0:00:02 > 0:00:06This week, the Antiques Roadshow comes from the splendours of Hampton Court Castle.
0:00:06 > 0:00:10Not to be confused with the palace by the Thames that belonged to Henry VIII,
0:00:10 > 0:00:15this fortress was built 80 years, and four King Henrys, before that.
0:00:15 > 0:00:18Welcome to the Antiques Roadshow, from Herefordshire.
0:01:02 > 0:01:07This week we've come to one of the most rural and sparsely populated places in England -
0:01:07 > 0:01:09the county of Herefordshire.
0:01:09 > 0:01:15Nestled in a remote valley is a little known gem -
0:01:15 > 0:01:18Hampton Court Castle.
0:01:20 > 0:01:24You might wonder why a castle was built in such secluded surroundings,
0:01:24 > 0:01:27but the Welsh border is only 14 miles away, and in the 15th century,
0:01:27 > 0:01:30this was a strategic stronghold,
0:01:30 > 0:01:32defending the English from uprisings
0:01:32 > 0:01:35led by the Welsh hero Owain Glyndwr.
0:01:35 > 0:01:40Glyndwr was the last native Welsh person to hold the title "Prince of Wales",
0:01:40 > 0:01:44but his long-running revolt was ultimately unsuccessful,
0:01:44 > 0:01:47his armies quashed by Henry IV.
0:01:48 > 0:01:51With the Welsh threat under control, Henry IV gave these lands
0:01:51 > 0:01:56as a wedding gift to another hero, one who fought on his side.
0:01:56 > 0:02:00The lucky chap was the brave Sir Rowland Lenthall, who fought at Agincourt,
0:02:00 > 0:02:01and did rather well out of it.
0:02:01 > 0:02:06It's recorded that the ransom money he earned from the French noblemen he captured
0:02:06 > 0:02:08paid for the rebuilding of this place.
0:02:16 > 0:02:20Sir Rowland managed to secure a license to crenellate -
0:02:20 > 0:02:24medieval planning permission to turn his manor house into a castle -
0:02:24 > 0:02:28a great honour among noblemen, and a way of showing one's rank.
0:02:28 > 0:02:30With battlements and turrets,
0:02:30 > 0:02:36he went to town, proudly displaying his lordly status in stone.
0:02:39 > 0:02:44Centuries of change mean little of the original medieval interior survives,
0:02:44 > 0:02:47but thanks to the Arkwright family,
0:02:47 > 0:02:51who moved here 400 years later, the spirit of the age remains.
0:02:55 > 0:03:00In the early 19th century, there was a passion for all things medieval,
0:03:00 > 0:03:07and John Arkwright had his home redesigned to evoke those long-lost days of chivalry and romance.
0:03:12 > 0:03:15It took twelve years to complete,
0:03:15 > 0:03:20and the remodelled castle was hailed as a Herefordshire Windsor.
0:03:20 > 0:03:26What a magnificent place to welcome our guests, as our experts prepare for another Roadshow.
0:03:26 > 0:03:29Let's hope they find something suitably regal.
0:03:31 > 0:03:35This pair of dolls are absolutely exquisite. Everything you look at...
0:03:35 > 0:03:38the more you look at them, the more detail you see.
0:03:38 > 0:03:40What do you love about them?
0:03:40 > 0:03:44Well, I like them because they're not pedlar dolls,
0:03:44 > 0:03:48but professional dolls, and you can tell that she's selling biscuits
0:03:48 > 0:03:51and eggs, and he's the gardener.
0:03:51 > 0:03:55Whether it was made specially for a gardener in the area...
0:03:55 > 0:04:00- A special commission.- Special commission.- You say "in the area". What area are we talking about?
0:04:00 > 0:04:03I believe they were made by sisters
0:04:03 > 0:04:07and they were made near Portsmouth, I think, in Milton.
0:04:07 > 0:04:10- And are they marked? - Yes, there's a label underneath.
0:04:10 > 0:04:12OK. Let's have a look,
0:04:12 > 0:04:17- Ah, and there it is, C&H White, Milton, Portsmouth.- Yes.
0:04:17 > 0:04:22Well, it says everything that you want to know. Now, the only similar dolls that I've seen to this -
0:04:22 > 0:04:25and I think that they were by White as well -
0:04:25 > 0:04:27were in the Portsmouth Museum.
0:04:27 > 0:04:29Right, right.
0:04:29 > 0:04:33And I don't think that they're commercial dolls, in a way,
0:04:33 > 0:04:37because they are so intricate and there's so much detail there,
0:04:37 > 0:04:41that nobody could make their living by creating these.
0:04:41 > 0:04:43I think that these were made...
0:04:43 > 0:04:45almost as a hobby.
0:04:45 > 0:04:47Are you a collector, or...?
0:04:47 > 0:04:52Yes, I collect folk art, I've been collecting folk art for 20-odd years
0:04:52 > 0:04:55and that's what appealed to me.
0:04:55 > 0:04:58I bought them at auction and unfortunately I was outbid
0:04:58 > 0:05:05- and I found the dealer that bought them, and I bought them from him. - So you gave him a quick profit.
0:05:05 > 0:05:07I had to give him a profit, yes,
0:05:07 > 0:05:09but that's how much I liked them.
0:05:09 > 0:05:13Excellent. Well, let's just enjoy looking at them because,
0:05:13 > 0:05:15if we start with their little faces...
0:05:15 > 0:05:20- they have a very particular look to them, don't they?- Yes, yes.
0:05:20 > 0:05:22- Almost cartoony.- That's right.- But obviously much too early for that.
0:05:22 > 0:05:26They're made of white kid, the eyes are little black beads
0:05:26 > 0:05:31- and they have this very sort of pointed nose, don't they? - That's right, yes.
0:05:31 > 0:05:36I like the idea of these being specially commissioned, for, perhaps,
0:05:36 > 0:05:40somebody that they knew in the village, and maybe
0:05:40 > 0:05:44these are the initials of that particular gardener.
0:05:44 > 0:05:49- ..of the gardener.- I-S-H... And here we've got the date, 1826.- Yes, yes.
0:05:49 > 0:05:54The market is interesting with these. How long ago did you buy them?
0:05:54 > 0:05:58I bought these probably, roughly about four years ago, yes.
0:05:58 > 0:06:01All right, I'm going to ask you what you paid...
0:06:01 > 0:06:06- You don't have to tell me.- Well, I paid, no, I paid the dealer £550.
0:06:06 > 0:06:10- For the two.- For the two.- Well, I have to say, in the intervening years
0:06:10 > 0:06:15there have been a series of landmark sales which have featured dolls similar to this,
0:06:15 > 0:06:18and I think that your £500 for the pair,
0:06:18 > 0:06:24has now changed to between £8,000 and £10,000 for the pair.
0:06:24 > 0:06:26Really? Wow!
0:06:26 > 0:06:28Very nice,
0:06:28 > 0:06:30very nice, yeah.
0:06:30 > 0:06:33Well, it doesn't matter, they're just still very nice dolls, yes.
0:06:40 > 0:06:43The word "pretty" really doesn't do this box justice.
0:06:43 > 0:06:45I think it is absolutely exquisite.
0:06:45 > 0:06:47Where did you get it from?
0:06:47 > 0:06:51- Well, my father collected boxes, mainly smaller silver boxes.- Yes.
0:06:51 > 0:06:54And this was among the collection, and I didn't understand it,
0:06:54 > 0:06:57I didn't know what it was for, which is why I brought it along.
0:06:57 > 0:07:00I see, and do you know where he got it from?
0:07:00 > 0:07:03I think he'd have bought it in the '60s, when he started collecting.
0:07:03 > 0:07:05Right, well he obviously had a tremendous eye because
0:07:05 > 0:07:09this is one of the most beautiful boxes I've seen in a long time.
0:07:09 > 0:07:11It was actually made in Vienna,
0:07:11 > 0:07:17but then sent to France, for a sort of final input, if you like,
0:07:17 > 0:07:23because on the front, along here, it says "D'apres le Gobelin a Paris Musee Cluny",
0:07:23 > 0:07:29in other words, "after the Gobelin tapestry in the Cluny Museum in Paris".
0:07:29 > 0:07:34And as you can see, this is very much sort of 15th-century style of tapestry,
0:07:34 > 0:07:38but it's surrounded by these beautiful flowers all round the edge,
0:07:38 > 0:07:41which I think are so delicately done.
0:07:41 > 0:07:44It dates from about 1900-1910,
0:07:44 > 0:07:46so the early 20th century,
0:07:46 > 0:07:49but the thing that really caps it,
0:07:49 > 0:07:52is if we open it up...
0:07:52 > 0:07:59it's got a similar sort of scene inside but instead of being painted on ivory, which the front is,
0:07:59 > 0:08:01this time it's engraved,
0:08:01 > 0:08:04so you get a stronger sort of look
0:08:04 > 0:08:07with the same inscription at the bottom, but fabulously done
0:08:07 > 0:08:10and such an unusual thing to find.
0:08:10 > 0:08:13- It is actually, I think, just a trinket box.- I wondered what it was.
0:08:13 > 0:08:17Just sat on a dressing table to put your little treasures in,
0:08:17 > 0:08:22but a very, very nice one, so a real little treasure.
0:08:22 > 0:08:25Lovely plain enamel round the sides here,
0:08:25 > 0:08:29and the great thing about it is,
0:08:29 > 0:08:31it's undamaged, because once enamel
0:08:31 > 0:08:34becomes chipped or cracked,
0:08:34 > 0:08:38the value drops tremendously.
