared out of his wits and crashed,
0:25:54 > 0:25:56which you can see down here.
0:25:56 > 0:25:59There's no chance of pulling out of that.
0:25:59 > 0:26:01Terrifying, isn't it, actually?
0:26:01 > 0:26:03And all young men.
0:26:03 > 0:26:05- Very.- In the prime of their lives.
0:26:05 > 0:26:10Yes, yes, indeed, yes, usually just 20 or just over.
0:26:10 > 0:26:14- I think this book is a tribute to their bravery.- Indeed.
0:26:14 > 0:26:18Well, you know, these do have a value.
0:26:18 > 0:26:22There are many, many collectors around the world
0:26:22 > 0:26:24who are fascinated by photographs like this,
0:26:24 > 0:26:27and the photographic evidence of this type,
0:26:27 > 0:26:30and they do pay quite substantial sums.
0:26:30 > 0:26:34Just this album alone, and the history that surrounds it,
0:26:34 > 0:26:41if you like, would probably be worth £700, £800, maybe even £1,000.
0:26:41 > 0:26:45Interesting. I don't know whether I would part with it personally.
0:26:45 > 0:26:47I would be interested to
0:26:47 > 0:26:53pass it on to a museum eventually, if there was one specifically for this, for these squadrons.
0:26:56 > 0:27:02Now it's not often we see Constable at a Roadshow, but I know it's a name our experts dream of seeing.
0:27:02 > 0:27:04Do you know if it is a genuine Constable or not?
0:27:04 > 0:27:09No - I need someone to verify who the artist is.
0:27:09 > 0:27:13I know it has Constable written on the frame, but...
0:27:13 > 0:27:17in the past I've been told different things about the painting.
0:27:17 > 0:27:21I just enjoy the painting, so it would be nice to know
0:27:21 > 0:27:23who the artist is.
0:27:23 > 0:27:27People have looked at it before - some people have told you it is a Constable,
0:27:27 > 0:27:28and others have told you it isn't?
0:27:28 > 0:27:32My husband and I were told that it wasn't, even though he'd bought it as a Constable.
0:27:32 > 0:27:39And then later on, after my husband's died, I was told it isn't a Constable,
0:27:39 > 0:27:43but because it has Constable written on the frame, when people visit me, they think
0:27:43 > 0:27:46I've got a Constable and I keep saying it's not a Constable.
0:27:46 > 0:27:48So I'd like to know who the artist is.
0:27:48 > 0:27:52You're in the right place, and I know you've brought a number of paintings.
0:27:52 > 0:27:56You're very gallantly holding them for us - and you want to find out more.
0:27:56 > 0:28:00If it is a Constable, that's... It would be worth quite a lot of money.
0:28:00 > 0:28:02Probably, I hope not.
0:28:02 > 0:28:04- You hope not?- I hope it's not a Constable in a way.
0:28:04 > 0:28:07- Why is that?- Erm...
0:28:07 > 0:28:10Because I would have liked him to have enjoyed
0:28:10 > 0:28:16knowing that it is a Constable, and to enjoy finding out what we're going to find out today.
0:28:16 > 0:28:18- And good luck.- Thanks, Fiona.
0:28:19 > 0:28:24Well, here we have this wonderful shimmering gold work that just takes
0:28:24 > 0:28:29us back right to the 1920s and the Charleston and the Flapper style.
0:28:29 > 0:28:33It's all full of movement and great fun. How did you come to have it?
0:28:33 > 0:28:36Well, I actually inherited it from my German aunt,
0:28:36 > 0:28:40and sadly we don't know anything about the history,
0:28:40 > 0:28:46but there is this date inside - 10th May 1928.
0:28:46 > 0:28:49We always thought as well that it must be from this Charleston era,
0:28:49 > 0:28:52and I thought how beautiful it would go with these lovely dresses
0:28:52 > 0:28:56which are sort of flapping about, and that's all I know, really.
0:28:56 > 0:28:58Oh, wonderful.
0:28:58 > 0:29:01Well, it really is from that 1920s period,
0:29:01 > 0:29:05and the date works perfectly with the bag and also the purse.
0:29:05 > 0:29:10- It's a period which is always called the Art Deco period.- Yes.
0:29:10 > 0:29:13It's about the wonderful cinemas, about dancing,
0:29:13 > 0:29:17about girls going out and having really wild and extravagant dresses and just having fun.
0:29:17 > 0:29:21And there was one particular lady, Josephine Baker, who was a real sort
0:29:21 > 0:29:27of dancer and singer and entertainer, and she's well-known for dancing the Charleston at the Folies-Bergeres,
0:29:27 > 0:29:30so it really is just fitting to see a bag like this,
0:29:30 > 0:29:32and tie it into that Deco period.
0:29:32 > 0:29:37It is absolutely beautiful. I think what fascinates me about this is that
0:29:37 > 0:29:41it is of course gold, it's 18-carat gold,
0:29:41 > 0:29:47it's marked in the inside 750, which is a mark to represent gold.
0:29:47 > 0:29:50- Right.- And it's also got this lovely platinum work, bringing out that
0:29:50 > 0:29:54lovely geometric look that you associate also with the Deco period.
0:29:54 > 0:29:56- Yes, yes, right. - And then also at the top here you've
0:29:56 > 0:30:02got two beautiful cabochon-cut sapphires in the top, which are also seen in the little bag.
0:30:02 > 0:30:04- In the little bag, yeah.- Yeah.
0:30:04 > 0:30:05So, absolutely amazing.
0:30:05 > 0:30:08And maybe in the '20s, you'd just have your dance card in there and
0:30:08 > 0:30:14just continue to dance the night away which just sounds a wonderful way to live, doesn't it?
