0:00:02 > 0:00:04Questions, questions, questions.
0:00:04 > 0:00:08Every Roadshow echoes with literally thousands of different people
0:00:08 > 0:00:10asking our experts questions. "What is it?"
0:00:10 > 0:00:12"How was it made?" "What's it worth?"
0:00:12 > 0:00:16The question is, which is the most interesting answer?
0:00:16 > 0:00:19Luckily, our cameras are there to catch them as they happen.
0:00:19 > 0:00:22Welcome to another busy Antiques Roadshow.
0:00:59 > 0:01:01People often ask me about the Roadshow.
0:01:01 > 0:01:05"Do your experts ever turn up and find nothing interesting?"
0:01:05 > 0:01:10Well, thankfully, in over 30 years of touring, the answer is no.
0:01:10 > 0:01:14In fact, the reverse is true, that usually there are so many treasures on offer,
0:01:14 > 0:01:17we can't fit them all into one programme.
0:01:17 > 0:01:22So tonight we're going to bring you some of them, and three magnificent venues for the price of one.
0:01:22 > 0:01:26Stand by for a whistle-stop tour of England.
0:01:26 > 0:01:29The grand entrance to the British Museum in London recently welcomed
0:01:29 > 0:01:33thousands of visitors keen to see our specialists.
0:01:33 > 0:01:36And on a sunny day in the Derbyshire Dales,
0:01:36 > 0:01:39we found our way to the magnificent Chatsworth House.
0:01:39 > 0:01:42Both await us in this episode.
0:01:42 > 0:01:48But we start in Cumbria, in equally glorious surroundings.
0:01:48 > 0:01:53Six miles from Penrith is our most recent stopping off point, Hutton-in-the-Forest.
0:01:56 > 0:01:58It was there that Eric Knowles started our day.
0:01:58 > 0:02:03Forgive me, I think you should really be lying on a couch.
0:02:03 > 0:02:06I'll tell you why, I'm thinking of myself at the moment
0:02:06 > 0:02:09more as a sort of antiques psychiatrist,
0:02:09 > 0:02:13in so far as I want you to tell me about your cabinet.
0:02:13 > 0:02:17Well, I bought it in a local auction in Carlisle
0:02:17 > 0:02:19because I do like art deco.
0:02:19 > 0:02:23And I was particularly interested in the beautiful inlay,
0:02:23 > 0:02:25and mother of pearl and the lovely floral decoration.
0:02:25 > 0:02:29And also it's quite a practical cabinet as well.
0:02:29 > 0:02:31I think when it comes to eyes, you've got a very good eye.
0:02:31 > 0:02:36And you present me with a classic piece of French art deco.
0:02:36 > 0:02:40- Oh, very good.- And, I have to say, it's a bit of a jewel, isn't it?
0:02:40 > 0:02:44And as for the legs, just the way that they start here
0:02:44 > 0:02:46and they're beautifully reeded.
0:02:46 > 0:02:50Then it forms a decorative feature all the way up to this cornice.
0:02:50 > 0:02:56And on the top, inset with what appears to be like a marble slab,
0:02:56 > 0:02:59- which is quite typical. Because it's practical.- Yes.
0:02:59 > 0:03:01But the woods that have been used,
0:03:01 > 0:03:05you've got like a burr type yew wood, or walnut, on the top of it.
0:03:05 > 0:03:09- Yeah.- And the actual decoration, well, it's pure fantasy.
0:03:09 > 0:03:10I love that roundel.
0:03:10 > 0:03:14Yes. I love the mother of pearl, the way it shines. It's really nice.
0:03:14 > 0:03:17I could imagine, in artificial light, at night,
0:03:17 > 0:03:18it's got a magical quality.
0:03:18 > 0:03:21- It's lovely.- But it's a bit of theatre, is your cabinet.- Yes.
0:03:21 > 0:03:24There's more to this cabinet than meets the eye, isn't there?
0:03:24 > 0:03:29- Well, there you are. Ooh, simplicity.- Yes, yes.- Isn't it?
0:03:29 > 0:03:30Although it's nice wood as well.
0:03:30 > 0:03:33Isn't it? I mean, more exotic woods.
0:03:33 > 0:03:35- So, a secretaire.- Yes, yes.
0:03:35 > 0:03:41Date-wise, I suppose we're looking at around about 1925.
0:03:41 > 0:03:44- Designer, who is it? - I would love to know.
0:03:44 > 0:03:49- It's very much in the manner of Louis Sue and Andre Mare.- Right.
0:03:49 > 0:03:53And Sue et Mare specialised in exotic inlays.
0:03:53 > 0:03:57- Yes.- And they went very heavy with mother of pearl.
0:03:57 > 0:04:00- Right.- I don't know for sure.
0:04:00 > 0:04:04Dare I ask what you had to pay? And how long ago was it?
0:04:04 > 0:04:06- It was two years ago.- Oh, recently?
0:04:06 > 0:04:07And I paid £900.
0:04:07 > 0:04:11900? Well, let me just say that, you know,
0:04:11 > 0:04:13if I went into certain galleries,
0:04:13 > 0:04:17I know two or three that specialise in deco furniture.
0:04:17 > 0:04:22And I know for a fact that I would not get away with paying
0:04:22 > 0:04:23less than £9,000.
0:04:23 > 0:04:26Oh, goodness, that's a big difference.
0:04:26 > 0:04:29Lovely, that's excellent.
0:04:29 > 0:04:32It'll be my pension, then.
0:04:32 > 0:04:38If you can associate this piece with Louis Sue and Andre Mare,
0:04:38 > 0:04:41then it becomes an important piece of furniture
0:04:41 > 0:04:43and the starting price would be £30,000.
0:04:43 > 0:04:45Goodness me!
0:04:45 > 0:04:48If it does turn out to be Sue et Mare, I'm on 10%.
0:04:48 > 0:04:51LAUGHING: I'll send you a cheque.
0:04:57 > 0:05:01This is an incredible collection of amateur magazine work, isn't it?
0:05:01 > 0:05:03- Yes.- Tell me about it. Where did it come from?
0:05:03 > 0:05:07It came from my husband's aunt and she was clearing out the house.
0:05:07 > 0:05:11We went to help and she said would I take some rubbish out? And I did.
0:05:11 > 0:05:15And I lifted the lid and there in the dustbin were these three books.
0:05:15 > 0:05:16And so you pinched them?
0:05:16 > 0:05:18I did. I asked permission first.
0:05:18 > 0:05:20That sounds fair enough, doesn't it?
0:05:20 > 0:05:23I asked if there were any more because there was only three.
0:05:23 > 0:05:25Wonderful. "My aunt".
0:05:25 > 0:05:27She looks absolutely dreadful, doesn't she?
0:05:27 > 0:05:29I know. I know. Very Victorian.
0:05:29 > 0:05:32Very Victorian. The whole thing is very Victorian.
0:05:32 > 0:05:34This is a magazine, a private magazine.
0:05:34 > 0:05:36And, of course, this is the sort of thing
0:05:36 > 0:05:38they used to do in the evening.
0:05:38 > 0:05:41They didn't watch television sets or anything like that,
0:05:41 > 0:05:45they wrote magazines which they passed around the family.
0:05:45 > 0:05:49But look, it's just full of all sorts of wonderful illustrations.
0:05:49 > 0:05:51Some of them more amateur than others.
0:05:51 > 0:05:54This one looks quite good to me, don't you think?
0:05:54 > 0:05:55Yes, it has pictures in it.
0:05:55 > 0:05:58You have to find pictures, but I've never found them.
0:05:58 > 0:06:00- Hidden pictures?- Sort of, yes.