0:08:38 > 0:08:40Now, value.
0:08:40 > 0:08:42It's quite a collector's piece,
0:08:42 > 0:08:45and I think a box like this
0:08:45 > 0:08:49is probably worth between £1,500 and £2,000.
0:08:49 > 0:08:52Really?
0:08:52 > 0:08:54That's amazing,
0:08:54 > 0:08:56- That is amazing.- I simply love it.
0:08:56 > 0:08:59- Thank you.- I want to put it in my pocket and walk away with it.- Ah.
0:09:04 > 0:09:10Well, it's got to be the best wrapping I've seen for a long time. I think that's fantastic.
0:09:10 > 0:09:13- I don't think you should make fun of my conveyance.- No, I love it.
0:09:15 > 0:09:17Let's get it down here,
0:09:17 > 0:09:20it won't fall off the ground. Well, it's a bit of a belter...
0:09:20 > 0:09:23- has it got a story?- I've known it for the last 50 years.
0:09:23 > 0:09:27It used to sit on a shelf halfway up the stairs, in the family home.
0:09:27 > 0:09:30And then I inherited it in the mid-'80s.
0:09:30 > 0:09:35I don't know what it is, so I just hoped you'd tell me what it was, and from where.
0:09:35 > 0:09:38My guess is Japan, but I don't know whether that's right or not.
0:09:38 > 0:09:41Someone here suggested it might be machine-made, which I think
0:09:41 > 0:09:46is rather sad, if it is, but I hoped it was handmade, but there we are.
0:09:46 > 0:09:48- And that's why you're here.- Yes.
0:09:48 > 0:09:52It is handmade, all hand-painted, all the gilding's been done, it's very thick gilding, you can feel.
0:09:52 > 0:09:55- Yes.- There's no printing on this of any sort,
0:09:55 > 0:09:58- so it's a fabulous piece of production, really.- Yes.
0:09:58 > 0:10:00You're absolutely right, it is Japanese.
0:10:00 > 0:10:04It's a type of pottery rather than porcelain, called Satsuma pottery
0:10:04 > 0:10:08which was made really in the Meiji period from 1868 to 1912.
0:10:08 > 0:10:10It carried on after that.
0:10:10 > 0:10:14But it's characterised by a rather sort of pale biscuit-coloured pottery with a very fine crackle,
0:10:14 > 0:10:20which we could probably find somewhere in here if we look very closely - you can see a fine crackle.
0:10:20 > 0:10:25- Right, yeah.- We see a lot of Satsuma on the programme here and the quality range is enormous. But this is a...
0:10:25 > 0:10:29It's a really nicely done thing. We've got figures here having picnics
0:10:29 > 0:10:32under wisteria - it's all rather idyllic.
0:10:32 > 0:10:35The reverse has got a different scene...
0:10:35 > 0:10:40We've got a peacock there with the eyes in the tail, but it was made for the export market.
0:10:40 > 0:10:42- It wasn't made for the Japanese at all.- Right, right.
0:10:42 > 0:10:46Condition is obviously important, and we've got a little bit of wear.
0:10:46 > 0:10:49This scroll round the top here is called a karakusa scroll,
0:10:49 > 0:10:53and in Japanese visual arts it derives from octopus tentacles.
0:10:53 > 0:10:55- Oh, right.- Which surrounds the rim, very nice quality.
0:10:55 > 0:10:58- I suppose when it comes to its value...- Yes.
0:10:58 > 0:11:01Well, the Japanese market hasn't been great.
0:11:01 > 0:11:07- No.- It has fallen off in the last few years to some extent, but it's very large, it's in good condition,
0:11:07 > 0:11:09the quality is pretty good.
0:11:09 > 0:11:11I think in the auction world it's going to be, what, £2,000?
0:11:11 > 0:11:14- Maybe a little more.- Oh, wonderful, right. Thank you very much indeed.
0:11:14 > 0:11:17Nice thing to see, thank you.
0:11:20 > 0:11:24Here we have a picture with a plaque - "JBB Wellington".
0:11:24 > 0:11:29James Booker Blakemore Wellington. It is an immensely important name
0:11:29 > 0:11:32in the world of photography and the history of photographic process,
0:11:32 > 0:11:35so I'm delighted to be able to see
0:11:35 > 0:11:38a picture of the great man himself
0:11:38 > 0:11:43in his workshop, and in fact, producing a boat, of all things.
0:11:43 > 0:11:47Now, can you tell me your relationship to James?
0:11:47 > 0:11:50- He was my great uncle.- Right.
0:11:50 > 0:11:52Married to my grandmother's sister.
0:11:52 > 0:11:55- Right.- Always known as Uncle Blake.
0:11:55 > 0:12:00Right. Do you know, it's almost kind of too important for me to explain how amazing this man was.
0:12:00 > 0:12:02He studied as an architect.
0:12:02 > 0:12:05By the 1880s he went over to New York
0:12:05 > 0:12:10and he met Eastman, of Kodak Eastman fame, and in meeting him,
0:12:10 > 0:12:14decided that photography was something he was going to take up.
0:12:14 > 0:12:20In doing so, he became one of the best amateur photographers of the Victorian period.
0:12:20 > 0:12:25Now, here we've got a collection of medallions that he won, mainly
0:12:25 > 0:12:29for his amateur photography, and they're from all over the world.
0:12:29 > 0:12:32Here, on my right, I have a wonderful example of perhaps one
0:12:32 > 0:12:34of his most important photographs.
0:12:34 > 0:12:36This one is called "Eventide".
0:12:36 > 0:12:40This one in fact is a photogravure and it was very well known
0:12:40 > 0:12:44in its time, in the late 19th/early 20th century.
0:12:44 > 0:12:47Again we have a couple of wonderful examples. Shows how cosmopolitan he was, as well -
0:12:47 > 0:12:51of pictures that he took out in India
0:12:51 > 0:12:55of the Taj Mahal, and these ones are albumen prints.
0:12:55 > 0:12:57Wonderfully clear, late 19th-century photographs,
0:12:57 > 0:13:02and another one of the gatehouse to the Taj Mahal here,
0:13:02 > 0:13:05with all the carriages parked in front.
0:13:05 > 0:13:07Evocative, wonderful photographs of the period.
0:13:07 > 0:13:11Now, what do you know about him as a man?
0:13:11 > 0:13:13Well, he was a much loved uncle,
0:13:13 > 0:13:19not that I actually knew him, but my father was very, very fond of him,
0:13:19 > 0:13:24and he used to work in his workshop with him, and learned an awful lot about making things.
0:13:24 > 0:13:28Well, I think his workshop tells us an awful lot about why he probably became so famous.
0:13:28 > 0:13:34He was in fact a major mover and shaker in the processes of mass producing photographs, in fact.
0:13:34 > 0:13:37He opened a factory called Wellington and Ward, but he invented
0:13:37 > 0:13:43this machine that could produce ten million prints in two days.
0:13:43 > 0:13:48That's quite staggering. That's the kind of quantity we only think about in a modern age, so to speak.
0:13:48 > 0:13:51Eventually his factory was bought by Ilford,
0:13:51 > 0:13:56so we have one of the most famous names in photographic history -
0:13:56 > 0:14:00Ilford - and in fact what we find is, that he is in fact a founder member.
0:14:00 > 0:14:05I've been having a think about the value of this. This is an archive of museum quality,
0:14:05 > 0:14:09and in terms of his place in photographic history,
0:14:09 > 0:14:13I feel that this is worth £10,000 to £15,000.
0:14:13 > 0:14:15- That's amazing. - It's an absolute pleasure to see it.
0:14:15 > 0:14:20- Good. I'm glad I brought it in. - Thank you.- Thank you very much.
0:14:23 > 0:14:26Jewellery in fitted boxes always gets me very excited.
0:14:26 > 0:14:31So when I opened it, I looked at it, and I looked at it again...
0:14:31 > 0:14:37and there's something very strange about it, in that it is paste.
0:14:37 > 0:14:39Now, tell me, how did you get this?
0:14:39 > 0:14:45I saw it in a jeweller's about 30 years ago in Hereford, and I liked it,
0:14:45 > 0:14:48and I had a new green ballgown for a special event,
0:14:48 > 0:14:51and thought, "That's just the thing to wear with it!"
0:14:51 > 0:14:54- so I bought it, knowing nothing about it at all. - Did you know that this was paste?
0:14:54 > 0:14:58I thought it probably was, by the price.
0:14:58 > 0:15:01- How much was it?- £100.- £100.
0:15:01 > 0:15:06This is, I think, a fabulous example of vintage paste jewellery.
0:15:06 > 0:15:10Paste is glass, so you've got green glass,
0:15:10 > 0:15:13and colourless glass set in silver.
0:15:13 > 0:15:18A few years ago, we would have disregarded it, because it wasn't diamonds, but look how wonderfully
0:15:18 > 0:15:23it glistens in the sun. I mean, it could absolutely be the real thing.
0:15:23 > 0:15:25Why it looks like the real thing
0:15:25 > 0:15:29- is because it would have been made by a jeweller.- Yes.
0:15:29 > 0:15:32Jewellery to me is all about quality, craftsmanship and design,
0:15:32 > 0:15:34and this has absolutely everything.
0:15:34 > 0:15:39Now, this today is just so highly desirable.
0:15:39 > 0:15:42There's a real revival of vintage paste jewellery.