0:30:14 > 0:30:16- It's a collector who's going to go for this.- Yes.
0:30:16 > 0:30:20And as far as something like this coming up at auction, I think we'd
0:30:20 > 0:30:24- probably expect it to be between £3,000 and £4,000.- Ooh!
0:30:24 > 0:30:28Well, I think that's a lot of money for a little bag!
0:30:28 > 0:30:30Wow, that's brilliant, really.
0:30:30 > 0:30:32It's just been fabulous to see it,
0:30:32 > 0:30:38it's been wonderful for you to bring it along, and I can just sort of hear the Charleston in the background of
0:30:38 > 0:30:42- the evening, and I'm sure you'll just be dancing your way home.- Absolutely!
0:31:01 > 0:31:05One has to assume that she's called Eve, or something like that,
0:31:05 > 0:31:06from the style of it.
0:31:06 > 0:31:08Do you know what the official title is?
0:31:08 > 0:31:10The official title is called The Temptation,
0:31:10 > 0:31:13but we've always known her as Eve in the family.
0:31:13 > 0:31:18She's got the apple and this wonderful serpent all the way through,
0:31:18 > 0:31:23- and it's signed on the back NA Trent - now, that's Newbury Trent. - Yes, it is.
0:31:23 > 0:31:24- What does the A stand for?- Abbot.
0:31:24 > 0:31:26- Abbot.- Newbury Abbot, Trent.
0:31:26 > 0:31:31And the books say that he dies either in 1953 or '63 - which is right?
0:31:31 > 0:31:33- '53.- And how can you be so sure?
0:31:33 > 0:31:35- He's my great uncle.- Right, OK!
0:31:35 > 0:31:37And you obviously knew him, did you?
0:31:37 > 0:31:42I met him, but I don't remember him, I remember his wife, who was a very imposing woman
0:31:42 > 0:31:45and I was terrified of her, so I remember her and not him.
0:31:45 > 0:31:51Oh, what a shame, because we've got this lovely photo of him, and he looks really a very charming man.
0:31:51 > 0:31:56Well, he seems to have had quite an interesting range of friends and contacts as well.
0:31:56 > 0:32:02He exhibits quite often at the Royal Academy and clearly gets to know Royal Academicians and so on,
0:32:02 > 0:32:05and he lives in a smart part of Chelsea - well, smart today - near
0:32:05 > 0:32:10Sir Alfred Munnings, who was the President of the Royal Academy.
0:32:10 > 0:32:14And there is a bust of Munnings by Trent, which is rather nice,
0:32:14 > 0:32:16but it's sort of slightly different to his normal work.
0:32:16 > 0:32:20He was working in the 1920s, largely doing war memorials,
0:32:20 > 0:32:26and it's so beautifully sinuously carved, it's...
0:32:26 > 0:32:30- It's lovely, isn't it? - It is terrific, and it's dated 1926.
0:32:30 > 0:32:33So you know, probably absolutely at his peak.
0:32:35 > 0:32:39You inherited it, so you didn't ever have to buy it, so you've no idea...
0:32:39 > 0:32:44- No.- Well, this whole period of sculpture is now very much in demand,
0:32:44 > 0:32:47and I can see she would make somewhere between
0:32:47 > 0:32:49at least £2,000 to £3,000
0:32:49 > 0:32:52possibly maybe as much as £4,000 at auction today.
0:32:52 > 0:32:54So establishing a good price, I think.
0:32:54 > 0:32:59Indeed, yes. I'm sure that my great uncle would be very pleased if he knew that today,
0:32:59 > 0:33:03because I don't think he was desperately well-off in his lifetime.
0:33:03 > 0:33:06I had an uncle who was a sculptor and I'm afraid that sort of thing happens.
0:33:06 > 0:33:09- 'Twas ever thus.- Yes, I think so.
0:33:09 > 0:33:12I understand you've been talking to Fiona and that you're interested
0:33:12 > 0:33:15to know more about these pictures and indeed who painted them.
0:33:15 > 0:33:18- Yes.- Right, well, I hope I can help you.
0:33:18 > 0:33:22This is potentially by
0:33:22 > 0:33:26one of the great British artists, John Constable,
0:33:26 > 0:33:31who painted at the end of the 18th century, early 19th century.
0:33:31 > 0:33:35But I'm going to let you down very quickly - it is not by John Constable.
0:33:35 > 0:33:37If I got a pound for every time someone said to me,
0:33:37 > 0:33:40"I've got a John Constable," I'd be an extremely rich man.
0:33:40 > 0:33:45That's fine, it's because it said "Constable" there, and people think it's a Constable.
0:33:45 > 0:33:48I don't want people to say, "Oh, you've got a Constable,"
0:33:48 > 0:33:51- because I don't know whether it is or it isn't and...- Exactly, exactly.
0:33:51 > 0:33:55It's not by Constable, and there's a number of things that we need to look it.
0:33:55 > 0:33:58First of all, JC here, do you see that?
0:33:58 > 0:34:03- Yes.- He hardly ever signed, so that was my first sort of worry.
0:34:03 > 0:34:04The second thing,
0:34:04 > 0:34:07if you're talking about the greatest artist of this period,
0:34:07 > 0:34:09it's just not quite good enough.
0:34:09 > 0:34:11- Yep.- If you look at the figures here,
0:34:11 > 0:34:13the gentleman fishing and so forth,
0:34:13 > 0:34:16the quality isn't quite strong enough,
0:34:16 > 0:34:19and the background of the house, just a bit weak.