0:06:00 > 0:06:03She looks like a smouldering beauty, doesn't she?
0:06:03 > 0:06:05Yes, she does.
0:06:05 > 0:06:08It's a wonderful reflection of Victorian society.
0:06:08 > 0:06:11And I think, although amateur, I think it is absolutely charming.
0:06:11 > 0:06:14And I suppose we have to give it a value.
0:06:14 > 0:06:18You got them for nothing and I'm going to say that they're worth
0:06:18 > 0:06:21- £1,000 for the three volumes. - Never?
0:06:21 > 0:06:24- Yes.- I don't believe you.
0:06:24 > 0:06:26All right, don't then.
0:06:26 > 0:06:30I had them valued 40 years ago and they said £30 for three.
0:06:30 > 0:06:32And I didn't get rid of them because I love them.
0:06:32 > 0:06:33And now you've made my day.
0:06:33 > 0:06:36This is absolutely tremendous and it's really good stuff.
0:06:36 > 0:06:39- Thank you.- As I say, it does reflect Victorian society.- Indeed.
0:06:39 > 0:06:43- You've brought in a couple of Wedgwood candlesticks.- Yes.
0:06:43 > 0:06:44They say Wedgwood on the bottom.
0:06:44 > 0:06:47And they're Jasper, they're blue and white.
0:06:47 > 0:06:49- Yes.- Everything about them shouts Wedgwood.
0:06:49 > 0:06:52But how much more do you know about them?
0:06:52 > 0:06:56Only that they've been in our family for as long as I can remember.
0:06:56 > 0:06:58And we've tried to do a bit of research on them,
0:06:58 > 0:07:00but not got very far.
0:07:00 > 0:07:03So have you an idea of the date and maybe their value?
0:07:03 > 0:07:04No idea at all.
0:07:04 > 0:07:07Let's start with the mark. They're Wedgwood.
0:07:07 > 0:07:10There's the mark on the bottom in block capitals,
0:07:10 > 0:07:11- Wedgwood, loud and proud.- Yes.
0:07:11 > 0:07:14Absolutely no doubt about it. So the mark
0:07:14 > 0:07:19- and the way they're constructed will tell us what date they are.- Right.
0:07:19 > 0:07:23Because, like lots of potteries, they kept popular patterns going.
0:07:23 > 0:07:25And Jasper, of course, you can still buy today.
0:07:25 > 0:07:29So what we need to find out, for your sake, is are they new?
0:07:29 > 0:07:32- You know they're not. - Yes.- Or are they very old?
0:07:32 > 0:07:33They are actually 18th century.
0:07:33 > 0:07:37- Right.- About 1785-1795 in date.
0:07:37 > 0:07:40- Really? Yes. - The mark tells us a little bit,
0:07:40 > 0:07:42but it's the way they're constructed.
0:07:42 > 0:07:45The 18th century ones were all made in small separate moulds,
0:07:45 > 0:07:49- assembled by hand and then lots of hand finishing.- Oh, I see.
0:07:49 > 0:07:52So if you look, particularly at her toes,
0:07:52 > 0:07:55you can see there's actually a bit of extra hand cutting.
0:07:55 > 0:07:57And the draperies, when the clay's still wet,
0:07:57 > 0:08:01- they finished them off by hand. This has been a piece.- Yes.
0:08:01 > 0:08:04This has been a piece. She's been in several pieces.
0:08:04 > 0:08:06The plinth's a piece, the base is a piece.
0:08:06 > 0:08:10- I see.- So, all put together, whilst wet, using liquid clay.
0:08:10 > 0:08:12And, of course, as ceramic technology progressed,
0:08:12 > 0:08:15they found ways of making this section together.
0:08:15 > 0:08:19And then, eventually, the later ones would be made in almost one piece.
0:08:19 > 0:08:22- Yes.- So the mark and the technique shouts 18th century.- Right.
0:08:22 > 0:08:25- Would you like to know how much they're worth?- Go on.
0:08:25 > 0:08:28- £1,000 to £1,500.- Right. Fine.
0:08:28 > 0:08:31You need to find fancy candles to put in them.
0:08:31 > 0:08:33I don't think they're ever going to see wax.
0:08:33 > 0:08:37- I'm glad to hear it, thanks very much.- Thank you very much.
0:08:40 > 0:08:43Well, since we're in Cumbria and near the Lakes,
0:08:43 > 0:08:46I was really hoping all day, really hoping,
0:08:46 > 0:08:48to see a Wainwright. A Wainwright drawing.
0:08:48 > 0:08:52And this one of Scafell, I couldn't ask for a better one.
0:08:52 > 0:08:53It's completely wonderful.
0:08:53 > 0:08:55Have you walked this?
0:08:55 > 0:08:59I have, many years ago. Nothing recently. But yes, I have.
0:08:59 > 0:09:01That looks quite precipitous, actually.
0:09:01 > 0:09:03It is, it looks worse than it is.
0:09:03 > 0:09:06But it is a very... It's a good path walk.
0:09:06 > 0:09:09And did you use a Wainwright's Guide on that day?
0:09:09 > 0:09:12I did, yes. I always walk in the Lake District with a Wainwright.
0:09:12 > 0:09:15And do you use it? Do you use his drawings
0:09:15 > 0:09:17in preference to an Ordnance Survey map?
0:09:17 > 0:09:20No, I always have an Ordnance Survey map with me when I'm walking.
0:09:20 > 0:09:22- I suppose that's safer, isn't it? - Yeah.
0:09:22 > 0:09:26Do you know, what I love about these drawings most of all,
0:09:26 > 0:09:29in a sense, is that you know exactly where you are at any point.
0:09:29 > 0:09:34And he draws them with such clarity that he's understood 3D
0:09:34 > 0:09:38and rendered it into 2D in a perfectly articulate way.
0:09:38 > 0:09:42And it's his incredibly ordered mind that enabled him to do that,
0:09:42 > 0:09:44I think, to put that down in pen and ink.
0:09:44 > 0:09:46It's a piece of perfection.
0:09:46 > 0:09:48What do you know about him?
0:09:48 > 0:09:52He was a keen walker when he started his books,
0:09:52 > 0:09:55the pictorial guides to the Lake District.
0:09:55 > 0:09:59It was a labour of love for him. And he was a very solitary man as well,
0:09:59 > 0:10:01it was quite difficult for him later on,
0:10:01 > 0:10:02when the books became so popular.
0:10:02 > 0:10:06And, in a way, he's responsible for making walking in the Lake District
0:10:06 > 0:10:07as popular as it is today.
0:10:07 > 0:10:09He went there for solitude
0:10:09 > 0:10:12and he ended up finding it, you know, incredibly busy.
0:10:12 > 0:10:14And of course it was partly his fault
0:10:14 > 0:10:16that it was so very, very busy.
0:10:16 > 0:10:19- Yeah, yeah. - How on earth did you get it?
0:10:19 > 0:10:22It was my grandfather's and it came to me after he died.
0:10:22 > 0:10:26- He was a fell walker too, I suppose? - He was a very keen fell walker, yes.
0:10:26 > 0:10:30He used to walk in the Lake District a lot and there was a competition
0:10:30 > 0:10:34with a very famous baked bean manufacturer,
0:10:34 > 0:10:39that if you sent off an amount of labels, I can't remember how many,
0:10:39 > 0:10:43you'd be put in a prize draw to possibly win a picture.
0:10:43 > 0:10:45My grandfather was very keen on Wainwright,
0:10:45 > 0:10:48not so keen on beans, didn't like them at all, but...