0:15:42 > 0:15:45And the fact that you bought it to wear with your ballgown
0:15:45 > 0:15:50is exactly how it would've been worn in the 1900s. This was made in 1900.
0:15:50 > 0:15:54- Did you have your hair up when you wore this?- Yes, yes, yes, yes.
0:15:54 > 0:15:57Fantastic. Well, that is exactly the same.
0:15:57 > 0:16:03People would have had their hair up, they would have had a great bare chest ready to wear fantastic jewels,
0:16:03 > 0:16:07and so this is really, really special, and the fitted case
0:16:07 > 0:16:10is signed by the retailer James Hardy.
0:16:10 > 0:16:13Now, £100, and how long ago was that?
0:16:13 > 0:16:16- 30 years ago.- £100.- Yes.
0:16:16 > 0:16:20I think if you were to buy this today, you'd be looking in the region
0:16:20 > 0:16:22of around about £1,500, £2,000.
0:16:22 > 0:16:24Oh, good grief.
0:16:24 > 0:16:27I mean, it is just absolutely exquisite, I love it.
0:16:27 > 0:16:32The fact that it made me look twice, fantastic. Well, thank you so much for bringing it in.
0:16:32 > 0:16:34Thank you, thank you very much.
0:16:34 > 0:16:35A pleasure, thank you.
0:16:38 > 0:16:41We bought this piece back in 1984,
0:16:41 > 0:16:46from a dealer down south and the price on it was too much for us
0:16:46 > 0:16:50at the time, so I came to a compromise with the dealer
0:16:50 > 0:16:54that if we gave him a 17th-century coffer, would he consider
0:16:54 > 0:16:57taking a bit of money on top of it,
0:16:57 > 0:16:59and that was what actually happened.
0:16:59 > 0:17:02- And how much did this cost you? - It cost £500.
0:17:02 > 0:17:05What date did he say this piece was?
0:17:05 > 0:17:08Anywhere between 1650 and 1680.
0:17:08 > 0:17:11Yeah, and that follows through because if you look very closely,
0:17:11 > 0:17:15the panels are right, in my opinion - I think they're great.
0:17:15 > 0:17:19Can we just come down and have a look at them here,
0:17:19 > 0:17:23because this is what I love, is this wonderful moustached character, Charles I...
0:17:23 > 0:17:27with his head dress and these bizarre wings,
0:17:27 > 0:17:30so he's imitating, like a fairy.
0:17:30 > 0:17:34But these 17th-century candlesticks, that's something to follow, because if you're going
0:17:34 > 0:17:38to collect 17th-century pieces, look for candlesticks like that.
0:17:38 > 0:17:42And the other thing I can't quite work out - is that a bat?
0:17:42 > 0:17:45- This winged thing?- Looks like a bat.
0:17:45 > 0:17:48But the whole thing is very, very stylised.
0:17:48 > 0:17:51See, if it's later, it would be more contrived,
0:17:51 > 0:17:54but the whole thing works, the whole panels are filled.
0:17:54 > 0:18:00It's really, really attractive. What I found quite interesting here is that when we pull this drawer open,
0:18:00 > 0:18:06I notice this little hole here and obviously this hole works this way...
0:18:06 > 0:18:08when we lift up the lid,
0:18:08 > 0:18:12a piece of wood went into this little hole here,
0:18:12 > 0:18:14and secured in that area there,
0:18:14 > 0:18:17and so it was difficult to open the drawer, because locks were expensive,
0:18:17 > 0:18:23and they obviously only wanted to buy one lock instead of buying two.
0:18:23 > 0:18:25A nice little feature.
0:18:25 > 0:18:29I think you did very, very well.
0:18:29 > 0:18:33Because of these panels, it sets a different precedent
0:18:33 > 0:18:34to ordinary coffers.
0:18:34 > 0:18:40It's a great piece of furniture which is made out of oak,
0:18:40 > 0:18:42say 1685,
0:18:42 > 0:18:47and I would put a value on this between £2,500 and £3,500.
0:18:47 > 0:18:50- Really?- So you did the wise thing of trading up and keeping it.
0:18:50 > 0:18:52- Incredible.- So it's fantastic.
0:18:52 > 0:18:56- Lovely. Thank you very much indeed. - The pleasure's mine.- Thank you.
0:18:59 > 0:19:01- This is a family treasure.- Right.
0:19:01 > 0:19:05It's paintings of butterflies,
0:19:05 > 0:19:11which my father's... mother's...brother painted.
0:19:11 > 0:19:13- Right.- Early Victorian times.- OK.
0:19:13 > 0:19:16He was a very ill child and person.
0:19:16 > 0:19:21He was so ill he wasn't able to have a job himself, but he painted most beautifully.
0:19:21 > 0:19:25When he died, his brother
0:19:25 > 0:19:27put them all together and bound it in this book.
0:19:27 > 0:19:31And if we just open it up to the first page, which sort of introduces
0:19:31 > 0:19:34the whole thing, we can see...
0:19:34 > 0:19:36as you say, beautifully illuminated,
0:19:36 > 0:19:40all done by hand and highlighted with gold,
0:19:40 > 0:19:43"Book of British Butterflies, drawn in watercolour by Percy Grant".
0:19:43 > 0:19:47- And this is the Grant family. - That's right, yes, yes.
0:19:47 > 0:19:53Yes, and if we just go to the next page, we will see -
0:19:53 > 0:19:59"In memory of Percy Grant, who after a short life devoted to the study of painting and astronomy..."
0:19:59 > 0:20:02And he died aged 28 years in 1894,
0:20:02 > 0:20:06and it is his brother, Cecil Grant,
0:20:06 > 0:20:11who's basically compiled this album as a sort of memorial to him.
0:20:11 > 0:20:14- Indeed, absolutely.- And you've kept it ever since, in the family.
0:20:14 > 0:20:15That's right, yes, we have, yes.
0:20:15 > 0:20:19If we just turn over an example of one of the butterflies here,
0:20:19 > 0:20:25we'll just see how absolutely exquisitely they are painted.
0:20:25 > 0:20:28And as I understand it, the young Percy was literally doing these
0:20:28 > 0:20:30- sitting up in bed.- He was, yes.
0:20:30 > 0:20:35- For a lot of the time.- Yes, he was. And what I love is that so often
0:20:35 > 0:20:38in the butterfly books and butterfly paintings you'll see, the butterflies
0:20:38 > 0:20:40are flat with both wings like this,
0:20:40 > 0:20:43and these are as if they're in flight. And one of my favourites...
0:20:43 > 0:20:47I think there are about 60 in all, in the whole album.
0:20:47 > 0:20:51This lovely blue colour. Almost sort of like a blueberry.
0:20:51 > 0:20:54I mean it's just wonderful, you can feel these butterflies
0:20:54 > 0:20:56almost fluttering off the page.
0:20:56 > 0:20:57Absolutely. The detail,
0:20:57 > 0:21:00I mean I just think the detail
0:21:00 > 0:21:02on that is absolutely amazing.
0:21:02 > 0:21:05It's exquisite. And what's so amazing with this detail
0:21:05 > 0:21:06is that he did this
0:21:06 > 0:21:09when he was very ill, and do we know
0:21:09 > 0:21:11what he was suffering from,
0:21:11 > 0:21:13and what he finally died of?
0:21:13 > 0:21:14I think - I'm not absolutely sure -
0:21:14 > 0:21:17but I think he died of consumption,
0:21:17 > 0:21:20- which in those days was pretty incurable, wasn't it?- Yes.
0:21:20 > 0:21:23- So it makes it all the more poignant in a way, doesn't it?- Yes.
0:21:23 > 0:21:26That he was a dying man.
0:21:26 > 0:21:30- Yes.- And yet he was doing this beautiful work.- And he's achieved this, you know, in really very,
0:21:30 > 0:21:33very difficult physical and presumably emotional circumstances,
0:21:33 > 0:21:36he was, you know, sitting there.
0:21:36 > 0:21:40The whole way it's been kept and put together, and then bound
0:21:40 > 0:21:42so beautifully in this lovely binding
0:21:42 > 0:21:47with the butterflies on the spine as the memorial to Percy,
0:21:47 > 0:21:49to young Percy,
0:21:49 > 0:21:50it's absolutely fantastic.
0:21:50 > 0:21:54It's obviously a family piece that's not going to go anywhere.
0:21:54 > 0:21:55This obviously is a one-off,
0:21:55 > 0:22:00it's completely unique and there's no other like it in the world.
0:22:00 > 0:22:04I have to say it's one of the most competent hands that you could see
0:22:04 > 0:22:07as an amateur, I mean, he really is fantastically good.
0:22:07 > 0:22:10Also what I love is that it's butterflies,
0:22:10 > 0:22:15in that here was this man who didn't really get the chance in life
0:22:15 > 0:22:17to blossom physically,
0:22:17 > 0:22:22and yet his maturity, his blossoming comes out on the pages themselves.
0:22:22 > 0:22:25Am I right in thinking that in Victorian times when
0:22:25 > 0:22:28paintings were done, there was sort of symbolism, and the butterfly,
0:22:28 > 0:22:31the symbol of the butterfly is the resurrection? Am I right in that?
0:22:31 > 0:22:35- Yeah, absolutely.- So that's also rather nice.- Absolutely.
0:22:35 > 0:22:40I think if it came up for auction, you'd be looking certainly at £4,000 to £5,000,
0:22:40 > 0:22:42- something like that. - As much as that?- Yeah, yeah.