0:34:19 > 0:34:21The colouring is right,
0:34:21 > 0:34:25typical, this sort of splurge of red that he often used, but...
0:34:25 > 0:34:30- It's not.- Thumbs down, I'm afraid. - That's fine, that's great. - It's still got a value.
0:34:30 > 0:34:33- Yes.- Because you know, he influenced so many people - so who is it by?
0:34:33 > 0:34:36We'll just say "follower of John Constable".
0:34:36 > 0:34:38I think that's the closest you're going to get.
0:34:38 > 0:34:41If you and I went out to paint something, you know, 200 years ago,
0:34:41 > 0:34:45and we didn't put our name, we would just go, how do they know who we are?
0:34:45 > 0:34:48If you see what I mean. So we're never going to find out who it is.
0:34:48 > 0:34:50- Right.- So, "follower of."
0:34:51 > 0:34:53And it's probably worth £1,000-£1,500.
0:34:53 > 0:34:57- That's fine.- As a nice, decorative, typical English landscape.
0:34:57 > 0:35:00- That's fine, thank you very much. - Enjoy that.
0:35:00 > 0:35:03But, I know you're going to see Rupert with two more pictures,
0:35:03 > 0:35:07so let's hope that the news is better than the news I've given you - so, fingers crossed.
0:35:07 > 0:35:08Thank you, thank you.
0:35:10 > 0:35:15It was always a family joke that I would inherit it eventually.
0:35:15 > 0:35:17It's never been my favourite piece of furniture
0:35:17 > 0:35:21so I said to my mother, "Don't leave it to me, cos if you do, I'll to sell it."
0:35:21 > 0:35:26Well, she died four years ago and actually wrote it into her will
0:35:26 > 0:35:29that I had to keep it as a family heirloom.
0:35:29 > 0:35:34Basically I was stitched up by my mother which was very nice of her.
0:35:34 > 0:35:39I have grown to appreciate it slightly more over the years but
0:35:39 > 0:35:43I have a very modern house so it stands out a bit like a sore thumb.
0:35:43 > 0:35:45So did she know that when you stitched you up?
0:35:45 > 0:35:49- No, I've moved since.- She thought you were a modernist?- She knew I liked modern furniture.
0:35:49 > 0:35:53Well, we haven't had a Davenport on the Antiques Roadshow
0:35:53 > 0:35:56as long as I can remember, because they all look the same.
0:35:56 > 0:36:00But this is just so different and so exotic that I think we just had to show it to everybody.
0:36:00 > 0:36:03Now we've got the standard type of opening here and down here
0:36:03 > 0:36:05for the writing compartments, a bit stiff,
0:36:05 > 0:36:10- you clearly haven't been using it a lot, have you?- No.
0:36:10 > 0:36:12What do you know about it? Where do you think it's from?
0:36:12 > 0:36:15Well, my mum's family originally came from Lincolnshire.
0:36:15 > 0:36:19I don't know whether it's come from there.
0:36:19 > 0:36:22I don't know enough about it and, really, that's why I brought it
0:36:22 > 0:36:26- because I'd love to know more. - It's not from Lincolnshire.
0:36:26 > 0:36:28- Right. OK.- It's from Italy.
0:36:28 > 0:36:30Oh! Wow!
0:36:30 > 0:36:33OK. It's travelled a fair way, then.
0:36:33 > 0:36:37In fact the design, the basic design we can see of this inlay,
0:36:37 > 0:36:38is all Moorish.
0:36:38 > 0:36:43- Oh, right.- So it's the Islamic culture that came into Europe
0:36:43 > 0:36:45and when the Moors were conquering
0:36:45 > 0:36:48southern Spain and southern Sicily and southern Italy,
0:36:48 > 0:36:51they brought this culture into southern Europe.
0:36:51 > 0:36:55But that was 1,000 years ago. This is not 1,000 years old.
0:36:55 > 0:36:57It's about 1880.
0:36:57 > 0:37:02- Right, OK.- And so there is no representation on this geometric
0:37:02 > 0:37:06design of anything made by God and that is part of the Islamic culture.
0:37:06 > 0:37:09You can't reproduce animal or plants.
0:37:09 > 0:37:17However, the Italians, being Catholics, liked the style of this alla Certosina, this very exotic
0:37:17 > 0:37:19Moorish influence and just said,
0:37:19 > 0:37:22"We don't care about that, we're going to put in our
0:37:22 > 0:37:25"typical Italian figures here with these little Cupids flying around."
0:37:25 > 0:37:28Heaven knows what they're doing really, they're sort of
0:37:28 > 0:37:31flying around in mid air on this heavenly background,
0:37:31 > 0:37:35but this is copper here, this lovely coppery colour, it's real copper,
0:37:35 > 0:37:36mother of pearl and ivory.
0:37:36 > 0:37:40These little babies' bottoms are made of ivory.
0:37:40 > 0:37:47They've been etched there to give them shadow and shade whereas this decoration here, I think is bone.
0:37:47 > 0:37:50- Oh.- So Italy,
0:37:50 > 0:37:531880ish, possibly Sorrento, not quite sure where it came from.
0:37:53 > 0:37:56I don't think we'll ever find out who made it.
0:37:56 > 0:37:59- No.- It's the sort of thing that they've seen the English style of
0:37:59 > 0:38:04Davenport and thought "Mm, yeah, we can do this in the Italian style."
0:38:04 > 0:38:07Have you got woodworm at home?
0:38:07 > 0:38:11Not that I know, but I know this piece appears to have, yes.
0:38:11 > 0:38:14- Well, it's certainly had woodworm, hasn't it?- Right, it has, yes.