0:10:48 > 0:10:52- He didn't even like them? - No, he didn't like them at all, but being a Northern man,
0:10:52 > 0:10:55he wasn't going to throw them away, so he ate them
0:10:55 > 0:11:00and he entered several times and got nothing
0:11:00 > 0:11:02and he was getting more and more frustrated
0:11:02 > 0:11:04and in the end he wrote to them and said,
0:11:04 > 0:11:08"I've been buying your beans for months and I don't even like them".
0:11:08 > 0:11:10He didn't hear anything back,
0:11:10 > 0:11:12then a few weeks later this turned up in the post.
0:11:12 > 0:11:13What a fantastic story.
0:11:13 > 0:11:16He must have been rather bloated with beans by then.
0:11:16 > 0:11:18Yes, quite possibly,
0:11:18 > 0:11:21although I think he was very happy the picture turned up,
0:11:21 > 0:11:24but also very happy that he could stop eating beans.
0:11:26 > 0:11:29Well, is it a work of art? Is it a topographical drawing?
0:11:29 > 0:11:32I don't know, but they're very, very popular.
0:11:32 > 0:11:34Everyone loves Wainwright.
0:11:34 > 0:11:38And what that means, that such a good example as this, of Scafell,
0:11:38 > 0:11:41- well, between £1,200 and £1,500. - Blimey.
0:11:41 > 0:11:44Didn't think it was worth that much.
0:11:44 > 0:11:46You're never going to sell it, are you?
0:11:46 > 0:11:49No, it'll be going to my son. Get a lot of enjoyment from it.
0:11:53 > 0:11:55From the beauties of the Lake District,
0:11:55 > 0:11:58we're heading to equally stunning landscapes -
0:11:58 > 0:12:01to Derbyshire, where we recently set up camp at Chatsworth.
0:12:04 > 0:12:08It was there many hundreds greeted us for another busy Roadshow.
0:12:12 > 0:12:13Are you a general clock collector
0:12:13 > 0:12:15or just clocks with a nautical flavour?
0:12:15 > 0:12:18No, just general really. I like all sorts of clocks.
0:12:18 > 0:12:22- Do you have lots at home? - Quite a lot, yeah.
0:12:22 > 0:12:24Time fascinates me.
0:12:24 > 0:12:27- You picked these two because you thought they were fun?- I did, yeah.
0:12:27 > 0:12:30They're both slightly in the rough. Have you...?
0:12:30 > 0:12:33- Well, this one was rebuilt by a friend of mine.- Yeah.
0:12:33 > 0:12:35He put all this one back together.
0:12:35 > 0:12:38I bought that off a chap all in bits in a box,
0:12:38 > 0:12:41and I put that one back together.
0:12:41 > 0:12:45But I do realise that there are certain things that aren't right.
0:12:45 > 0:12:46They're both French.
0:12:46 > 0:12:52And this lovely automaton lighthouse is absolutely typical
0:12:52 > 0:12:56of the sort of industrial themed clocks and nautical clocks
0:12:56 > 0:13:00that the French were making in the latter part of the 19th century.
0:13:00 > 0:13:03- Oh, right. - So we've got this wonderful light.
0:13:03 > 0:13:06It has a duplex escape wheel down there
0:13:06 > 0:13:10and the balance wheel is basically this "lamp"
0:13:10 > 0:13:13- in inverted commas, with the glass rods.- Yeah.
0:13:13 > 0:13:16- So it's a very visual item, isn't it?- Yes, it is, actually.
0:13:16 > 0:13:19It fascinated me when I first saw it.
0:13:19 > 0:13:22It's good it's working, because if it doesn't,
0:13:22 > 0:13:24they are absolutely fiendish to get back running.
0:13:24 > 0:13:26It's a very tricky thing.
0:13:26 > 0:13:28Well, I'm glad I didn't have to do it.
0:13:28 > 0:13:30So let's go to this one.
0:13:30 > 0:13:33Now, do you know what this is meant to represent?
0:13:33 > 0:13:36I've always related it to like a diving bell, this sort of thing.
0:13:36 > 0:13:38Well, you're much more likely that,
0:13:38 > 0:13:41because I think actually it's an early buoy...
0:13:41 > 0:13:43This is its counterweight.
0:13:43 > 0:13:46It would have sat under the water, you would have seen this bit,
0:13:46 > 0:13:49- and that would have been your light on it.- Oh, right.
0:13:49 > 0:13:54That would have kept it effectively from toppling over in a heavy sea.
0:13:54 > 0:13:58We've got the time piece movement in there
0:13:58 > 0:14:00and then going round, 120 degrees,
0:14:00 > 0:14:03we've got a rather nice curved thermometer.
0:14:03 > 0:14:08- Around again and we have an aneroid barometer.- Yeah.
0:14:08 > 0:14:10And then in the top...
0:14:11 > 0:14:13..we have a little inset compass.
0:14:15 > 0:14:17Now the great thing is this -
0:14:17 > 0:14:19"The 1st Admiralty Prize",
0:14:19 > 0:14:22and you can see the presentation.
0:14:22 > 0:14:24And it's dated 1889.
0:14:25 > 0:14:27"HMS Britannia",
0:14:27 > 0:14:31- which is the Royal Naval College at Dartmouth.- Yeah.
0:14:31 > 0:14:33Two great pieces.
0:14:33 > 0:14:37And we're here, obviously, to talk about their value.
0:14:37 > 0:14:39This one, once it's had a little bit of re-plating done,
0:14:39 > 0:14:44a bit of polishing and lacquering, make it look good, retail condition,
0:14:44 > 0:14:47- you're going to see about £3,500. - Oh, right, oh, right.
0:14:47 > 0:14:49I didn't think it was worth that much.
0:14:49 > 0:14:50And what about the lighthouse?
0:14:50 > 0:14:54In a decent shop or, once again, at a top quality antiques fair,
0:14:54 > 0:14:57people would be asking towards £5,000 for that.
0:14:57 > 0:14:59Ah, right, right.
0:14:59 > 0:15:02So from a bag of bones, literally, to a high value object.
0:15:02 > 0:15:03Yes, yes.
0:15:03 > 0:15:06So it's great to meet a fellow clock enthusiast
0:15:06 > 0:15:08and I trust there's lots more at home
0:15:08 > 0:15:11- and next time, bring a lot more in. - Will do, yeah.
0:15:11 > 0:15:13It's nice to know the value of them.
0:15:18 > 0:15:20I get very excited when people bring along
0:15:20 > 0:15:22wonderful pieces of jewellery, naturally.
0:15:22 > 0:15:26But when there are super boxes like this, it gets even more interesting.
0:15:26 > 0:15:33And then if we open them up, we have two gorgeous bracelets in there,
0:15:33 > 0:15:37and each of the boxes has the Liberty logo in.
0:15:37 > 0:15:39How did you get hold of these?
0:15:39 > 0:15:41Well, these were my grandmother's.
0:15:41 > 0:15:43They've been handed down two generations.
0:15:43 > 0:15:44And do you remember
0:15:44 > 0:15:46your grandmother wearing them?
0:15:46 > 0:15:48I remember her wearing them, yes.
0:15:48 > 0:15:50She wore them often, especially this one.
0:15:50 > 0:15:52Well, they are absolutely gorgeous,
0:15:52 > 0:15:55and of course Liberty, which is based in London, on Regent Street,
0:15:55 > 0:15:59was opened in 1875 by Arthur Lasenby Liberty,
0:15:59 > 0:16:03and his whole idea was to get amazing works of art,
0:16:03 > 0:16:06be it furniture, paintings, rugs,
0:16:06 > 0:16:09bring them into the building and display them in such a way,
0:16:09 > 0:16:11which just showed off their best potential.