0:22:42 > 0:22:48- Gosh.- It's a really beautiful object and you know, wonderful, super. Thanks so much for bringing it.
0:22:48 > 0:22:51- How very kind of you, thank you very much indeed.- Pleasure.
0:22:54 > 0:22:56I saw you waiting in the queue, and obviously,
0:22:56 > 0:23:00I knew what was inside here, it's going to be a musical instrument.
0:23:00 > 0:23:02But what really took my attention
0:23:02 > 0:23:06was the label here which says, "Bob Marley and the Wailers,
0:23:06 > 0:23:08"Hammersmith Odeon, June 1976",
0:23:08 > 0:23:12and I really hoped that the instrument inside
0:23:12 > 0:23:14could have been his.
0:23:14 > 0:23:17I'm led to believe that it is. One of his many.
0:23:17 > 0:23:22- And what's the history behind it? - OK, I bought the guitar in 1982,
0:23:22 > 0:23:27off a friend of mine who had a band, and he decided he'd put down the guitar and you know, do decorating.
0:23:28 > 0:23:32And he'd bought it off a member from Thin Lizzy.
0:23:32 > 0:23:37- That famous band.- And he was...and apparently the chap from Thin Lizzy
0:23:37 > 0:23:40had bought it from a chap from Osibisa,
0:23:40 > 0:23:45who I understand supported Bob Marley in the late '70s,
0:23:45 > 0:23:52and one of them had bought it off the Marley team after the concert at the Hammersmith Odeon.
0:23:52 > 0:23:55And I've just kept it hidden away ever since.
0:23:55 > 0:23:57Well, here on the Antiques Roadshow
0:23:57 > 0:24:02we're always talking about provenance, but normally it's to do with old furniture,
0:24:02 > 0:24:05but it's just as important with music memorabilia.
0:24:05 > 0:24:06Now, Bob Marley's classic Gibson
0:24:06 > 0:24:10is the one that's now in the museum in Kingston, Jamaica,
0:24:10 > 0:24:14and he was known to have an aluminium scratch plate here,
0:24:14 > 0:24:19and around the switch here he had a sort of rugby-shaped aluminium plate,
0:24:19 > 0:24:22and that's the very, very famous one.
0:24:22 > 0:24:25What we need to find is a photograph of him
0:24:25 > 0:24:30actually playing this instrument, hopefully at the Hammersmith Odeon. Have you looked at all?
0:24:30 > 0:24:35- I haven't, I haven't done that, no. - Well, maybe I can encourage you to do that.- I think I will.
0:24:35 > 0:24:40It will make a massive difference to the value of such an item.
0:24:40 > 0:24:43The story you just gave me - we all believe it,
0:24:43 > 0:24:47but if you were asking me to write a big cheque for you, I would want
0:24:47 > 0:24:53just a bit more, I'd love to see Bob playing this instrument and then I'd write you that very big cheque.
0:24:53 > 0:24:56As it is, great guitar...
0:24:56 > 0:24:58- Do you play it?- I'm learning.
0:24:58 > 0:25:00You're learning. So you would enjoy it.
0:25:00 > 0:25:03If you went to a store today to buy that as a second-hand Gibson,
0:25:03 > 0:25:05what is it, late-'60s, early-'70s...
0:25:05 > 0:25:08you can get the date from Gibson, it's got a serial number -
0:25:08 > 0:25:13you'd probably have to pay between £1,500 and £2,000.
0:25:13 > 0:25:17Put that magical name on it, one used and played by Bob Marley.
0:25:17 > 0:25:22you could be talking a figure of probably £25,000 - £30,000.
0:25:22 > 0:25:28- Does that encourage you to find out? - I might have a look at photographs, but I think I might just keep it.
0:25:28 > 0:25:30Ah. Good for you.
0:25:36 > 0:25:40It's that moment on the Antiques Roadshow when it's time for a rendition of "Singin' in the Rain".
0:25:40 > 0:25:43It was glorious earlier on, and what's happened?
0:25:43 > 0:25:46The heavens have opened. But we're going to enjoy ourselves, aren't we?
0:25:46 > 0:25:51- ALL: Yes.- In your blue macs. It takes more than a spot of rain to put us off.
0:26:08 > 0:26:12How good to see two absolute classic Victorian paintings
0:26:12 > 0:26:14in their typical frames,
0:26:14 > 0:26:19and I can imagine them hanging in a beautiful Victorian house.
0:26:19 > 0:26:22- Tell me more about them.- Well, we inherited them about five years ago
0:26:22 > 0:26:28from an old lady that we used to look after for many years, and we had the choice of what paintings
0:26:28 > 0:26:32we wanted, so my husband chose that one, and I chose that one.
0:26:32 > 0:26:34Ah, I wonder why.
0:26:34 > 0:26:36I wonder why.
0:26:36 > 0:26:39There he is... The culprit.
0:26:39 > 0:26:42Well, he's got an eye for a pretty lady, that's certainly true.
0:26:42 > 0:26:47This is by Henrietta Rae, who was also known as Mrs Ernest Normand,
0:26:47 > 0:26:51and she was born in 1859, and died in 1928,
0:26:51 > 0:26:53so she lived a long life.
0:26:53 > 0:26:58And what I like about this picture is that while she stayed very much
0:26:58 > 0:27:02in the Victorian era for her subject matter,
0:27:02 > 0:27:06there was a great vogue for painting literary and classical subjects,
0:27:06 > 0:27:11her palette has become much looser and much wider, so she's looked
0:27:11 > 0:27:17at Impressionism here, and so it's not that photographic exactness you see, it's much more modern
0:27:17 > 0:27:21in its execution and it's possibly a sketch for something bigger.
0:27:21 > 0:27:22Do you have any more information about that?
0:27:22 > 0:27:26Yes, we've researched on the net and it's "Psyche at the Throne of Venus",
0:27:26 > 0:27:29it's the big one that this is the "Throne of Venus" from.
0:27:29 > 0:27:34- Yes, the big one would have been almost certainly a Royal Academy picture.- Oh, yes, yes.- Yes, exactly.
0:27:34 > 0:27:39- Well, I think it's wonderful, and tell me, do you hang it today in your home?- Unfortunately, no.
0:27:39 > 0:27:41We've downsized, so we haven't got room for her any more.
0:27:41 > 0:27:45- Oh.- Either of them, in fact.- Right, well, let's look at the other one.
0:27:45 > 0:27:49This is by an English artist, in spite of his name - Rossi -
0:27:49 > 0:27:50called Alexander M Rossi,
0:27:50 > 0:27:53and he specialised, again at the turn of the century,
0:27:53 > 0:27:55in beautiful domestic scenes,
0:27:55 > 0:28:00usually of children, and often on a beach.
0:28:00 > 0:28:04And here we have the child here, and children playing on a beach with their mother.
0:28:04 > 0:28:06And again it's beautifully done, very well executed.
0:28:06 > 0:28:13The Victorians were great technicians, but they knew their, dare I say it, limitations.
0:28:13 > 0:28:16If you wanted to buy a picture by Rossi, you wanted to buy
0:28:16 > 0:28:18a picture of a beach scene.
0:28:18 > 0:28:21If Mr Rossi suddenly painted pictures of cows,
0:28:21 > 0:28:25it wouldn't be something that his public would want him to do.
0:28:25 > 0:28:27So they're a bit unloved at the moment, are they?
0:28:27 > 0:28:28- Well, we love them, we love them. - You love them.
0:28:28 > 0:28:31- But we haven't got room.- But you can't...so that's under the bed.
0:28:31 > 0:28:36Yeah, no, they're on top of the wardrobe, all wrapped up in their packaging.
0:28:36 > 0:28:37Well, probably very safe, very safe.
0:28:37 > 0:28:40OK, shall we start, with the Henrietta Rae?
0:28:40 > 0:28:43I think that this is probably the more valuable of the two.
0:28:43 > 0:28:48And I would estimate in today's market, it's probably worth £3,000 to £5,000.
0:28:48 > 0:28:50- Really?- That sort of thing.
0:28:50 > 0:28:54And the Rossi is a little bit sketchy, but probably
0:28:54 > 0:28:57in the region of £1,500 to £2,500.
0:28:57 > 0:29:00- Oh, right.- So not bad for your cupboard.- No, no, no.
0:29:00 > 0:29:03But your husband probably chose the more expensive one.
0:29:03 > 0:29:06I'm not sure if he realised that.
0:29:06 > 0:29:10No. Not at the time, no.
0:29:10 > 0:29:13- Thank you so much. - OK, thank you very much.
0:29:15 > 0:29:19A house as old as this, of course, has so many stories and secrets.
0:29:19 > 0:29:22And it has its fair share of tragedies as well.
0:29:22 > 0:29:25Yes, and this is just one such story. The story of Henry Arkwright,
0:29:25 > 0:29:29who was the sixth of 12 children who lived here. This was their home
0:29:29 > 0:29:31in the middle of the 19th century.
0:29:31 > 0:29:36And Henry at the time of his death, which is what this represents, was 28 years old.
0:29:36 > 0:29:40In 1866, he went with his mother and two sisters on a trip to the Alps
0:29:40 > 0:29:45and being 28 and in the prime of life, he decided he would like to try to climb Mont Blanc,
0:29:45 > 0:29:48and he did so with the help of a guide and two porters,
0:29:48 > 0:29:51and his sister also went part of the way up the mountain with him.
