0:00:02 > 0:00:05The Roadshow's pulled off the M6, just south of Manchester,
0:00:05 > 0:00:08to visit the vast Cheshire estate of Tatton Park.
0:00:08 > 0:00:09And there's the mansion.
0:00:09 > 0:00:13In its day, it was home to the smartest house parties going.
0:00:13 > 0:00:15Just what we've got in mind for today.
0:01:03 > 0:01:09Tatton House was a stunning place to be entertained, with its lush furnishings and elegant decor.
0:01:12 > 0:01:16But today on the Roadshow we're going for a garden party.
0:01:19 > 0:01:22Just a few hours ago, the Roadshow team were busy getting things ready.
0:01:22 > 0:01:24Come on, boys, put your backs into it!
0:01:24 > 0:01:28We chose the Italian Garden, which I think looks pretty nice.
0:01:29 > 0:01:34It was part of a massive makeover of the whole 2,000 acre estate
0:01:34 > 0:01:35more than 200 years ago.
0:01:35 > 0:01:38All is revealed in the house library
0:01:38 > 0:01:41that guards a book our specialists would die for.
0:01:43 > 0:01:47It was hand-written and illustrated in 1791
0:01:47 > 0:01:50by the landscape gardener Humphrey Repton.
0:01:50 > 0:01:53It's a master plan for the owner at the time, William Egerton,
0:01:53 > 0:01:56and it showed how the estate could be made to look more impressive
0:01:56 > 0:01:59by a few clever, cunning tricks.
0:01:59 > 0:02:00Here, for example, is a view of
0:02:00 > 0:02:03the approach to Tatton from neighbouring Knutsford.
0:02:03 > 0:02:06And then, by peeling back the overlay,
0:02:06 > 0:02:09Repton shows his client the proposed entrance.
0:02:09 > 0:02:12And today the gatehouse is shrouded in mature trees.
0:02:13 > 0:02:16And to achieve the illusion of the estate
0:02:16 > 0:02:17being an entirely natural landscape,
0:02:17 > 0:02:20Repton openly admits using deception.
0:02:20 > 0:02:25In fact, there's a whole chapter in the book dedicated to justifying it.
0:02:25 > 0:02:28He wrote, "I'm aware of the common objection to all efforts
0:02:28 > 0:02:32"that may be deemed deceptions. But in landscape gardening
0:02:32 > 0:02:34"everything may be called a deception.
0:02:34 > 0:02:38"We plant a hill to make it appear higher than it is and every piece of
0:02:38 > 0:02:43"artificial water must look natural, or it will fail to be agreeable."
0:02:43 > 0:02:44Today it looks as if the mansion was
0:02:44 > 0:02:47built by a large lake that just happened to be there,
0:02:47 > 0:02:51rather than one dug later to show off the mansion.
0:02:51 > 0:02:55All part of Humphrey Repton's grand illusion.
0:02:57 > 0:03:00Looks like we're in for a busy day, and I trust no one will be deceiving
0:03:00 > 0:03:04our specialists as they discover what wonders have been brought here to Tatton Park.
0:03:07 > 0:03:10What a lovely clock. Do you like it?
0:03:10 > 0:03:13- I do. My father doesn't.- Why not?
0:03:13 > 0:03:16I think he just thinks it's very ugly! It's not his taste.
0:03:16 > 0:03:21But I think it's quite simple, in an obviously quite flamboyant style.
0:03:21 > 0:03:24Does he know what nationality it might be?
0:03:24 > 0:03:26- He thinks it's French.- He's right.
0:03:26 > 0:03:29- The giveaway is the dial, isn't it? - The name, Le Roy.
0:03:29 > 0:03:33Le Roy, and that's horologer to the King. Clockmaker to the King.
0:03:33 > 0:03:35This particular man
0:03:35 > 0:03:38was by appointment to Napoleon.
0:03:38 > 0:03:41And then, after the end of the Revolution,
0:03:41 > 0:03:44to the King of Westphalia. So, a great maker.
0:03:44 > 0:03:46Do you know what the clock's made of?
0:03:46 > 0:03:47No, I don't.
0:03:47 > 0:03:50It's gilt bronze, what we call ormolu.
0:03:50 > 0:03:53And the subject matter is charming.
0:03:53 > 0:03:58The library setting, so we've got the reading and the writing figure there.
0:03:58 > 0:04:02We've got the arts to the full, and the sciences are displayed
0:04:02 > 0:04:06by this globe, here, which sadly has lost a few of its stars.
0:04:06 > 0:04:09- But you can see them underneath.- Yes.