0:16:11 > 0:16:14Eventually he started to bring in jewellery as well,
0:16:14 > 0:16:17and here we've got a beautiful bracelet
0:16:17 > 0:16:20with turquoise and delicate silver work,
0:16:20 > 0:16:23which you can see in each of the panels,
0:16:23 > 0:16:27and these very of the period, where they enclose the turquoise.
0:16:27 > 0:16:29And if we look on the clasp,
0:16:29 > 0:16:32we actually have Liberty Sterling stamped to the clasp.
0:16:34 > 0:16:37It is just such a delicate piece of jewellery. Do you wear it?
0:16:37 > 0:16:40Yes, but it's been handed down to my daughter,
0:16:40 > 0:16:44so she's very interested in all about it, knowing about it.
0:16:44 > 0:16:46But it's a gorgeous piece. It is very pretty.
0:16:46 > 0:16:48It's absolutely wonderful.
0:16:48 > 0:16:51And the turquoise has all stayed in extremely good condition.
0:16:51 > 0:16:56It's all nicely coloured and the intricate detail on the silver
0:16:56 > 0:16:58is also very, very beautiful.
0:16:58 > 0:17:02Now, slightly later in date, we've got the bracelet over here.
0:17:02 > 0:17:05This has got various gemstones set all along it,
0:17:05 > 0:17:09including lovely carnelian, sapphire,
0:17:09 > 0:17:12lapis lazuli, amongst other gemstones
0:17:12 > 0:17:15and I'm sure you can see they're all lovely little scarab beetles.
0:17:15 > 0:17:19- Yes, yes.- And the scarab, of course, is associated with Egypt,
0:17:19 > 0:17:23and in the '20s, Egypt was just total excitement,
0:17:23 > 0:17:27- because Tutankhamen's tombs had been re-excavated.- Yes.
0:17:27 > 0:17:32And there were these major images coming back of these tombs.
0:17:32 > 0:17:35The Mail actually called the period "Tutankhamen Mania"
0:17:35 > 0:17:37because everybody went mad
0:17:37 > 0:17:39and there's always been an excitement about Egypt,
0:17:39 > 0:17:42and it showed that you were ahead of your times
0:17:42 > 0:17:45and you were in the height of fashion. With regard to value,
0:17:45 > 0:17:46if these came up at auction,
0:17:46 > 0:17:50it's just fabulous that you've got the boxes with them as well.
0:17:50 > 0:17:52Each of these on their own, the boxes,
0:17:52 > 0:17:56they're each worth about £100-£150.
0:17:56 > 0:18:00- Oh, amazing.- Yeah, it is.
0:18:00 > 0:18:02But the jewellery, what about that?
0:18:02 > 0:18:05Each of these, I think you could expect to get
0:18:05 > 0:18:09- about £1,000-£1,500 at auction. - How much?!
0:18:11 > 0:18:13- A thousand and... - £1,000-£1,500.
0:18:13 > 0:18:15Oh, my goodness, fantastic.
0:18:19 > 0:18:21Now, as the Duke of Devonshire,
0:18:21 > 0:18:25we should firstly say thanks for allowing us into your splendid home.
0:18:25 > 0:18:28It's wonderful you're back, it's great.
0:18:28 > 0:18:31- Now, this is your favourite item in the house.- I love it, yes.
0:18:31 > 0:18:33I remember it from a long, long time ago,
0:18:33 > 0:18:37when I was little and living here, when we moved in in the late' 50s.
0:18:37 > 0:18:42- It's always being admired. - Who first had this made?
0:18:42 > 0:18:46This was made for a man called Baron Von Knyphausen
0:18:46 > 0:18:53in about 1697 in Germany.
0:18:53 > 0:18:55It was bought in 1817
0:18:55 > 0:18:57through an agent in Brussels by the sixth Duke.
0:18:57 > 0:19:02Now, it's not just an extraordinary eagle or hawk in its own right.
0:19:02 > 0:19:06- It's also a drinking vessel. - Yes. If I just take this out...
0:19:06 > 0:19:10- Yikes! - So that's the head, that is safe.
0:19:10 > 0:19:12And then inside is this drinking vessel.
0:19:12 > 0:19:15There's the baron's coat of arms,
0:19:15 > 0:19:18and I think it was made as a statement of importance.
0:19:18 > 0:19:23It's certainly an incredible sort of power symbol, isn't it?
0:19:23 > 0:19:26Yes, it's covered in all these semi-precious stones.
0:19:26 > 0:19:28There's garnets and cornelians and amethysts.
0:19:28 > 0:19:30- Sapphires here.- Sapphire there.
0:19:30 > 0:19:34And emeralds... It is beautiful. Let's put it all together.
0:19:34 > 0:19:37What is it about it that you love so much?
0:19:37 > 0:19:40I love it because it's flashy and blingy,
0:19:40 > 0:19:43and it's really a statement of somebody saying,
0:19:43 > 0:19:45"This is a beautiful thing
0:19:45 > 0:19:48"which I've made for the best of my abilities."
0:19:48 > 0:19:53And considering how old it is, it's rather fascinating.
0:19:53 > 0:19:56- Have you ever drunk out of it? - No, I haven't, actually.
0:19:57 > 0:20:00You can't put the silver beaker down, actually.
0:20:00 > 0:20:02So you'd have to drink it all in one go.
0:20:02 > 0:20:07- Sounds like a marvellous excuse. Maybe later.- Maybe later.
0:20:22 > 0:20:24Well, when I first saw this, I thought,
0:20:24 > 0:20:26"Oh, my goodness, some tatty book",
0:20:26 > 0:20:30but it proved absolutely fascinating going through it.
0:20:30 > 0:20:34I mean, these are, what are they? They're police records.
0:20:34 > 0:20:35Yeah, police mug shots.
0:20:35 > 0:20:36Where does it come from?
0:20:36 > 0:20:39It was rescued from a skip some 30 years ago,
0:20:39 > 0:20:41from a Derby police station that were clearing out.
0:20:41 > 0:20:45And in those days I suppose records didn't matter,
0:20:45 > 0:20:47and my dad rescued it because he thought...
0:20:47 > 0:20:49He was interested in old things.
0:20:49 > 0:20:51And your father was...?
0:20:51 > 0:20:52He was a policeman.
0:20:52 > 0:20:54I'm not sure he's allowed to do that!
0:20:54 > 0:20:57But anyway, I'm very glad he did,
0:20:57 > 0:21:00because this is rather important, isn't it?
0:21:00 > 0:21:04James Brady, here, and Alfred Mason...
0:21:04 > 0:21:06- These people were involved in a plot.- They were, yes.
0:21:06 > 0:21:11Against Lloyd George. And the date here is, what, 19...
0:21:11 > 0:21:13- 1917.- 1917.
0:21:13 > 0:21:17Were they Bolsheviks or German sympathisers or what?
0:21:17 > 0:21:20It's alleged that they were Communist sympathisers.
0:21:20 > 0:21:22Well, here they are and here are their mug shots,
0:21:22 > 0:21:25James Brady, alias The Duke.
0:21:25 > 0:21:28It says where he went and all the things that he did.
0:21:28 > 0:21:32And here's this other chap, Alfred George Mason.
0:21:32 > 0:21:37And then the others, who are rather strange, which are two women.
0:21:37 > 0:21:40Yes, they were, I believe, conscientious objectors,
0:21:40 > 0:21:41didn't agree with the war.
0:21:41 > 0:21:44It was in the middle of the First World War.
0:21:44 > 0:21:48And Lloyd George was in charge, as it were, at that stage.