0:29:51 > 0:29:52And so what went wrong?
0:29:52 > 0:29:56Well, unfortunately the party was going up a little-used part of the mountain to try
0:29:56 > 0:30:02to make a slightly shorter climb and a loud noise was heard to one side
0:30:02 > 0:30:04and it was immediately recognised
0:30:04 > 0:30:10by one of the guides as a serac, a sort of curling piece of ice, falling, breaking away and falling
0:30:10 > 0:30:13onto the snow, and of course, an avalanche immediately followed.
0:30:13 > 0:30:17And two of the party were able to move to the correct side of the mountain to escape.
0:30:17 > 0:30:21But unfortunately, Henry and his guide and porters were all killed in the accident.
0:30:21 > 0:30:25So these are the artefacts that belonged to Henry?
0:30:25 > 0:30:27And were they found straight away?
0:30:27 > 0:30:31No. Henry's body was buried in the glacier for 31 years
0:30:31 > 0:30:34before it was found in 1897.
0:30:34 > 0:30:37Somebody just walking on the mountain about 9,000 feet below
0:30:37 > 0:30:40where the avalanche had happened came upon his remains in the snow.
0:30:40 > 0:30:43And these items are some of the things by which he was identified,
0:30:43 > 0:30:46- and some of the items that he had in his pockets, and so on.- Incredible.
0:30:46 > 0:30:48So this little hankie - he must have had this in his pocket?
0:30:48 > 0:30:51He did indeed, and indeed, this handkerchief with the blue border
0:30:51 > 0:30:53is mentioned in reports, and it has his name.
0:30:53 > 0:30:57"H. Arkwright" and "84th Regiment" on it - he was in the army at the time of his death,
0:30:57 > 0:31:01and also you've got here a couple of plum stones, which is what climbers at the time used to put
0:31:01 > 0:31:05in their mouths, to keep it moist when they were climbing, as they got to altitude.
0:31:05 > 0:31:07- So they would suck on them.- Yes, to stop their mouths from drying out.
0:31:07 > 0:31:11- And here he is. - In a portrait by his sister Mary.
0:31:11 > 0:31:15Mary was back here when Henry was out at the Alps with his mother.
0:31:15 > 0:31:20- That's right.- So his mother wrote to his sister to say what had happened.
0:31:20 > 0:31:23This is her reply - it's absolutely heartbreaking.
0:31:23 > 0:31:29It says "Oh, mother, mother, God's holy will be done, that dear, dear, dear Henry
0:31:29 > 0:31:33"is with his Saviour, but how will our broken hearts be healed?"
0:31:33 > 0:31:37- Terribly poignant.- Terribly sad story, but it's rather wonderful that it's back here today.- Isn't it?
0:31:37 > 0:31:40It was remarkable to find it at all. I assumed it would long since
0:31:40 > 0:31:44have been dispersed, but it was terrific to find the descendants
0:31:44 > 0:31:48of the lady who wrote that letter had kept it safely all these years.
0:31:48 > 0:31:52- Yes, he's sort of been found again. - Yes. Thank you.- It's a pleasure.
0:31:56 > 0:32:01I find people either love or hate English domestic embroideries.
0:32:01 > 0:32:03Now, which camp do you fall in?
0:32:03 > 0:32:06It's certainly not my favourite picture.
0:32:06 > 0:32:10But I think the work in it is absolutely amazing.
0:32:10 > 0:32:13Good, OK, so you can appreciate what went into it, even if you don't.
0:32:13 > 0:32:19Oh, absolutely, and I think perhaps part of the reason I don't like it very much is that it's faded.
0:32:19 > 0:32:22And the other thing is, we've kept it out of the light
0:32:22 > 0:32:26so you don't really see it as you enter the room.
0:32:26 > 0:32:30Well, I think putting it in a situation like that has stopped it
0:32:30 > 0:32:35from fading any more, but you're right, it's not quite as bright as perhaps one would like it to be.
0:32:35 > 0:32:37The first thing to say is,
0:32:37 > 0:32:42what's it depicting? Well, it's depicting an Old Testament scene,
0:32:42 > 0:32:47the old gentleman pointing upwards to the heavens here.
0:32:47 > 0:32:49And if we go up further,
0:32:49 > 0:32:54is this a view of heaven, this wonderful castle with the windows,
0:32:54 > 0:32:58look, made of mica, so that you can actually see them glittering?
0:32:58 > 0:33:01It's embroidered on pale satin.
0:33:01 > 0:33:03Imagine the scene -
0:33:03 > 0:33:06candlelight, dark, panelled walls,
0:33:06 > 0:33:10and suddenly the candlelight plays
0:33:10 > 0:33:15over this reflective surface with this psychedelic pattern on it -
0:33:15 > 0:33:20my goodness - that would be really eye-catching.
0:33:20 > 0:33:26- I'm not persuading you, am I?- No, I must admit I'm feeling a little bit
0:33:26 > 0:33:28for the person who actually embroidered it.
0:33:28 > 0:33:31Because she was possibly doing it by candlelight.
0:33:31 > 0:33:34These embroideries were generally done
0:33:34 > 0:33:37by ladies of leisure.
0:33:37 > 0:33:40It was a sign of being gentlewomanly,
0:33:40 > 0:33:43because you had leisure time.
0:33:43 > 0:33:46It showed that you were not of working class, because you had enough
0:33:46 > 0:33:48leisure time to be able to spend it
0:33:48 > 0:33:51on creating something beautiful, but it wasn't just that.
0:33:51 > 0:33:55It also showed your prospective husband
0:33:55 > 0:33:58that you had patience, that you were diligent, that you were tidy,
0:33:58 > 0:34:01that you were obedient, that you could sit quietly and be occupied,
0:34:01 > 0:34:05you weren't going to be a threat, you weren't going to be out gallivanting.
0:34:05 > 0:34:08It's dating from 1650-1680,
0:34:08 > 0:34:11it's a Stuart embroidery.
0:34:11 > 0:34:13So, it's a family piece?
0:34:13 > 0:34:16Yes, but I've no idea
0:34:16 > 0:34:22- who had the patience to sew like that.- One of your forebears, I guess.- Well, my husband's forebears.
0:34:22 > 0:34:24- Your husband's forebears.- Yes, yes.
0:34:24 > 0:34:27I think it looks OK at the moment, but there is a problem in the...
0:34:27 > 0:34:29Oh, you've found it.
0:34:29 > 0:34:33the problem in the centre here, and that is purely time.
0:34:33 > 0:34:37These materials were not designed to last for 400 years,
0:34:37 > 0:34:40this was not the idea,
0:34:40 > 0:34:42so it's inevitable that with dust,
0:34:42 > 0:34:46- with light, with temperature changes, it begins to deteriorate.- Yes.
0:34:46 > 0:34:49But even so, it has a value.
0:34:49 > 0:34:52The market for these is very much driven by the States.
0:34:52 > 0:34:56The American collectors really appreciate what they call the "folk art" qualities
0:34:56 > 0:35:01of this type of embroidery and I would see it easily fetching
0:35:01 > 0:35:03- between £4,000-£6,000.- Would you?
0:35:03 > 0:35:06But we're not going to sell it.
0:35:06 > 0:35:08I'm very pleased because actually something that's been
0:35:08 > 0:35:10in the family for all these years,
0:35:10 > 0:35:14deserves really to be handed down, and I'm glad that it will be.
0:35:18 > 0:35:21Well, when I see an object like this, it tells me something about
0:35:21 > 0:35:27your family and previous generations because somebody, way back in the mists of time, was in the money.
0:35:27 > 0:35:32Because an object like this would have been costly when it was new.
0:35:32 > 0:35:35- Right.- Now, it is a piece of Victorian silver.- Yes.
0:35:35 > 0:35:38And as far as Victorian silver goes, it, you know,
0:35:38 > 0:35:40for my money, it doesn't get much better.
0:35:40 > 0:35:44- Mm.- Because it's got that magic name on it, it's all in a name to a certain degree.
0:35:44 > 0:35:49If we look at the actual decoration here, it's actually signed in the bottom, it says "Elkington".
0:35:49 > 0:35:51- Right.- So they're the makers.
0:35:51 > 0:35:57- Right.- But they had a very good art director called Morel-Ladeuil,
0:35:57 > 0:36:02and this shouts Morel-Ladeuil, but having said all that,
0:36:02 > 0:36:07- what is wonderful is that you've got a letter here.- That's right.
0:36:07 > 0:36:11Which is stuff that most people in this business dream about finding.
0:36:11 > 0:36:15- Yeah.- Because it's from Elkington themselves!
0:36:15 > 0:36:16- Can I read some of this?- You can.
0:36:16 > 0:36:20It's Elkington & Co. Ltd, 1899, OK.
0:36:20 > 0:36:25"This silver tazza you sent us for description is in repousse chasing
0:36:25 > 0:36:28"by Morel-Ladeuil, principal designer,
0:36:28 > 0:36:35"Messrs Elkington. The work is very costly, being the original and no copy of it".
0:36:35 > 0:36:38And "it was exhibited at the Vienna Exhibition"
0:36:38 > 0:36:41and then it goes on to tell us that the subjects represent the seasons.
0:36:41 > 0:36:48- That's right. - With summer being represented by this nubile, gossamer-draped, naked lady.
0:36:48 > 0:36:52But let's just have a look at the construction, let's just start with the base.
0:36:52 > 0:36:55- Can you see these crowing cockerels? - Yeah, they're lovely.