0:38:14 > 0:38:17Because at this point here you've got these very obvious holes here.
0:38:17 > 0:38:22We'll have to be a bit careful. I think come next May, I want you to put a piece of paper
0:38:22 > 0:38:27underneath it, tap it a few times and if there's dust, then perhaps you'd better get the woodworm killer.
0:38:27 > 0:38:31That's when they start hatching and they start saying, "It's a bit warm in here"
0:38:31 > 0:38:34- and find another piece of furniture. - OK.
0:38:34 > 0:38:36It's great fun, it's lovely to see it.
0:38:36 > 0:38:38Thank you for bringing it in, it's a lovely story
0:38:38 > 0:38:42but can I persuade you to keep it or are you going to break the will?
0:38:42 > 0:38:46Oh, gosh no, because knowing my mother, she'd come back and haunt me for ever.
0:38:48 > 0:38:51The condition is slightly against it but I want to put a value on it.
0:38:51 > 0:38:55- I'd like you to insure it, cos you're going to keep it, you're not going to sell it.- No.
0:38:55 > 0:38:56For £2,500.
0:38:56 > 0:38:59Right, excellent, thank you very much, that's great.
0:38:59 > 0:39:02- With woodworm. - With woodworm, thank you very much.
0:39:02 > 0:39:03Thank you.
0:39:08 > 0:39:11So, I understand you've been through the wringer a bit today, haven't you?
0:39:11 > 0:39:13- You've seen Fiona.- Yes.
0:39:13 > 0:39:15- And you've seen Mark.- Yeah.
0:39:15 > 0:39:19- And they've given you some rather bad news about your things, unexpected bad news.- Yes.
0:39:19 > 0:39:23It's been fine, it's been everything that I thought it would be.
0:39:23 > 0:39:24Oh, well that's OK then.
0:39:24 > 0:39:27Yes, and what about these? What do you think these are?
0:39:27 > 0:39:29I actually know what this one is.
0:39:29 > 0:39:32- Oh, you do, go on. - Yes, it's a Marcus Stone.- Ah-ha.
0:39:32 > 0:39:34Different people were saying different things.
0:39:34 > 0:39:39- Some people were saying it wasn't, some people said that it was.- I see.
0:39:39 > 0:39:44But I was told by a reputable auction house that it was a Marcus Stone.
0:39:44 > 0:39:47Ah-ha, yes, that could very well be so.
0:39:47 > 0:39:49I suppose you could understand it,
0:39:49 > 0:39:51if somebody said it wasn't a Marcus Stone,
0:39:51 > 0:39:54because he's a 19th century painter and he's not really known
0:39:54 > 0:39:58for this sort of, I suppose it's an Arthurian subject, isn't it?
0:39:58 > 0:39:59It's the resting knight.
0:39:59 > 0:40:05Well they did say to me, the first auction house, that he only painted romance and that it wasn't.
0:40:05 > 0:40:08- That's what he became known for. - Yeah, that it wasn't.
0:40:08 > 0:40:13- So then I ended up getting confused.- Well, let's see if we can put that one to rest.
0:40:13 > 0:40:16I can see why the first auction house said it wasn't as well,
0:40:16 > 0:40:18because it's got what appears to be a fake signature on it.
0:40:18 > 0:40:21- Do you see that there?- Oh, right.
0:40:21 > 0:40:23- That's a very "added later" look to it.- Right.
0:40:23 > 0:40:25You know, and I don't trust it at all,
0:40:25 > 0:40:29and if I'd only seen that, I would have thought, "Oh, I'm not at all sure."
0:40:29 > 0:40:36But we'll come back to that and let's look at this because this has a proper signature on it.
0:40:36 > 0:40:40- Have you seen it?- Er, Peter Monamy.
0:40:40 > 0:40:42But I took it to be cleaned, restored.
0:40:42 > 0:40:46- Yeah and had it cleaned and then it came up like this.- And I love it.
0:40:46 > 0:40:51I know that people don't like the frame, but I like the frame as well.
0:40:51 > 0:40:53I think it all goes together.
0:40:53 > 0:40:56Peter Monamy was obviously a marine painter and he loved this sort of
0:40:56 > 0:40:58letterbox format and it really suits
0:40:58 > 0:41:01marine subjects who of course, you know,
0:41:01 > 0:41:04when you're looking out across a big sky and the sea,
0:41:04 > 0:41:06it suits to have a very, very long horizon,
0:41:06 > 0:41:08quite low in the picture as well,
0:41:08 > 0:41:11so that you've got room for tall masts and big ships.
0:41:11 > 0:41:18And he was particularly influenced in the 18th Century by Dutch painters, particularly Wilhelm van der Velde,
0:41:18 > 0:41:21who was famous for what he called his "calms"
0:41:21 > 0:41:25and as you can see, it is very calm, it's almost flat.
0:41:25 > 0:41:28All the sails are slack and there's no wind at all, just enough to move
0:41:28 > 0:41:31that pennant at the top but it's still looped over a yard arm.
0:41:31 > 0:41:33The atmosphere's rather good.
0:41:33 > 0:41:39But I suppose the problem with it is, that you can't see any of the rigging
0:41:39 > 0:41:43any more and there are various bits of it that don't quite make sense.
0:41:43 > 0:41:46I'm not really sure about that cloud of smoke there
0:41:46 > 0:41:48which is presumably from a broadside.
0:41:48 > 0:41:49What's he firing at?
0:41:49 > 0:41:52It looks as though it might have been added later.
0:41:52 > 0:41:57The cleaning of it has removed what rigging might have been visible
0:41:57 > 0:42:00- so it's been through the mill.- Yes. - It's lost a lot.