0:21:48 > 0:21:50Their plan was to poison him.
0:21:50 > 0:21:54- How were they going to do that? - They tried to poison him with a dart
0:21:54 > 0:21:57and they tried the poison on dogs to see if it would work,
0:21:57 > 0:22:01but I don't think they actually got that far and they got caught before.
0:22:01 > 0:22:03How extraordinary, for killing dogs.
0:22:03 > 0:22:05It is the most fascinating book,
0:22:05 > 0:22:08and it is remarkable for it to have survived.
0:22:08 > 0:22:12It's a social document. There's lots of people in here,
0:22:12 > 0:22:15but I would say in excess of £1,000.
0:22:15 > 0:22:17- Right.- Why not?- Thank you.
0:22:17 > 0:22:19And I suppose we should thank your father
0:22:19 > 0:22:20for taking it out of a skip.
0:22:25 > 0:22:28You know, I just love Japanese pots and Japanese works of art.
0:22:28 > 0:22:31Is this a family treasure or what?
0:22:31 > 0:22:33It is a family treasure.
0:22:33 > 0:22:37The only thing I know about its origins is that it was given
0:22:37 > 0:22:40either to my grandmother or my great grandmother
0:22:40 > 0:22:43by "a seafaring man" who wasn't her husband.
0:22:43 > 0:22:47- Right.- And it has always been called the Japanese vase,
0:22:47 > 0:22:50although we didn't know whether it was or not,
0:22:50 > 0:22:53and nobody is ever allowed to touch it.
0:22:53 > 0:22:55- Oh, really?- Yes. - I should feel as though I'm wearing
0:22:55 > 0:22:58- sort of white gloves, then, today. - Yes.
0:22:58 > 0:23:00- So do I have your permission to...? - Yes.
0:23:00 > 0:23:01Thank you very much.
0:23:01 > 0:23:05Well, let's have a look at it, because you're absolutely right,
0:23:05 > 0:23:07- it is Japanese. - Well, we've got something right.
0:23:07 > 0:23:09Oh, you got it right there.
0:23:09 > 0:23:12- But it is a little gem, it is a treasure.- Is it?
0:23:12 > 0:23:16Well, you've only got to look at it, the detail on there.
0:23:16 > 0:23:19Because this type of pottery is referred to as Satsuma.
0:23:19 > 0:23:24But more importantly, this type of quality
0:23:24 > 0:23:27you would normally associate with the city of Kyoto.
0:23:27 > 0:23:32There were lots of big names who specialised in this particular ware.
0:23:32 > 0:23:36One big name is Ryozan, another one is Yabu Meizan,
0:23:36 > 0:23:39but my favourite is Kinkozan.
0:23:39 > 0:23:41Oh, lovely.
0:23:41 > 0:23:44A pot like this I would say is probably about 1910.
0:23:44 > 0:23:47Having said that, if anybody says, "How old is it?"
0:23:47 > 0:23:49you say, "It's late Meiji period."
0:23:49 > 0:23:50Sounds better, doesn't it?
0:23:50 > 0:23:52Right, yeah. Oh, it sounds very nice.
0:23:52 > 0:23:55It's the detail these people worked to.
0:23:55 > 0:23:59I mean, that is just a mass of tiny, tiny butterflies.
0:23:59 > 0:24:00Is it really?
0:24:00 > 0:24:04- Hang on, how long have you lived with this?- All my life.
0:24:04 > 0:24:06- And you've never...? - I was never allowed close to it.
0:24:06 > 0:24:09I didn't touch it till I was well into my 20s.
0:24:09 > 0:24:12Oh, my goodness me, that's repression!
0:24:12 > 0:24:14Goodness me.
0:24:14 > 0:24:17No, trust me, they're all there.
0:24:17 > 0:24:20- And you've got this wonderful figural decoration as well.- Yes.
0:24:20 > 0:24:21And that's where I home in on,
0:24:21 > 0:24:25because that tells you whether it's absolutely top, top notch.
0:24:25 > 0:24:30And this is very close to perfection.
0:24:30 > 0:24:33It is a little miniature masterpiece in every sense of the word
0:24:33 > 0:24:38but you want to know who it's by, and there is no mark as such.
0:24:38 > 0:24:40There is a very indistinct impressed mark there
0:24:40 > 0:24:45which I just simply cannot, cannot, cannot read,
0:24:45 > 0:24:46which is a bit of a shame.
0:24:46 > 0:24:49Also, what is important from a collector's point of view
0:24:49 > 0:24:52is condition, and if we look at this black band here,
0:24:52 > 0:24:56- you'll notice it's slightly worn... - Yeah.- ..which is a bit of a minus.
0:24:57 > 0:25:03So, what price do we put on a pot that has led such a sheltered life?
0:25:03 > 0:25:06- No idea.- None whatsoever? - None at all, no.
0:25:06 > 0:25:09I'll tell you what it's worth because that'll make me feel wanted.
0:25:09 > 0:25:10All right.
0:25:10 > 0:25:14Because I think if I wanted to go out and buy another,
0:25:14 > 0:25:16I'm not going to get any change whatsoever
0:25:16 > 0:25:18out of £1,500.
0:25:18 > 0:25:20Wow!
0:25:20 > 0:25:25In a round about fashion, you can actually thank your parents
0:25:25 > 0:25:29for having that sort of control.
0:25:29 > 0:25:32- I still have the same control. - Oh, you do? OK.
0:25:32 > 0:25:37My daughter touched it for the first time last night and she's 23.
0:25:38 > 0:25:39Poor things.
0:25:39 > 0:25:42Thank you very much indeed.
0:25:42 > 0:25:48It was given to me by a neighbour who was leaving their home
0:25:48 > 0:25:52and taking up another one and they found it under the roof.
0:25:52 > 0:25:53Yes.
0:25:53 > 0:25:58Rather dirty and filthy and as I was an art student at the time,
0:25:58 > 0:25:59they said, "Oh, give it to Dave."
0:25:59 > 0:26:02I like the whole composition of the thing,
0:26:02 > 0:26:04although I feel that that arm is a little bit...
0:26:04 > 0:26:06Yeah, there are little things...
0:26:06 > 0:26:09Odd bits about it which don't quite gel.
0:26:09 > 0:26:12Well, let's look and see exactly what we're looking at.
0:26:12 > 0:26:15We've got Mary, the mother of Christ, who's standing here.
0:26:15 > 0:26:18He's a little bit older than the infant Christ
0:26:18 > 0:26:21we're used to seeing in traditional representations.
0:26:21 > 0:26:23And down here, we've got John the Baptist,
0:26:23 > 0:26:26and he's wearing his camel hair shirt, and that's his staff there.
0:26:26 > 0:26:30Tied around the staff is a ribbon on which is written
0:26:30 > 0:26:34"Ecce" and "Agnus Dei." I am the Lamb of God.
0:26:34 > 0:26:37And the Christ child is reaching out to hold it,
0:26:37 > 0:26:39as if grasping his destiny,
0:26:39 > 0:26:42because this picture looks back as well as forwards.
0:26:42 > 0:26:44It looks to Christ's death.
0:26:44 > 0:26:47In fact, in the distance you can see one big rock
0:26:47 > 0:26:51and they are a hint at Calgary, where he ends up on the cross.
0:26:51 > 0:26:52I think it's 17th century
0:26:52 > 0:26:55and I also think we're quite east in Europe,
0:26:55 > 0:26:56we might be as far as Germany
0:26:56 > 0:26:59and perhaps even as far as Czechoslovakia, Bohemia.