0:36:55 > 0:36:58Look at the quality of the casting,
0:36:58 > 0:37:03and they've been chiselled to get that wonderful detail, so they herald the morning.
0:37:03 > 0:37:09- Yes, beautiful.- And then we find our way up to this wonderful,
0:37:09 > 0:37:14this repousse work, which has been sort of beaten from behind and then chased, all hand done.
0:37:14 > 0:37:20- Fabulous.- I've just checked the hallmark, and the hallmark in actual fact is Birmingham, 1859.
0:37:20 > 0:37:23- Is it?- So it had been around for some time.- Right.
0:37:23 > 0:37:28So it goes without saying that they'd had it in their showroom
0:37:28 > 0:37:30- as a great example.- Right, yes.
0:37:30 > 0:37:33- And they'd bring it out for international exhibitions. - Oh, wow. Wow.
0:37:33 > 0:37:37So there, it's in your family, you've just grown up with it, I assume?
0:37:37 > 0:37:41- I have, loved it, we love it. - You do?- Yes.- So that's all that matters, really.- That's right, it is.
0:37:41 > 0:37:46But there again, you know, we have to think about the sort of value that we're looking at here really,
0:37:46 > 0:37:51- and it's a tricky one, because there isn't another. - Well, no, I thought that.
0:37:51 > 0:37:56I think that if I wanted to buy this, I wouldn't get any change from somewhere between
0:37:56 > 0:38:00- at least £5,000 to £6,000. - Wow! Fabulous.
0:38:00 > 0:38:03So, it seems a shame to put a bunch of grapes on it really, doesn't it?
0:38:03 > 0:38:05What do you suggest?
0:38:05 > 0:38:08Well, I think bananas actually, I'd put bananas all the way round,
0:38:08 > 0:38:11- it would just look a treat, wouldn't it?- Oh.
0:38:11 > 0:38:15- But what a wonderful thing to treasure.- Thank you, it's lovely.
0:38:15 > 0:38:18"Elizabeth...Cooper,
0:38:18 > 0:38:23"born April 14th...
0:38:23 > 0:38:25"1771".
0:38:25 > 0:38:28So who was Elizabeth Cooper?
0:38:28 > 0:38:32I assume she was my great-great-grandmother, or some relative on my grandfather's side.
0:38:32 > 0:38:36Great-great-grandmother? Come on, I think there are a few more "greats".
0:38:36 > 0:38:38- Well, another great then.- I think we've got a few greats,
0:38:38 > 0:38:40- so it's your great great grandmother. - Yeah.
0:38:40 > 0:38:42On your mother's side.
0:38:42 > 0:38:47- On my grandfather's side. - Grandfather's side, so you're a Cooper that married somebody else.
0:38:47 > 0:38:50- Yeah.- Got yer. 1771!
0:38:50 > 0:38:53It's absolutely bang on, that's exactly how old this is.
0:38:53 > 0:38:58- It's 240 years old.- Yes.
0:38:58 > 0:39:00- Well, that's nice. - They lived in Wordsley,
0:39:00 > 0:39:03in the Stourbridge area, so is it from there?
0:39:03 > 0:39:06Important glassmaking centre. One can't tell, you know,
0:39:06 > 0:39:08it doesn't say, unlike ceramics, it doesn't tell you on the tin...
0:39:08 > 0:39:10- No.- ..who made it.
0:39:10 > 0:39:14But this is certainly an English wine goblet of that period.
0:39:14 > 0:39:18Just at a point where the mid-18th-century drinking glasses
0:39:18 > 0:39:20which had those tiny little bowls,
0:39:20 > 0:39:24turned, because of a change in drinking etiquette of the period,
0:39:24 > 0:39:26into the big goblets that we see before us.
0:39:26 > 0:39:29- Right.- That's a real blinder, isn't it? I mean, funnily enough,
0:39:29 > 0:39:35it's got hops on here which means that it's for drinking beer.
0:39:35 > 0:39:38- Beer, beer.- It's a beer glass. - Is it a beer glass?- Yes,
0:39:38 > 0:39:42and it's as English as the day is born, it's absolutely right,
0:39:42 > 0:39:44it's a lovely form. Do you use it?
0:39:44 > 0:39:46No, it's in a glass cabinet.
0:39:46 > 0:39:51- Oh, I think once in a while - Christmas Day.- Should I, should I? I wouldn't trust myself.
0:39:51 > 0:39:53No. I think every Christmas, you should toast her health and say,
0:39:53 > 0:39:57"Thanks Grandma, great-great-great great-great Grandma".
0:39:57 > 0:40:00And "to your £400 drinking glass".
0:40:00 > 0:40:01Really?
0:40:01 > 0:40:04Very nice, thank you.
0:40:07 > 0:40:10In the bottom left hand corner is a monogram,
0:40:10 > 0:40:14and it's the monogram of the most prominent watercolourist at work
0:40:14 > 0:40:17in England in the late 19th century -
0:40:17 > 0:40:20- Myles Birket Foster. - Didn't know that.
0:40:20 > 0:40:23How did it come into your life?
0:40:23 > 0:40:24It's quite a story, actually.
0:40:24 > 0:40:29I was a dairy farmer and I bred dairy shorthorn cattle, which is the subject of the picture.
0:40:29 > 0:40:34In 1986, the eldest of my children got married
0:40:34 > 0:40:38- and we had the reception, after the wedding service, at the farm.- Right.
0:40:38 > 0:40:41It went on until the evening.
0:40:41 > 0:40:47It was later in the evening, all the guests left and one of them bumped into a cow on the way out
0:40:47 > 0:40:49because they had to drive out through the field.
0:40:49 > 0:40:53- He bumped into a cow. - He drove his car into a cow.
0:40:53 > 0:40:56OK, so your daughter's guest bumps into one of your cows.
0:40:56 > 0:40:59What happens next?
0:40:59 > 0:41:03Well, then it came to an insurance claim, compensation for the cow,
0:41:03 > 0:41:08because the cow had been entered to be exhibited at the Royal Show four weeks later.
0:41:08 > 0:41:10Oh, right, so it was a special cow?
0:41:10 > 0:41:14It was a special cow - she was lamed, it hurt her leg,
0:41:14 > 0:41:18so she was unable to be shown, so there was a financial loss involved.
0:41:18 > 0:41:24And although his insurance company would mend the car, it wouldn't pay for mending the cow.
0:41:26 > 0:41:31So I was a bit miffed about it at the time, but he was a very good friend of mine,
0:41:31 > 0:41:34so I didn't upset him, and I didn't say anything.
0:41:34 > 0:41:35Three, four years later, I think,
0:41:35 > 0:41:37he passed away,
0:41:37 > 0:41:41and I was very surprised to be told that he'd left me this picture,
0:41:41 > 0:41:43which I'd much admired in his house,
0:41:43 > 0:41:47- in his will.- Of the same type of cow that he'd knocked.
0:41:47 > 0:41:50The same type of cow that he'd knocked and that I'd bred.
0:41:50 > 0:41:52Well, he's given you a watercolour
0:41:52 > 0:41:56by a really very eminent water colourist, much copied, much faked.
0:41:56 > 0:42:00Myles Birket Foster is known for his rather sweet,
0:42:00 > 0:42:03but very precise images of rustic England,
0:42:03 > 0:42:07particularly rather pretty girls in meadows,
0:42:07 > 0:42:12anything to do with farming and the outdoors, and cottages and what-have-you.
0:42:12 > 0:42:15And although he appears rather saccharine and sweet, in fact,
0:42:15 > 0:42:20what distinguishes him from artists of the period is how precise he is.
0:42:20 > 0:42:21You can understand every form.
0:42:21 > 0:42:26If you look at the way those cows are done, if you look at the way
0:42:26 > 0:42:30that the eaves are portrayed, or the little face of the farm boy behind,
0:42:30 > 0:42:34they're all very complete, very crisp, very credible images,
0:42:34 > 0:42:37which is what I really like about Birket Foster.
0:42:37 > 0:42:42Can I ask you a question? This picture, painted in about 1870-1880,
0:42:42 > 0:42:45is actually a rather special thing.
0:42:45 > 0:42:48What was your financial loss on your prize cow?
0:42:48 > 0:42:54The cow involved was valued at about £1,000 at the time she was hit.
0:42:54 > 0:42:58And I suppose the value would have been reduced by about £600.
0:42:58 > 0:42:59Well, that's rather sad.
0:42:59 > 0:43:04- After the accident. - Well, I must say I'm beginning to rather feel for the cow.
0:43:07 > 0:43:09But it does have a happy ending.
0:43:09 > 0:43:11That £600 that you lost
0:43:11 > 0:43:15has been replaced with a picture worth about £2,500.
0:43:15 > 0:43:18Well, thank you very much. Brilliant.
0:43:28 > 0:43:32Every Roadshow is different. We never know what's going to turn up,
0:43:32 > 0:43:34and sometimes the most unlikely things are brought along.
0:43:34 > 0:43:37But then there are items that our experts claim to see,
0:43:37 > 0:43:40week in, week out, at a Roadshow.
0:43:40 > 0:43:43But this series, I'm asking them what would they most like to see,
0:43:43 > 0:43:46what would be their dream object if it turned up on their table?
0:43:46 > 0:43:49Now, Alastair Dickenson silver specialist, of course,
0:43:49 > 0:43:53what about what you see most often, and what do you see brought along,
0:43:53 > 0:43:55in their hundreds and thousands?