0:42:00 > 0:42:03But it's still quite an attractive picture and you do get a sense
0:42:03 > 0:42:06of the calm and the still and very much a sense
0:42:06 > 0:42:09of the age of all the shipping sitting in the roads here.
0:42:09 > 0:42:11It might be Plymouth, I'm not sure.
0:42:11 > 0:42:14But it's got a good sky and a good feel to it.
0:42:14 > 0:42:18- I think it's the real thing, that's what we're saying here.- Right.
0:42:18 > 0:42:22It is definitely the real thing, it's a Peter Monamy.
0:42:22 > 0:42:24But almost a ghost of a Peter Monamy.
0:42:24 > 0:42:26I know, but I still like it.
0:42:26 > 0:42:30I still like it too. Right, coming back to the Marcus Stone again
0:42:30 > 0:42:33and the great thing about this picture
0:42:33 > 0:42:36is it's actually got a real signature on it as well, a rather jokey place
0:42:36 > 0:42:39because his name was Marcus Stone and what he's done is
0:42:39 > 0:42:42put his initials on a stone, just down there. Can you see it?
0:42:42 > 0:42:45- Oh, I can see it, yeah. - And the date of 1858. MS.
0:42:45 > 0:42:51- Very small as befits a young artist showing his first Royal Academy piece.- His first?
0:42:51 > 0:42:57His very first exhibited work in the Royal Academy, it's called "Rest."
0:42:57 > 0:42:58So it is a Marcus Stone then?
0:42:58 > 0:43:05- Yes, it is.- Well, because when you said that this is not right, so that one down there makes it right?- Yes.
0:43:05 > 0:43:10- Oh, right.- What it also means is that somebody's been messing about with it.- Oh, right.
0:43:10 > 0:43:13With the cleaning, it's the same with the Monamy, they've both been cleaned
0:43:13 > 0:43:15and they've both had things added and taken away,
0:43:15 > 0:43:19by the cleaning and the cosmetics, and the thing is that we're looking
0:43:19 > 0:43:22at two honest pictures by the people they're supposed to be by.
0:43:22 > 0:43:24- Right.- They're real.
0:43:24 > 0:43:28- Does that cheer you up at all? - It does, because I love them.
0:43:28 > 0:43:31I do like them and I've always felt that they were real and when
0:43:31 > 0:43:36people have said that they're not, it's not bothered me because I like the contents of the pictures.
0:43:36 > 0:43:41Well, good because that's really why you should you be getting them in the first place of course.
0:43:41 > 0:43:43Now values...
0:43:43 > 0:43:49That's quite good news, but not fantastic, because although they're real, you've got condition problems
0:43:49 > 0:43:54in each and this one is atypical, it's not what people expect from Marcus Stone and that's why the first
0:43:54 > 0:43:59people were thrown by it and with the dodgy signature at the top as well, it doesn't help.
0:43:59 > 0:44:03But with a little bit of work, you clean that signature off again and perhaps getting it looking a
0:44:03 > 0:44:09- bit more real. We're probably looking at about £3,000 or £4,000, perhaps a little more.- Right.
0:44:09 > 0:44:12- That's fine, thank you.- That's good, and then on the Monamy, well
0:44:12 > 0:44:17this kind of marine picture has sunk a little if you'll forgive the pun.
0:44:17 > 0:44:21Nonetheless I think we're still looking at £2,000 to £3,000.
0:44:21 > 0:44:24- Right, thank you. - That adds up, doesn't it?- Yeah.
0:44:24 > 0:44:27Taken all in all, we're probably looking at about
0:44:27 > 0:44:31five, six, seven, £8,000 on a really good day perhaps.
0:44:31 > 0:44:33- Right, thank you very much. - No, not at all.
0:44:35 > 0:44:39Where are you going to take me, babe?
0:44:39 > 0:44:43- They're going back on the wall. - They're going back on your wall?
0:44:43 > 0:44:46At the moment. I just like them, thank you.
0:44:48 > 0:44:53People were evacuated to some pretty unusual places during the war, but being evacuated to Chatsworth
0:44:53 > 0:44:57as a schoolgirl must rank as one of the most extraordinary.
0:44:57 > 0:44:59What did you think when you first arrived?
0:44:59 > 0:45:01Well, I was rather over-awed.
0:45:01 > 0:45:03I should think so. And what was it like?
0:45:03 > 0:45:05You spent how many years here as a schoolgirl?
0:45:05 > 0:45:07I was here for four-and-a-half years.
0:45:07 > 0:45:09What, living here in the dormitories?
0:45:09 > 0:45:13- Living here, yes.- And what was it like?- Very, very cold.
0:45:13 > 0:45:16And this is, this is the snow, look at that.
0:45:16 > 0:45:19Yes, this is settling off for church.
0:45:19 > 0:45:21Gosh, and how many of you were there?
0:45:21 > 0:45:24- 250 girls.- 250 girls, and where were you evacuated from then?
0:45:24 > 0:45:26- Colwyn Bay.- Colwyn Bay.- Yes.
0:45:26 > 0:45:29- And so in the winter it was freezing.- Yes.
0:45:29 > 0:45:32Those are your bad memories, what were the good memories?
0:45:32 > 0:45:35Oh, the good memories, the summer was lovely.
0:45:35 > 0:45:38In this garden, we would have the whole run of the garden.
0:45:38 > 0:45:41- Swimming in the lake, that kind of thing?- Swimming in the lake.
0:45:41 > 0:45:43We took our test in the round pond.
0:45:43 > 0:45:45Are you in this picture, Nancy?