0:26:59 > 0:27:01- Really?- Yes, it's possible,
0:27:01 > 0:27:04because look at the drapery here. That's actually quite Gothic
0:27:04 > 0:27:06in the way it's so deeply cut
0:27:06 > 0:27:09and so carefully and sharply layered.
0:27:09 > 0:27:11Yet the face of Mary is very human
0:27:11 > 0:27:14and she's what I might call a "bus stop Madonna".
0:27:14 > 0:27:16You'd meet her at a bus stop, she's a real person,
0:27:16 > 0:27:20and you get a strong sense of the affection between mother and child.
0:27:20 > 0:27:23It's very human, the whole grouping, the cascade of figures,
0:27:23 > 0:27:27is done in such a way that the two are extremely intimate.
0:27:27 > 0:27:30So we're looking at a devotional object. It's quite small,
0:27:30 > 0:27:32so it might have been for domestic use.
0:27:32 > 0:27:35A privileged person would own this beautiful painting
0:27:35 > 0:27:37and keep it almost as a personal chapel,
0:27:37 > 0:27:40wouldn't have to go to church with everyone else
0:27:40 > 0:27:44because she's got her own little shrine in her house.
0:27:44 > 0:27:48We don't know who it's by, but the Old Master market,
0:27:48 > 0:27:50that's the category it falls into in the art market,
0:27:50 > 0:27:54it doesn't often care about the certainty of a name,
0:27:54 > 0:27:56it's more about the quality of the picture.
0:27:56 > 0:27:59We can see some very good qualities in this picture.
0:27:59 > 0:28:03What it all adds up to is a value of between...
0:28:03 > 0:28:04£3,000 and £5,000.
0:28:04 > 0:28:06That's a very comfortable figure.
0:28:10 > 0:28:13I must remember that expression, "a bus stop Madonna."
0:28:13 > 0:28:15It's rather poetic, really.
0:28:20 > 0:28:22Our recent visit to the British Museum
0:28:22 > 0:28:25found the team hard at work beneath the colonnades
0:28:25 > 0:28:27that form the grand entrance.
0:28:27 > 0:28:30As museum visitors hurried to see the collection inside,
0:28:30 > 0:28:33our experts were busy finding their own selection of treasures.
0:28:36 > 0:28:38It's great to welcome you to the Antiques Roadshow
0:28:38 > 0:28:41on this sunny day, but I understand today
0:28:41 > 0:28:45is an important day for more reason than just you being here.
0:28:45 > 0:28:48That's true. My 66th birthday
0:28:48 > 0:28:52and retirement from active work.
0:28:52 > 0:28:55- Your retirement as well?- Yes. - You've a lot to celebrate.
0:28:55 > 0:28:58And I understand this is just a small part of your collection?
0:28:58 > 0:28:59Yes.
0:28:59 > 0:29:04I have been collecting ever since I got married to my wife about 33 years ago.
0:29:04 > 0:29:08So I am a general collector, so I collect everything.
0:29:08 > 0:29:10And what's it like to live with him?
0:29:10 > 0:29:13Oh, that's a good question.
0:29:13 > 0:29:15It's really a hell
0:29:15 > 0:29:19because I don't know anything about antiques before I knew him.
0:29:19 > 0:29:22When he started collecting... We do worry almost every day
0:29:22 > 0:29:26because even a halfpenny... If he had a halfpenny,
0:29:26 > 0:29:31he wouldn't mind investing it in the antique,
0:29:31 > 0:29:33then later on when you ask for money,
0:29:33 > 0:29:36he says, "I have no money." "What happened to your money?"
0:29:36 > 0:29:39"I invested it in antiques."
0:29:39 > 0:29:42And he's ploughing it into this seeming scrap metal.
0:29:42 > 0:29:44Where do you go to find them?
0:29:44 > 0:29:48I go to auctions, I go to car boots, I go to junk shops...
0:29:48 > 0:29:50- You name it. - That's what objects are for,
0:29:50 > 0:29:53to give you a thrill, the thrill of the chase,
0:29:53 > 0:29:55and the thrill of possessing.
0:29:55 > 0:29:59That's a good one, Keighley. Quite a contemporary artist.
0:29:59 > 0:30:01How long have you had that one?
0:30:01 > 0:30:05About...17 years now.
0:30:05 > 0:30:06Did you pay a lot for it?
0:30:06 > 0:30:07Well, I paid...
0:30:07 > 0:30:13£500, because that was what he was selling it... I met him in person.
0:30:13 > 0:30:17This is from the Amsterdam series in the mid 1980s
0:30:17 > 0:30:22and 500 then, would be probably £800 to £1,200 now.
0:30:22 > 0:30:23But look at the colour of it,
0:30:23 > 0:30:26it's a little upturned Dutch girl's bonnet,
0:30:26 > 0:30:28resting on a pair of clogs.
0:30:28 > 0:30:30This one is Indian.
0:30:30 > 0:30:31Yes.
0:30:31 > 0:30:35I think it's maybe cast in the last sort of 50 years
0:30:35 > 0:30:38and I'd say in a sale room, that would fetch
0:30:38 > 0:30:40between £100 and £150.
0:30:40 > 0:30:44You've got this figure here, too. Where did that come from?
0:30:44 > 0:30:47Well, this one, I bought it from a junk shop.
0:30:47 > 0:30:51Well, your junk shop find is actually quite old.
0:30:51 > 0:30:55Made in Italy about, sort of, 1880.
0:30:55 > 0:30:57Do you know who it is, in all his glory?
0:30:57 > 0:31:00- No.- Narcissus.
0:31:00 > 0:31:04He was an ancient Greek hunter who was a very good looking lad,
0:31:04 > 0:31:07so good looking that he used to despise other people
0:31:07 > 0:31:09and was rather haughty and arrogant.
0:31:09 > 0:31:10For a punishment,
0:31:10 > 0:31:13the gods made him fall in love with his own reflection,
0:31:13 > 0:31:16and he couldn't draw himself away from his own reflection
0:31:16 > 0:31:19and he perished and just turned to dust.
0:31:19 > 0:31:21So it's quite a nice thing.
0:31:21 > 0:31:25It's modelled after an ancient one which was excavated in Pompeii
0:31:25 > 0:31:28in, I think, about the 1860s.
0:31:28 > 0:31:30It's a very, very popular subject.
0:31:30 > 0:31:34He's lost his base and, of course, he's lost his foot.
0:31:34 > 0:31:37But what I do love about it is, all this verdigris.
0:31:37 > 0:31:41It's been outside, it's probably been in somebody's garden.
0:31:41 > 0:31:43Did you give an awful lot for this?
0:31:43 > 0:31:46Well, I think £350, something like that.
0:31:46 > 0:31:50I think that's probably about enough really. It's probably worth...
0:31:50 > 0:31:52I mean, a perfect one with the base,
0:31:52 > 0:31:55about £1,000 to £1,500.
0:31:55 > 0:31:57So you've not done too badly at that.
0:31:57 > 0:31:59So how do you display these?
0:31:59 > 0:32:02Are these pride of place in the living room or are they...?
0:32:02 > 0:32:06No, I hide them away from my wife.
0:32:06 > 0:32:08So you do put your foot down then?
0:32:08 > 0:32:11Yes. Hard fast.
0:32:11 > 0:32:13I think you get away with a lot.
0:32:13 > 0:32:16Look, you're ploughing your money into things
0:32:16 > 0:32:19that you enjoy discovering, it gets you out at the weekend,
0:32:19 > 0:32:23it gets you out and about into the auctions and there's a thrill,
0:32:23 > 0:32:27of going to a sale room, going into a dealer's.