0:04:09 > 0:04:14- I think it's lovely.- My grandfather's had it since the mid '30s.
0:04:14 > 0:04:18- How did he get it? - He went on a cruise to Egypt and bought it in Egypt.
0:04:18 > 0:04:22- What, so he got off a boat in somewhere like Alexandria or Cairo, and bought it?- Yes, presumably.
0:04:22 > 0:04:25Buying a French Empire clock in Egypt, how intriguing.
0:04:25 > 0:04:29- How it got there, I've no idea. - No, I can't shed any light.
0:04:29 > 0:04:36The subject matter's lovely, it's absolutely textbook stuff dating from about 1815-1820.
0:04:36 > 0:04:38- Oh, right.- I love it.
0:04:38 > 0:04:41It's absolutely my sort of thing.
0:04:41 > 0:04:44I think grossly undervalued in the current market.
0:04:44 > 0:04:47And, despite that, because of this, because of the maker,
0:04:47 > 0:04:50if it went to auction it's going to make
0:04:50 > 0:04:54- at least £3,000.- Oh, right, wow. A bit more than we thought.
0:04:54 > 0:04:56And retail...
0:04:56 > 0:04:58at a decent antiques fair or in a clock dealer's shop,
0:04:58 > 0:05:00you wouldn't get it for under £5,000.
0:05:00 > 0:05:02Oh, gosh.
0:05:02 > 0:05:05- That's surprising. - So, he should be happy with that.
0:05:05 > 0:05:07He should. Maybe he'll want it back.
0:05:07 > 0:05:10- No, no! Don't tell him what it's worth.- Well, I brought it here, so...
0:05:10 > 0:05:11Exactly.
0:05:15 > 0:05:18This is a beautiful 19th century landscape painting.
0:05:18 > 0:05:22- How long have you had it for? - I've had it for about two years.
0:05:22 > 0:05:26It was left to me by my grandparents, when they passed away.
0:05:26 > 0:05:28Do you know where they found it?
0:05:28 > 0:05:31The story is they found it in a junk shop...
0:05:31 > 0:05:35around St Albans, I think, where they were living at the time.
0:05:35 > 0:05:40The painting itself was completely black, covered in soot.
0:05:40 > 0:05:43But they liked it, they bought it for the frame.
0:05:43 > 0:05:46It was the only thing they could see. When they got it home,
0:05:46 > 0:05:49they decided to clean up a little bit of the picture.
0:05:49 > 0:05:52And round this poppy, here, when they cleaned the soot away,
0:05:52 > 0:05:54the red of the poppy shone through.
0:05:54 > 0:05:57And they thought, "Wow, we've got something here."
0:05:57 > 0:06:00And they cleaned the rest of it up themselves.
0:06:00 > 0:06:03Well, these wild flowers are absolutely delightful.
0:06:03 > 0:06:06And it's nice to see that the original frame is still in great condition.
0:06:06 > 0:06:09And the oil painting, the 19th century oil painting,
0:06:09 > 0:06:11is in wonderful state too.
0:06:11 > 0:06:16I wonder what they cleaned it with, because luckily it wasn't too extreme. The paint's still there.
0:06:16 > 0:06:19I really don't know what they cleaned it with, I dread to think.
0:06:19 > 0:06:23Well, it's signed lower right and dated,
0:06:23 > 0:06:26John Clayton Adams, and the date's 1872.
0:06:26 > 0:06:29Now, over the years I've seen a few pictures by Clayton Adams.
0:06:29 > 0:06:33He's certainly one of my favourite landscape painters because this sort
0:06:33 > 0:06:37of particular time he was painting in an area where I was living as a boy.
0:06:37 > 0:06:42- Right.- He started his life in Edmonton, but in the 1870s
0:06:42 > 0:06:44he moved to Ewhurst, in Surrey.
0:06:44 > 0:06:48So he was painting all across the Downs and this is likely to be one of
0:06:48 > 0:06:49- those views across the Downs.- Right.
0:06:49 > 0:06:53And I literally lived, as a boy, probably two or three miles
0:06:53 > 0:06:57from Ewhurst. But you still see the beautiful British landscape
0:06:57 > 0:06:59which we're all so proud of.
0:06:59 > 0:07:01And if you look at this picture,
0:07:01 > 0:07:04right from the very front of the painting,
0:07:04 > 0:07:07where the wild flowers and the poppies are painted,
0:07:07 > 0:07:10your eye draws right to the back of the landscape and then moves around
0:07:10 > 0:07:12to the workers working in the fields
0:07:12 > 0:07:16- and putting together the corn stooks. - I do think it's great.