0:43:55 > 0:44:00I see, most of the time, things like Britannia metal teapots.
0:44:00 > 0:44:05- Britannia metal - what's that? - Yeah, Britannia metal is an alloy of tin - mostly tin,
0:44:05 > 0:44:0990% tin, about 8% copper, and 2% antimony.
0:44:09 > 0:44:14But it wasn't until the invention of electroplating in about 1840,
0:44:14 > 0:44:18that they started to plate it, and make it look like silver.
0:44:18 > 0:44:23One of the ways of telling that this is a piece of Britannia metal
0:44:23 > 0:44:25is that it's actually stamped "EPBM",
0:44:25 > 0:44:27"Electroplated Britannia Metal".
0:44:27 > 0:44:32Similar to electroplated nickel silver which is stamped "EPNS".
0:44:32 > 0:44:36- Which is more valuable? - Which is slightly more valuable.
0:44:36 > 0:44:41Britannia metal - the big problem with it, is that so much of it
0:44:41 > 0:44:46is in terrible condition because you might see a black spot on it.
0:44:46 > 0:44:49People think that black spot is probably tarnish.
0:44:49 > 0:44:54If we look at this piece, which is a hot water pot, dated about 1870,
0:44:54 > 0:44:56got a black spot here.
0:44:56 > 0:45:03That's not tarnish, that's the base metal showing through from the electroplating which is covering it.
0:45:03 > 0:45:06- So the more you clean it, the more you reveal the base metal.- Exactly.
0:45:06 > 0:45:07So presumably you must get a lot of people turning up at the table
0:45:07 > 0:45:10thinking "I've got a lovely piece of silver here, a bit grubby",
0:45:10 > 0:45:14but a lovely piece, and then they're a bit gutted really, when they find it's only worth a few pence.
0:45:14 > 0:45:18They are very polite and smile sweetly,
0:45:18 > 0:45:21and I do my best to bring them down gently.
0:45:21 > 0:45:24Well, if this poor old hot water jug
0:45:24 > 0:45:28is something you see in its hundreds and thousands -
0:45:28 > 0:45:31poor, unloved hot water jug - what would you most like to see?
0:45:31 > 0:45:35If you ask anybody in silver, "What's the most famous name?"
0:45:35 > 0:45:38they're probably going to answer "Paul de Lamerie".
0:45:38 > 0:45:41He started his career in 1713,
0:45:41 > 0:45:48but by 1716, he was goldsmith to the king, so he was a very talented chap,
0:45:48 > 0:45:50right at a young age.
0:45:50 > 0:45:55But by the time we get to the mid-18th century, he's really flying high.
0:45:55 > 0:45:58I've always wanted to find these candelabra
0:45:58 > 0:46:01in this picture here.
0:46:01 > 0:46:07In the high Rococo style with these male torsos holding these branches,
0:46:07 > 0:46:12all very ornate, very asymmetrical, typical Rococo.
0:46:12 > 0:46:14But these have an interesting history.
0:46:14 > 0:46:19They were made for George Anson, Admiral of the Fleet,
0:46:19 > 0:46:23and in 1744 he captured a Spanish treasure ship
0:46:23 > 0:46:28that was sailing from Manila to Acapulco.
0:46:28 > 0:46:30But what a treasure ship,
0:46:30 > 0:46:33because when he arrived home in Portsmouth,
0:46:33 > 0:46:3832 wagons were loaded with silver treasure.
0:46:38 > 0:46:44- Off the ship.- Off the ship, including 2,600,000 pieces of eight,
0:46:44 > 0:46:46150,000 ounces of silver,
0:46:46 > 0:46:50and ten gold bars for good measure.
0:46:50 > 0:46:55Now, Anson's share of that booty was enormous,
0:46:55 > 0:47:01enough for him to build and buy a huge house which he had in Hertfordshire called Moor Park.
0:47:01 > 0:47:05And he called in the best silversmith of the day - Paul de Lamerie -
0:47:05 > 0:47:08to make silver for that house.
0:47:08 > 0:47:11And after his death, they passed through various generations
0:47:11 > 0:47:16of the family, and ended up with the Earls of Lichfield,
0:47:16 > 0:47:19who put everything into auction in 1893,
0:47:19 > 0:47:21when they made about £780,
0:47:21 > 0:47:25- which was a lot of money in 1893. - I'll say.
0:47:25 > 0:47:30- And they've disappeared from that time.- And they've never been seen since then?
0:47:30 > 0:47:35They've not been seen since then, and I would love to know where they are.
0:47:35 > 0:47:38- So this is the only record we've got. - This is the only record we've got.
0:47:38 > 0:47:41- And if they did appear now...- Yes?
0:47:41 > 0:47:44What would they be worth?
0:47:44 > 0:47:49Probably £1.5m, £2m.
0:47:51 > 0:47:54Anyone got one of these? Wow!
0:47:54 > 0:47:59Yeah, they are spectacular looking.
0:47:59 > 0:48:02- So, you'd rather have these than this.- Yes.- Lovely hot water jug.
0:48:02 > 0:48:05It's a tough choice, but...
0:48:05 > 0:48:06I'm afraid so.
0:48:08 > 0:48:11If you think you know where these candelabra are - if you see one -
0:48:11 > 0:48:14if one is just lurking unloved in your attic, who knows?
0:48:14 > 0:48:17Come along to the Roadshow,
0:48:17 > 0:48:23or contact us at our website, which is:
0:48:33 > 0:48:39Well, this takes me back to the 1950s, Whirlygig children's TV,
0:48:39 > 0:48:42and a Pelham puppet.
0:48:42 > 0:48:45Now, Bob Pelham, who started the puppets -
0:48:45 > 0:48:48in World War II, he was called "the wonky donkey officer"
0:48:48 > 0:48:52because he produced donkeys that moved around.
0:48:52 > 0:48:57When he left, and started up in Marlborough and started producing these
0:48:57 > 0:49:02fantastic puppets, and they were incredibly successful at the time.
0:49:02 > 0:49:04Here he is...and of course,
0:49:04 > 0:49:07they had their own TV show. When did you get them?
0:49:07 > 0:49:11Well, early 1950s, yes.
0:49:11 > 0:49:13Because he came into production in '52,
0:49:13 > 0:49:19and I remember him on the television, with his friends Colonel Beetroot...
0:49:19 > 0:49:20- Do you remember Colonel Beetroot? - I think I do.
0:49:20 > 0:49:24..Who remembers Colonel Beetroot? Does anyone? Have we got anybody?
0:49:24 > 0:49:27- Colonel Beetroot and Susie Swede.- Oh.
0:49:27 > 0:49:33And do you know, Emily, he was a bit of a rascal on the television,
0:49:33 > 0:49:38he was a bit naughty, and the funny thing about him is
0:49:38 > 0:49:39that not a lot of people liked him.
0:49:39 > 0:49:45- Oh, didn't they?- No, but what is wonderful here is that you have him in tremendous condition.
0:49:45 > 0:49:47Your granny must have been a very good girl when she was little,
0:49:47 > 0:49:51because she's looked after him, very, very well.
0:49:51 > 0:49:56And he's in his original early box with all the documentation,
0:49:56 > 0:49:58- you've kept everything.- Yes.
0:49:58 > 0:50:00Emily, do you like him?
0:50:00 > 0:50:02You do?
0:50:02 > 0:50:05Well, you'll have to think of a little story for Mr Turnip, I think.
0:50:05 > 0:50:08So, in terms of value,
0:50:08 > 0:50:12Pelham puppets have gone down, there are a lot of similar ones we see,
0:50:12 > 0:50:17they range from, I don't know, £50, maybe £100.
0:50:17 > 0:50:21And of course, he wasn't popular.
0:50:21 > 0:50:25But because of that, he's worth a little bit more than some
0:50:25 > 0:50:30of the other ones, and because Granny was such a good girl, and kept him
0:50:30 > 0:50:34in such good condition, and all his box, would you like to know how much he's worth?
0:50:34 > 0:50:38- Because he's very old. - He's very old.- And very interesting.
0:50:38 > 0:50:41Yes, and he's as old as Granny and I.
0:50:42 > 0:50:44So that's not very old.
0:50:46 > 0:50:48Before we let that one slip.
0:50:48 > 0:50:51But would it surprise you
0:50:51 > 0:50:57if I told you that he would probably sell for about £1,200?
0:50:57 > 0:51:00- THEY GASP - No!
0:51:00 > 0:51:07Goodness gracious. Well, I must say, I've never seen another one, ever, ever.
0:51:07 > 0:51:10Well, he's more special than I ever thought he would be.
0:51:15 > 0:51:18Well, this is "Select Orchidacaeous Plants" and it's the finest copy
0:51:18 > 0:51:21that I think I've ever seen of it.
0:51:21 > 0:51:26It's by Robert Warner, here, with the notes on the culture
0:51:26 > 0:51:30by Benjamin Williams, and the date is 1862 to 1865,
0:51:30 > 0:51:33so it came out in parts.
0:51:33 > 0:51:37The reason I say it's such a fine copy
0:51:37 > 0:51:41is that it has a very good presentation inscription.
0:51:41 > 0:51:46It says, "Presented to Alfred Ernest Warner on his wedding day,
0:51:46 > 0:51:52"3rd December 1878 by his affectionate uncle, the author, Robert Warner".
0:51:52 > 0:51:55And so what relationship was Alfred to you?