0:32:27 > 0:32:28I think you're doing really well.
0:32:28 > 0:32:33We've got eight objects, metal objects, from your vast collection.
0:32:33 > 0:32:37What's in front of me is worth certainly upwards of £1,500.
0:32:37 > 0:32:41Yes, but I thought I would have got more from this.
0:32:41 > 0:32:43It means I have to look for a job.
0:32:43 > 0:32:45LAUGHTER
0:32:45 > 0:32:48To carry on your collecting habit?
0:32:48 > 0:32:50We'll find him a job, won't we? We'll find him a job!
0:32:56 > 0:32:58Can you tell me, is it family or purchase?
0:32:58 > 0:33:00- Family.- And the history?
0:33:00 > 0:33:04It was a gift to my father in law
0:33:04 > 0:33:06from his senior partner.
0:33:06 > 0:33:09When he died, his widow gave it to my father in law.
0:33:09 > 0:33:12That's a tremendous gift from the senior partner...
0:33:12 > 0:33:15It was very nice, and now my eldest son is the owner of it.
0:33:15 > 0:33:18The first thing that caught my eye is its size.
0:33:18 > 0:33:22It's somewhat smaller than bracket clocks of this period.
0:33:22 > 0:33:23Yeah, shorter.
0:33:23 > 0:33:27Yes, indeed. Now, it's signed on the back
0:33:27 > 0:33:32by a maker called Daniel Parker in Fleet Street.
0:33:32 > 0:33:35Do you know anything about him at all?
0:33:35 > 0:33:37No, but Fleet Street is newspapers, not clocks.
0:33:37 > 0:33:40That's true. Not even newspapers any more!
0:33:40 > 0:33:42It's not that far from the area of Clerkenwell,
0:33:42 > 0:33:44where the clock making industry flourished.
0:33:44 > 0:33:49- Right.- He started in Derby, he moved to London
0:33:49 > 0:33:53and he was mostly working towards the very end of the 17th century,
0:33:53 > 0:33:57so we're talking about 1680-1690.
0:33:57 > 0:33:58You've got, as you'd expect,
0:33:58 > 0:34:00a rather pleasant engraved back plate.
0:34:00 > 0:34:05- It's beautiful.- Fortunately, it's got a pendulum lock.
0:34:05 > 0:34:07These are very often missing. This is the piece
0:34:07 > 0:34:11that locks the pendulum when the clock's transported,
0:34:11 > 0:34:14which in those days would have been from room to room
0:34:14 > 0:34:16or possibly from house to house.
0:34:16 > 0:34:18When a family went from London to a country house,
0:34:18 > 0:34:22- they would have taken the clock with them in a box.- Right.
0:34:22 > 0:34:25You've got striking, which you can see from the back,
0:34:25 > 0:34:28- we have what is known as the locking plate.- Yes.
0:34:28 > 0:34:30That's the wheel, the interrupted wheel,
0:34:30 > 0:34:34and as it strikes, the detent here will count its way round,
0:34:34 > 0:34:37jumping into the hole commensurate with the number.
0:34:37 > 0:34:40It's one of the reasons why we have to be slightly careful
0:34:40 > 0:34:43- with these clocks, they can get confused.- Oh.
0:34:43 > 0:34:47If you whizz the hands round, they can get confused.
0:34:47 > 0:34:49It has what is known as a basket top,
0:34:49 > 0:34:53which is this repousse engraved piece.
0:34:53 > 0:34:55Good size.
0:34:55 > 0:34:58Um, minimum, I would say,
0:34:58 > 0:35:00£5,000 to £7,000.
0:35:00 > 0:35:05But, and it's a big but, with a little bit of tidying up,
0:35:05 > 0:35:08I wouldn't expect to walk into a shop and buy it
0:35:08 > 0:35:09for, say, less than 15.
0:35:09 > 0:35:12- It's a lot of money for a tick tock. - I know. Isn't it?
0:35:14 > 0:35:17It's not often I see a piece of silver
0:35:17 > 0:35:18that makes my heart skip a beat,
0:35:18 > 0:35:21but this is one of the most beautiful pieces
0:35:21 > 0:35:25of art nouveau silver I've seen for many a long year.
0:35:25 > 0:35:27And if we pick it up and look underneath,
0:35:27 > 0:35:28it gets even better
0:35:28 > 0:35:31because we see it's got the mark of Liberty & Company.
0:35:31 > 0:35:36The date letter "d", which is a little bit worn here, but for 1903,
0:35:36 > 0:35:40and then a little patent number, 2028.
0:35:40 > 0:35:45It's got a Shakespearian inscription from Romeo and Juliet -
0:35:45 > 0:35:48"A rose by any other name would smell as sweet",
0:35:48 > 0:35:52but it's got these wonderful enamel,
0:35:52 > 0:35:55rather Arthurian plaques set in the side.
0:35:55 > 0:35:59I think these might be from The Lady of Shalott.
0:35:59 > 0:36:03We've got particularly the lady here, Lady Shalott.
0:36:03 > 0:36:05She wasn't meant to look directly at the knight,
0:36:05 > 0:36:08she had to look at him through the mirror,
0:36:08 > 0:36:10and the story goes in Lady of Shalott
0:36:10 > 0:36:14that it cracked from side to side, because she looked at him straight on.
0:36:14 > 0:36:18And if we move round, we've got a knight in armour right round here,
0:36:18 > 0:36:20so I think that's where it may be taken from.
0:36:20 > 0:36:26Now, names like Archibald Knox are always associated with Liberty,
0:36:26 > 0:36:29but I don't think this is an Archibald Knox design.
0:36:29 > 0:36:32Do you know anything about it, or its history?
0:36:32 > 0:36:34I know a little about it
0:36:34 > 0:36:36and I'm a collector of things like Archibald Knox
0:36:36 > 0:36:40and in searching for that kind of art nouveau silver, I came across
0:36:40 > 0:36:44this piece, which is a little less modern than my taste normally,
0:36:44 > 0:36:49but I fell in love with it because it is so unique, so beautifully made
0:36:49 > 0:36:51and very much appealed to me.
0:36:51 > 0:36:53And you've brought along this photograph,
0:36:53 > 0:36:56which looks to be the original design of this bowl,
0:36:56 > 0:36:58because it's got the same number, 2028,
0:36:58 > 0:37:02which is stamped on the bottom. Where is this from?
0:37:02 > 0:37:05This is from the Westminster Archive Library.
0:37:05 > 0:37:09They have a sketch book of all the Liberty silver from about 1900-1912
0:37:09 > 0:37:14and I was delighted when I found that picture in it of the bowl.
0:37:14 > 0:37:17It's a really glorious piece. Can I ask what you paid for it?
0:37:17 > 0:37:20Around £5,000. Not cheap.
0:37:20 > 0:37:21I'm not surprised,
0:37:21 > 0:37:24but I actually think it's worth a bit more than that
0:37:24 > 0:37:27because I think it's such a pretty piece.
0:37:27 > 0:37:30I think it was probably designed by Oliver Baker.
0:37:30 > 0:37:35It's got very much his mark of influence over it.
0:37:35 > 0:37:39Liberty - great name, it's stylish, it's pretty, it's a rose bowl,
0:37:39 > 0:37:43hence the Shakespearian inscription. It's got everything going for it,
0:37:43 > 0:37:46so I would say maybe...
0:37:46 > 0:37:49- £6,000, £7,000, even £8,000. - Thank you.
0:37:49 > 0:37:53I think you've bought a great object.
0:37:55 > 0:37:59Well, I have never seen so many Russian Easter eggs
0:37:59 > 0:38:01blazing away in the autumn sunshine here.