0:45:45 > 0:45:48Yes, I'm there in the white cap.
0:45:48 > 0:45:50I was all ready to go.
0:45:50 > 0:45:53- Oh, look, which one is you here, Nancy, let's see?- Oh, that one.
0:45:53 > 0:45:55And how old were you?
0:45:55 > 0:45:58I think I was probably about 13 there.
0:45:58 > 0:46:01And did you ever get any raids overhead, anything like that?
0:46:01 > 0:46:04- Yes, we were machine gunned. - You were machine gunned?
0:46:04 > 0:46:08Yes, two enemy planes, they didn't know what we were
0:46:08 > 0:46:12and they were just going back and they thought it was
0:46:12 > 0:46:17some sort of military place so they just emptied their bullets
0:46:17 > 0:46:19onto the north side.
0:46:19 > 0:46:22- You can still see the bullets in the wall.- And where were you?
0:46:22 > 0:46:28We were just in the painted hall, on a summer evening, finishing prayers, it was five to eight.
0:46:28 > 0:46:34- Must have been terrifying. - So it was, we all went to the cellars, to the beer cellars,
0:46:34 > 0:46:35our air-raid shelter and
0:46:35 > 0:46:40stayed there, till we heard that they'd been shot down.
0:46:40 > 0:46:42- A trip down memory lane for you. Thank you.- Thank you.
0:46:44 > 0:46:47Well, you've brought a pair of pink glass vases
0:46:47 > 0:46:51- which commonly get called "cranberry."- Oh, right.
0:46:51 > 0:46:54But I'm going to use the proper name,
0:46:54 > 0:46:56which is "ruby gold glass."
0:46:56 > 0:46:58OK.
0:46:58 > 0:47:03Ruby gold because real gold is used to create this wonderful ruby colour.
0:47:03 > 0:47:05What do you know about them?
0:47:05 > 0:47:09- They were given to my mother by her late mother-in-law.- Right.
0:47:09 > 0:47:17And apart from her taking them to an auctioneers about 30 years ago,
0:47:17 > 0:47:22they said they were Venetian and that the paintings were
0:47:22 > 0:47:27painted on a lot later and that's about it, that's all we know.
0:47:27 > 0:47:30The paintings they're referring to are these wonderful,
0:47:30 > 0:47:34I suppose they're Viennese in style actually, these Neo-Classical panels
0:47:34 > 0:47:38and when you look closely, you can see that they're bolted on
0:47:38 > 0:47:41with little metal bolts, top and bottom.
0:47:41 > 0:47:44So my guess is that someone looked at these, and thought,
0:47:44 > 0:47:46"Well, why are they bolted on?"
0:47:46 > 0:47:49because normally glass of this type is cased.
0:47:49 > 0:47:51You have a white outer layer
0:47:51 > 0:47:55which is attached naturally to the ruby inner layer.
0:47:55 > 0:47:58- Right.- It's quite unusual to have them bolted like this.- Yes.
0:47:58 > 0:48:01But not so unusual that we haven't seen it before
0:48:01 > 0:48:03and I am sure that these are all of a piece,
0:48:03 > 0:48:05they were made at the same time.
0:48:05 > 0:48:09- Right.- And the handles are also bolted on, when you look inside.
0:48:09 > 0:48:11Oh, right, I didn't realise that.
0:48:11 > 0:48:15So the other thing, Venetian, these scream to me Bohemian.
0:48:15 > 0:48:19A great centre for this kind of glass in the 19th Century.
0:48:19 > 0:48:23They're not Venetian, they are definitely Bohemian.
0:48:23 > 0:48:24The other issue is date.
0:48:24 > 0:48:29But these vases are a gift because their shape
0:48:29 > 0:48:31tells us so much about when they were made.
0:48:31 > 0:48:33They've got
0:48:33 > 0:48:37some oriental feet made to look rather like hardwood stands.
0:48:37 > 0:48:40Despite the European Neo-Classical decoration,
0:48:40 > 0:48:42they're quite Japanese in shape
0:48:42 > 0:48:49and that was a fashion very much in vogue in the 1870s and 1880s.
0:48:49 > 0:48:51So these are beautiful
0:48:51 > 0:48:54and very unusual Bohemian vases.
0:48:54 > 0:48:56Have you ever thought what they might be worth?
0:48:56 > 0:48:59- Many times.- Many times, many times.
0:48:59 > 0:49:02Every time I looked at them on my mother's mantelpiece.
0:49:02 > 0:49:05Well they do look extremely glamorous.
0:49:05 > 0:49:08In fact we're standing here in front of Chatsworth, one of the great
0:49:08 > 0:49:16stately homes of England and similar Bohemian vases stand on a mantelpiece in a bedroom in that house.
0:49:16 > 0:49:21That's how good these things are, that's how grand they are.
0:49:21 > 0:49:23- So I think... - They don't want them back, do they?
0:49:23 > 0:49:26No, oh, no, no, no. HE LAUGHS
0:49:26 > 0:49:28Unless you know something I don't,
0:49:28 > 0:49:32no, no. It's a measure of the quality of the things you have here.
0:49:32 > 0:49:34That's fantastic.
0:49:34 > 0:49:35So what are they worth?
0:49:37 > 0:49:42I think an auction estimate for these vases
0:49:42 > 0:49:46would be between £3,000 and £5,000.
0:49:46 > 0:49:50Lovely. That's very nice to know.
0:49:50 > 0:49:53If I dare go back in time and to the days when me granddad
0:49:53 > 0:49:56was alive giving me advice and he always said to me,
0:49:56 > 0:50:01"There are three things you should watch for on a man that will tell you an awful lot.