0:51:55 > 0:51:59He would have been the brother of my great-great-grandfather.
0:51:59 > 0:52:04All the Warners have been very keen gardeners and that's passed down the generations.
0:52:04 > 0:52:08Now this plate here is particularly beautiful -
0:52:08 > 0:52:11lovely greens and gorgeous purples and mauves,
0:52:11 > 0:52:15with a little bit of red, and all that sort of thing.
0:52:15 > 0:52:18So really, this book is a sort of heirloom for you.
0:52:18 > 0:52:22- It is. It is, indeed, yes. - And an heirloom that you're going to give your daughters.
0:52:22 > 0:52:27- Yes, I've got a real problem now, because I have two...- Well, of course you have, two daughters.
0:52:27 > 0:52:31So I have to find another copy of the book.
0:52:31 > 0:52:35Yes, absolutely, so what will you do with your heirloom? Do you like it?
0:52:35 > 0:52:36- Yes.- You do?- Yes.
0:52:36 > 0:52:40- I think just look at it, admire it. - I think so.- Be very careful with it.
0:52:40 > 0:52:43I think it's absolutely incredible.
0:52:43 > 0:52:46These plates are just absolutely delicious.
0:52:46 > 0:52:50I mean look at that, it's a tiger orchid, beautifully hand-coloured,
0:52:50 > 0:52:53and looks absolutely tremendous.
0:52:53 > 0:52:55That is quite a feat of Victorian colouring.
0:52:55 > 0:52:58Some of them almost have a sheen, almost a gloss over parts of the image.
0:52:58 > 0:53:05Oh, yes, yes, that was often applied, it is the egg white which is actually put on the paint,
0:53:05 > 0:53:09which gives them that gloss, that depth of feeling.
0:53:09 > 0:53:13And this one here, just one more there, which is pure white.
0:53:13 > 0:53:16Do you grow orchids at home? Do you have them?
0:53:16 > 0:53:20We do. We've got one growing in our toilet at the moment.
0:53:20 > 0:53:23So what do you do when you want to go?
0:53:23 > 0:53:26Dear, oh, dear. No, this is lovely,
0:53:26 > 0:53:31its an absolutely fantastic book, and I believe you bought it recently.
0:53:31 > 0:53:34I did, it was part of the estate
0:53:34 > 0:53:40of my cousin who died, and my other cousins very kindly let me buy it
0:53:40 > 0:53:42at the probate valuation at the time.
0:53:42 > 0:53:46- Mm, and what was the probate valuation? - Do I really have to tell you that?
0:53:46 > 0:53:51- Well, you want me to give something to you.- It was about £2,000.
0:53:51 > 0:53:53Right, well, I will have to value it.
0:53:53 > 0:53:56It's the best copy I've ever seen, presentation copy.
0:53:56 > 0:54:02If you've got two girls, one of them's going to divorce you because you've got to give it to one of them.
0:54:02 > 0:54:07I would say it's worth between £8,000 and £10,000.
0:54:07 > 0:54:11Well, that was a wonderful reaction from you lot.
0:54:11 > 0:54:13That's the problem.
0:54:15 > 0:54:18- Expensive problem.- Wonderful, thank you for bringing it in.
0:54:18 > 0:54:21Thank you very much for seeing it.
0:54:21 > 0:54:25We've got two Chinese jade carvings here of lotus.
0:54:25 > 0:54:29Last week I was in a park, just outside Beijing, and you could see,
0:54:29 > 0:54:32going into the far, far distance, lotus, absolutely fabulous.
0:54:32 > 0:54:35When you see them like that, you can understand why the Chinese get
0:54:35 > 0:54:37so very, very excited and why they use them so much.
0:54:37 > 0:54:39They represent purity -
0:54:39 > 0:54:44I think it's because they rise out of squelchy filthy mud, but they come out looking perfect and clean,
0:54:44 > 0:54:46and you tend to see all the Bodhisattvas, the gods,
0:54:46 > 0:54:48Buddhas, seated on lotus thrones,
0:54:48 > 0:54:51- they're fabulous things.- Oh, right. - Anyway, how did you get them?
0:54:51 > 0:54:56My great-grandfather bought them in the 1940s and he had a collection
0:54:56 > 0:54:59of 16 pieces, and unfortunately, now we only have four of them,
0:54:59 > 0:55:02two of which are here, and we don't know anything about them,
0:55:02 > 0:55:06so we thought we'd bring them along and see what we could find out.
0:55:06 > 0:55:08Great, really nice things to see.
0:55:08 > 0:55:09This one here
0:55:09 > 0:55:13is just a lotus with its pod and a bud there.
0:55:13 > 0:55:15This one's got all sorts of things going on -
0:55:15 > 0:55:18if we look round it, it's got... Have you seen that - a bat?
0:55:18 > 0:55:20Oh, no, I never saw that before.
0:55:20 > 0:55:22Bats represent blessings and happiness.
0:55:22 > 0:55:26- Oh, right.- We've got bamboo here,
0:55:26 > 0:55:29this represents fidelity.
0:55:29 > 0:55:31There's also I think... Yes, there is a...
0:55:31 > 0:55:34Just make out those scrolls at the end, that's a lingi fungus,
0:55:34 > 0:55:37which represents longevity, so we've got a sort of symphony of symbolism in Chinese art here.
0:55:37 > 0:55:40- Yes.- It's a really nice thing.
0:55:40 > 0:55:44Jade's a really hard material, it's carved by wearing it down
0:55:44 > 0:55:47by abrasion, so to carve that is a hell of a thing,
0:55:47 > 0:55:49really quite a feat.
0:55:49 > 0:55:52We don't know how it got the brown marks on the back, unfortunately,
0:55:52 > 0:55:55so if you could tell me, that would be quite interesting.
0:55:55 > 0:55:58Yeah, I'll put it down for a second.
0:55:58 > 0:56:00If you take a jade boulder...
0:56:00 > 0:56:02- Yeah.- ..from a river,
0:56:02 > 0:56:04- the outside is brown. - Oh, right, I never knew that.
0:56:04 > 0:56:08When you carve it, you carve into the centre and the centre of the
0:56:08 > 0:56:12- stone is clear, so this is the skin from the outside of the stone.- Right.
0:56:12 > 0:56:14And they leave it there to highlight it, it's there entirely deliberately
0:56:14 > 0:56:18and it's something that the collectors admire, they like it.
0:56:18 > 0:56:21- Right.- It isn't dirt, it is supposed to be like that.
0:56:21 > 0:56:23I thought it was burnt.
0:56:23 > 0:56:26No, it's really nice.
0:56:26 > 0:56:32Dating jade is difficult. This one, I think, is 19th century, this is possibly at the end of the 18th,
0:56:32 > 0:56:34so really good things really.
0:56:34 > 0:56:36Um, have you had a valuation before?
0:56:38 > 0:56:42Yes, in 1951 my great-grandfather died.
0:56:42 > 0:56:45And my great grandmother had them all insured so we've got
0:56:45 > 0:56:48the documentation of all 16 pieces.
0:56:48 > 0:56:53So we're not 100% sure which ones we've actually got out of the sixteen,
0:56:53 > 0:57:00but the valuations we've got are that one of them was worth 85...
0:57:00 > 0:57:02- I think it's shillings, is it? - Eighty five, no pounds, £85.
0:57:02 > 0:57:07£85, and the other one was £225 and that was in 1951.
0:57:07 > 0:57:09That's quite a lot of money.
0:57:09 > 0:57:11- Yes.- Well...- A lot of money.
0:57:11 > 0:57:13Yeah. Well, they've gone up a bit since then.
0:57:13 > 0:57:16The Chinese market is good, the Chinese like buying jades.
0:57:16 > 0:57:18And this one's gone up quite a lot
0:57:18 > 0:57:23- this one might be now about £3,000. £4,000 perhaps.- Right.
0:57:23 > 0:57:26This one's probably gone up about a hundred times since then.
0:57:26 > 0:57:30- Right. - That's about £15,000 to £20,000.
0:57:30 > 0:57:33- Wow!- What happened to the rest?
0:57:33 > 0:57:36Just different family members got different pieces.
0:57:36 > 0:57:42Obviously it's spread out and we've just got these two, and another two,
0:57:42 > 0:57:46- so, yes.- You need to round them up.
0:57:46 > 0:57:48Yes, we do really, yes.
0:57:48 > 0:57:52Well, I'm amazed,
0:57:52 > 0:57:54and so will my Mum be.
0:57:57 > 0:57:59Wow, thank you.
0:57:59 > 0:58:01Thank you very much,
0:58:01 > 0:58:05- they're terrific things.- Thank you.
0:58:05 > 0:58:10Emma Peel, in "The Avengers" - an iconic '60s series, who could forget it?
0:58:10 > 0:58:13Now, look at that cat suit.
0:58:13 > 0:58:18Now look at this catsuit! Someone has brought along to the Roadshow today the very selfsame catsuit
0:58:18 > 0:58:22that Emma Peel wore in this series, and I couldn't resist trying it on.
0:58:22 > 0:58:27I wore Shirley Bassey's coat in St Fagans, and now this! Couldn't be any better.
0:58:27 > 0:58:30I hope you've enjoyed this Roadshow half as much as I have.
0:58:30 > 0:58:34From Hampton Court Castle, until next time, bye-bye.
0:58:41 > 0:58:44Subtitles by Red bee Media Ltd
0:58:44 > 0:58:47E-mail subtitling@bbc.co.uk