0:38:01 > 0:38:04Why did you bring them? What was the story?
0:38:04 > 0:38:07Well, I was watching the Antiques Roadshow a few months ago
0:38:07 > 0:38:10and somebody produced a Faberge cigarette case.
0:38:12 > 0:38:15Well, it was found by my grandfather
0:38:15 > 0:38:17in the hunting fields in the early '20s.
0:38:17 > 0:38:20He advertised it in Fox and Hound, Tatler, Country Life,
0:38:20 > 0:38:22and nobody claimed it.
0:38:22 > 0:38:25This is a Russian cigarette case. Did you know that?
0:38:25 > 0:38:27I knew it was Russian, I've done a bit of history
0:38:27 > 0:38:30on the hallmarks, but beyond that, I don't know.
0:38:30 > 0:38:33And the little ruby thumb push to open it with, a cabochon ruby,
0:38:33 > 0:38:35that's quite a hint of what lies within.
0:38:35 > 0:38:39And here are endless signatures written in Cyrillic.
0:38:39 > 0:38:42But possibly the most interesting thing is the maker's mark here.
0:38:42 > 0:38:45It comes from the Moscow branch of Faberge
0:38:45 > 0:38:49- that made the Imperial Easter eggs for Nicholas and Alexandra.- Amazing.
0:38:49 > 0:38:53And when the case was opened by the expert...
0:38:53 > 0:38:56- That was me! - ..I saw my grandfather's... Yes!
0:38:56 > 0:38:59It was my grandfather's signature that jumped out at me,
0:38:59 > 0:39:01one George Bray,
0:39:01 > 0:39:06and he had given his wife such a necklace.
0:39:06 > 0:39:08These were presents at Easter time.
0:39:08 > 0:39:10- Didn't they get certain eggs? - They did.
0:39:10 > 0:39:12He was very devoted to his wife.
0:39:12 > 0:39:15- They were in Russia, but British people living in Russia.- Yes.
0:39:15 > 0:39:18And you're right to say these are Easter eggs
0:39:18 > 0:39:19and they've been collected,
0:39:19 > 0:39:23and in a way these are British people following a very Russian tradition,
0:39:23 > 0:39:27which is an Orthodox tradition where Easter is the major religious festival.
0:39:27 > 0:39:31And on Easter morning, you get up and give a single Easter egg
0:39:31 > 0:39:34to your beloved with the blessing, "Christ is risen"
0:39:34 > 0:39:36"Khristos voskrese."
0:39:36 > 0:39:39And she or he would answer, "God bless you"
0:39:39 > 0:39:42and that would be that part of the ceremony over.
0:39:42 > 0:39:44It was the highest religious festival in Russia
0:39:44 > 0:39:47and took precedence over Christmas
0:39:47 > 0:39:51and it was a pattern also to be given jewelled Easter eggs
0:39:51 > 0:39:54of this quality to make necklaces, just as you see them here.
0:39:54 > 0:39:57In a way, I couldn't ask for them to be more typical.
0:39:57 > 0:39:59As soon as I'm shown something like this,
0:39:59 > 0:40:02I think, well, I'm going to look for a Faberge one.
0:40:02 > 0:40:05The problem with these is when they were put onto the necklace,
0:40:05 > 0:40:09the gold loop was taken away to solder them on more often than not,
0:40:09 > 0:40:11and with it goes the Faberge signature,
0:40:11 > 0:40:15so it's a pattern more often than not in the necklace.
0:40:15 > 0:40:16We can't read Faberge's signature.
0:40:16 > 0:40:20But this one, subliminally, I believe, is by Faberge.
0:40:20 > 0:40:23It has the red cross on it in enamelled gold.
0:40:23 > 0:40:25The Tzarina was patroness of the Red Cross
0:40:25 > 0:40:28and the Russians were losing millions of people on the front
0:40:28 > 0:40:30in the 1914-18 War
0:40:30 > 0:40:33and the Red Cross was enormously important to them
0:40:33 > 0:40:35and it's not a surprise to see it here.
0:40:35 > 0:40:38We have to think a little bit about value
0:40:38 > 0:40:39and it's quite easy really
0:40:39 > 0:40:42because there is precedent for these things to be sold.
0:40:42 > 0:40:44But this is an unusually full one
0:40:44 > 0:40:47and by the time you've added it all up,
0:40:47 > 0:40:50it's nudging £10,000 for this necklace here.
0:40:50 > 0:40:54And then this necklace here, just a little fewer eggs,
0:40:54 > 0:40:55but doesn't really matter,
0:40:55 > 0:40:58maybe £7,000 would do it.
0:40:58 > 0:41:00But very strangely, this one here,
0:41:00 > 0:41:04which is in perfect condition, is the one that I'm most interested in.
0:41:04 > 0:41:07It has a curious red stone at the bottom
0:41:07 > 0:41:10and it is also in the colours of Holy Russia,
0:41:10 > 0:41:14and Holy Russia and Easter, and so it's a patriotic object.
0:41:14 > 0:41:17More than that, the stone underneath is called purpurine.
0:41:17 > 0:41:19In nature, hard stones arrange themselves
0:41:19 > 0:41:21in all kinds of different colours
0:41:21 > 0:41:25and what it lacks really in nature is a brilliant coloured red,
0:41:25 > 0:41:29which was invented by the Romans to fill that gap
0:41:29 > 0:41:33and Faberge revived it and I can tell you with absolute certainty
0:41:33 > 0:41:35that that is a Faberge Easter egg.
0:41:35 > 0:41:37Who does that belong to?
0:41:37 > 0:41:39Anna.
0:41:39 > 0:41:41It's probably about three times the size
0:41:41 > 0:41:44of any Faberge pendant Easter egg I've ever seen.
0:41:44 > 0:41:47It's also in pristine condition.
0:41:47 > 0:41:50- Have you worn it?- No.- Not once?
0:41:50 > 0:41:54Very tempting, isn't it? It's in pristine condition,
0:41:54 > 0:41:57you can't ask for it to be anything more exciting from Faberge
0:41:57 > 0:42:01because Easter eggs have an echo of the Imperial Easter eggs
0:42:01 > 0:42:03made by Faberge for the Imperial Court
0:42:03 > 0:42:06and this object here in front of us
0:42:06 > 0:42:11- should be insured for close to £30,000.- My gosh!
0:42:13 > 0:42:16My goodness! Right.
0:42:16 > 0:42:20Does it change your perception of it at all?
0:42:20 > 0:42:21Yes!
0:42:21 > 0:42:24A little bit. Brilliant. Well kept.
0:42:24 > 0:42:28Absolutely. Marvellous. Well, how brilliant. What a lovely story.
0:42:28 > 0:42:31and wrought by the Antiques Roadshow because without the Antiques Roadshow,
0:42:31 > 0:42:34no you, no necklaces and no egg.
0:42:34 > 0:42:38We only brought that one as an afterthought because we weren't sure about that one!
0:42:38 > 0:42:42Do you know, I couldn't be more thrilled for those three.
0:42:42 > 0:42:47How amazing was that? They come along thinking they're going to talk about their grandfather
0:42:47 > 0:42:51and it turns out that they own some incredibly precious Faberge.
0:42:51 > 0:42:54Dreams really do come true on the Antiques Roadshow.
0:42:54 > 0:42:57We've thoroughly enjoyed it. I hope you have as well.
0:42:57 > 0:42:59Until next time, bye-bye.
0:43:06 > 0:43:09Subtitles by Red Bee Media Ltd
0:43:09 > 0:43:12E-mail subtitling@bbc.co.uk