0:50:01 > 0:50:04"One will be his shoes, if they're polished.
0:50:04 > 0:50:07"The other will be his watch and the third would be the pen that he uses."
0:50:07 > 0:50:12And I have to say that you're using a rather stylish pen.
0:50:12 > 0:50:18- Is this because penmanship is big in your family or what?- Not really, no.
0:50:18 > 0:50:21I bought it in a box of playing cards and it was in the bottom.
0:50:21 > 0:50:23Well, let's have a look at the pen.
0:50:23 > 0:50:26First of all, this is a dip pen of sorts.
0:50:26 > 0:50:30I mean you've got a lever there to act as a fountain pen,
0:50:30 > 0:50:33but this originally would have actually sat
0:50:33 > 0:50:37in probably a circular stand, so it never had a cover, OK.
0:50:37 > 0:50:42And then, then there's a signature down here as well, all in Japanese.
0:50:42 > 0:50:44Because this is a very stylish pen
0:50:44 > 0:50:51which probably dates to around about 1930 and the name here, there are
0:50:51 > 0:50:57two names, one is probably well known to most folk and that is Dunhill,
0:50:57 > 0:51:01and a Japanese name which is Namiki.
0:51:01 > 0:51:07In 1928 they combined forces to produce this type of pen.
0:51:07 > 0:51:09So it's beautifully lacquered,
0:51:09 > 0:51:14it's very scant in the decoration but with the Japanese, less is more.
0:51:14 > 0:51:20And if you look very carefully it's dusted with tiny, tiny particles of gold.
0:51:20 > 0:51:25So, I mean this really is a pen that any pen collector would be very keen
0:51:25 > 0:51:31to have and Namiki pens can vary dramatically in price,
0:51:31 > 0:51:36depending on whether it is a large fountain pen with very elaborate
0:51:36 > 0:51:39dragons or whether it's something
0:51:39 > 0:51:43of relatively modest decoration like yours, and consequently,
0:51:43 > 0:51:46this particular one, I can tell you now,
0:51:46 > 0:51:50if I saw it at auction, I'd expect it to be worth
0:51:50 > 0:51:52in the region of maybe £500 to £700.
0:51:52 > 0:51:54Really?
0:51:54 > 0:51:57I'm amazed, amazed.
0:51:57 > 0:52:00It's just sat in the cupboard for years.
0:52:00 > 0:52:03- Well, you bought it with playing cards.- Yes.
0:52:03 > 0:52:07I think it's fair to say that you played your cards right, didn't you?
0:52:07 > 0:52:10I think it is, but that's the good news, OK.
0:52:10 > 0:52:17The bad news is had it been a large size with barrel and cover,
0:52:17 > 0:52:21decorated with dragons, I actually saw one sold
0:52:21 > 0:52:24in the saleroom that I worked in, about 15 years ago, wait for this,
0:52:24 > 0:52:29for £187,000.
0:52:29 > 0:52:32- Really?- And how much did you pay, for that pack of cards?
0:52:32 > 0:52:35Well, if it was £5 that would be it, yeah.
0:52:35 > 0:52:37I think you're quids in, quids in.
0:52:37 > 0:52:41- Yes.- Thank you. - Lovely, thank you very much.
0:52:41 > 0:52:47So this is part of a really large archive of jewellery designs. Tell me about them with you.
0:52:47 > 0:52:49Well, basically,
0:52:49 > 0:52:56my granddad worked for Cartier designing and when he died, well,
0:52:56 > 0:53:01when my grandmother died, we found all these in the loft in a big pile
0:53:01 > 0:53:04and have slowly gone through them over the years
0:53:04 > 0:53:06and just amazed by them.
0:53:06 > 0:53:08Well, they are totally amazing
0:53:08 > 0:53:11and in a way they're rarer than the jewellery itself because
0:53:11 > 0:53:16the jewellery is made and then very often the design is thrown away
0:53:16 > 0:53:18or it becomes dirty and in the course of it
0:53:18 > 0:53:22being taken to the workshop, to the bench for the craftsman to make it.
0:53:22 > 0:53:27Now, of course, Cartier is the greatest name of 20th Century jewellery design, and we can see,
0:53:27 > 0:53:31left, right and centre, huge precious stones mounted in platinum and gold.
0:53:31 > 0:53:34But that's a slight distraction from the fact that
0:53:34 > 0:53:39this is a very important part of the decorative arts of the 20th Century
0:53:39 > 0:53:40and it's very close to genius,
0:53:40 > 0:53:45but it seems that the real genius comes from your family. What was his name?
0:53:45 > 0:53:49My grandfather's name was Charles Alexander Kennedy Ambrose
0:53:49 > 0:53:51which is a bit of a mouthful.
0:53:51 > 0:53:56And I think he died in the 1960s but he worked for Cartier during
0:53:56 > 0:53:59like the '30s to the '60s and that's about it really.
0:53:59 > 0:54:02And that is actually what we can see here.
0:54:02 > 0:54:04This is a little archaeological trip in a way.
0:54:04 > 0:54:09If you were able to go into Cartier in the early 20th century it meant
0:54:09 > 0:54:12- that you were able to afford what they were offering for sale.- Yes.
0:54:12 > 0:54:15A necklace like this, with the most dramatically beautiful emeralds and
0:54:15 > 0:54:20diamonds, would have been literally a king's ransom at Cartier, because
0:54:20 > 0:54:23kings and maharajahs and sultans were going in and out
0:54:23 > 0:54:26like fiddlers' elbows, asking for these things.
0:54:26 > 0:54:29And we can just examine some of them a little here.
0:54:29 > 0:54:33This is made of Siberian amethysts, sort of stylised fall of grapes,
0:54:33 > 0:54:37perhaps in deep purple cabochon stones surrounded by turquoise.
0:54:37 > 0:54:41- This was a style invented by the Duchess of Windsor.- Oh, right.
0:54:41 > 0:54:43The wife of King Edward VIII,
0:54:43 > 0:54:46and the combination of turquoise and amethyst
0:54:46 > 0:54:49is extraordinarily contemporary
0:54:49 > 0:54:52and I think it's safe to say that that design probably
0:54:52 > 0:54:54derives from a commission from
0:54:54 > 0:54:57Edward VIII for a vast necklace of turquoise and amethysts
0:54:57 > 0:54:59that she wore with stunning effect.
0:54:59 > 0:55:04She said that it was impossible to be too thin, or too rich.
0:55:04 > 0:55:07And I think there's no doubt at all about the too rich bit.
0:55:07 > 0:55:11I'm not sure about the too thin. But anyway, she wore these things
0:55:11 > 0:55:17as an extension of her dress and she was a stunning woman to look at and Cartier was their favourite choice.
0:55:17 > 0:55:20So, and even more interestingly, you've also brought wax maquettes
0:55:20 > 0:55:24for jewellery and if somebody came to Cartier and wanted something made,
0:55:24 > 0:55:28it was very important they were completely and utterly satisfied
0:55:28 > 0:55:31with what they had, because to break it down and start again
0:55:31 > 0:55:32would have been a disaster.
0:55:32 > 0:55:37The only way to make that happen, was to model them in wax in three dimensions and put
0:55:37 > 0:55:44the stones onto the wax so that the person who, very imaginatively here, has asked for three brooches in the
0:55:44 > 0:55:48form of the three polar bears, which is beyond belief, frankly,
0:55:48 > 0:55:54it really is. I mean it's a stunning, stunning concept and remains so and that was
0:55:54 > 0:55:59shown to her and she would agree it with the absolute confidence that the back would be sensationally made too.
0:55:59 > 0:56:03Here a lizard, a salamander, a legendary beast that renews
0:56:03 > 0:56:06itself from fire and here yet another polar bear.
0:56:06 > 0:56:08So, are you breathless?
0:56:08 > 0:56:11I'm nearly worn out. I can hardly cope with the excitement.
0:56:11 > 0:56:14I need to go on a Valium drip or something,
0:56:14 > 0:56:18but anyway there must be some future for this.
0:56:18 > 0:56:21I mean there has to be, it needs to be very carefully conserved.
0:56:21 > 0:56:25You must look after it, you must find out more about him, you must be in touch with Cartier,
0:56:25 > 0:56:30see what they say, what were his greatest commissions and to value them in every sense of the word
0:56:30 > 0:56:32because they are utterly invaluable
0:56:32 > 0:56:36- and this is very, very hard indeed because they're not jewels.- No.
0:56:36 > 0:56:39They're only on paper, little lumps of wax,
0:56:39 > 0:56:43this, that and the other, but none the less they are very sought after.
0:56:43 > 0:56:48There's a small band of connoisseurs and collectors who want these things very badly.
0:56:48 > 0:56:50I suppose I'm one of them, actually.
0:56:50 > 0:56:52But I could never afford them
0:56:52 > 0:56:56because to be perfectly honest I think you'd probably have to fork out
0:56:56 > 0:57:00somewhere between £15,000 and £20,000 to buy this from you.
0:57:00 > 0:57:01Oh, my god!
0:57:01 > 0:57:04GASPING
0:57:04 > 0:57:05You are joking!
0:57:05 > 0:57:10Oh, I thought they'd be like £20 each.
0:57:10 > 0:57:12Oh, my good lord.
0:57:12 > 0:57:16That's amazing, that is just amazing.
0:57:16 > 0:57:18Thank you so much, thank you.
0:57:18 > 0:57:19Brilliant.
0:57:22 > 0:57:25Chatsworth House is renowned for having the finest
0:57:25 > 0:57:29private collection of Neo-Classical statues in the land.
0:57:29 > 0:57:33Now this may not be Neo-Classical, but it's a classic.
0:57:33 > 0:57:36I think you'll agree. Henry, I think I recognise this figure.
0:57:36 > 0:57:37It's made for me and it's of me.
0:57:37 > 0:57:41I think it's wonderful, made by a great potter in Northern Ireland
0:57:41 > 0:57:45called Peter Meanley and it's in salt- glazed stoneware, which is very much
0:57:45 > 0:57:49a material to my heart and its wonderful colours and glaze and oh,
0:57:49 > 0:57:53- it's super, I love it very much. - Where do you keep it?
0:57:53 > 0:57:56Well, it's in the drawing room on a very strong table
0:57:56 > 0:57:57because it's such a hefty weight.
0:57:57 > 0:58:00I daren't, I can't even move it myself.
0:58:00 > 0:58:02Oh, no, I mean it certainly is a conversation piece.
0:58:02 > 0:58:03Oh, yes, it's great.
0:58:03 > 0:58:07As Toby jugs go, I've never seen anything like it. Have you seen any Toby jugs here?
0:58:07 > 0:58:09Yes, we've seen a lot of Toby jugs.
0:58:09 > 0:58:11We've had a great crowd and a marvellous time.
0:58:11 > 0:58:14Well, but nothing on this scale I have to say.
0:58:14 > 0:58:16Well, from Henry and me at Chatsworth
0:58:16 > 0:58:20- and Henry Number Two here, until next time, bye-bye.- Goodbye.
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