0:07:16 > 0:07:19- The problem is we don't have anywhere to hang it at home. - Oh, no!
0:07:19 > 0:07:21So it doesn't get...
0:07:22 > 0:07:23It's not out very much.
0:07:23 > 0:07:28So this is a bit of an outing for it so we can find out a bit more about it.
0:07:28 > 0:07:32For something from the 1870s to be sold through
0:07:32 > 0:07:37a junk shop, to be covered in dirt, to be wiped over by your family,
0:07:37 > 0:07:40to last so long and still be in great state, you would think by now
0:07:40 > 0:07:43it would have had some restoration or been modernised in some sort of way..
0:07:43 > 0:07:47- Right.- It's unusual and that actually increases the value.
0:07:47 > 0:07:49- Oh, right.- Collectors love to see pictures like this,
0:07:49 > 0:07:52in beautiful, original condition.
0:07:52 > 0:07:55I could see this certainly making £3,000 to £5,000 at auction.
0:07:55 > 0:07:56Gosh.
0:07:58 > 0:08:01Wow.
0:08:01 > 0:08:03Thank you.
0:08:03 > 0:08:05Harry Potter, eat your heart out.
0:08:05 > 0:08:08Well, yes. I guess it's come into its own of late.
0:08:08 > 0:08:12But it actually belonged to my parents and stood in the hallway
0:08:12 > 0:08:16of their house from, well, at least 1930 onwards.
0:08:16 > 0:08:19- Up here?- No, in Hounslow, in London.
0:08:19 > 0:08:23My mother acquired it from, I think,
0:08:23 > 0:08:28a hard-up relative who flogged it round the family.
0:08:28 > 0:08:32But everybody thought it was so ugly that she was the only one
0:08:32 > 0:08:35who actually accepted it, so it came into our house then.
0:08:35 > 0:08:39I remember it as a small boy and it's been with us ever since.
0:08:39 > 0:08:43What it is, I haven't the slightest idea.
0:08:43 > 0:08:47I think it's called a wyvern, this particular type of dragon.
0:08:47 > 0:08:51But my mother thought it was Chinese.
0:08:51 > 0:08:55I'm not so sure, it looks more like a fugitive
0:08:55 > 0:09:00from a black-and-white silent film of Count Dracula to me.
0:09:00 > 0:09:03And, as it stands on the staircase at home,
0:09:03 > 0:09:07both my children and now grandchildren creep up past it to go to bed
0:09:07 > 0:09:11and say, "Shh, don't wake the dragon!"
0:09:11 > 0:09:14as they go by. So it's a very good calming influence on the household.
0:09:14 > 0:09:18- Soporific. - Yes, absolutely. It's a mystery.
0:09:18 > 0:09:21Well, I can tell you where it's from.
0:09:21 > 0:09:22- It's Venetian.- Really?
0:09:22 > 0:09:27It's Venetian, and it's a card tray.
0:09:27 > 0:09:29Oh, so my mother was right.
0:09:29 > 0:09:34She always said it was for visitors to put their visiting cards on.
0:09:34 > 0:09:37- Exactly.- I have to tell you that in a semi-detached in Hounslow
0:09:37 > 0:09:41in 1930 there weren't too many people who came round with a...
0:09:41 > 0:09:43- But she had grand ideas. - Yes, she did. Yes.
0:09:43 > 0:09:45Always listen to your mum.
0:09:45 > 0:09:49It's 19th century,
0:09:49 > 0:09:51it's the late part of the 19th century.
0:09:51 > 0:09:55And you get them in various styles.
0:09:55 > 0:10:00Styles go in and out of fashion and, at the latter part of the 19th century, this was the style.
0:10:00 > 0:10:01- We call it grotesque.- Right.
0:10:01 > 0:10:05Sometimes these are multi-coloured.
0:10:05 > 0:10:07As I say, this is carved wood.
0:10:07 > 0:10:12One would expect to see reds and blues, being Venetian.
0:10:12 > 0:10:15- Oh, really? Yes. - But I can't see any colours at all.
0:10:15 > 0:10:17Commercially, I would say this is worth
0:10:17 > 0:10:19between £1,200 and £1,500.
0:10:19 > 0:10:22Really? Gosh! Oh, I think my mum did a good deal
0:10:22 > 0:10:25with the impoverished member of the family in 1920-something.
0:10:25 > 0:10:28- Right, fantastic. - Good, thank you very much indeed.
0:10:28 > 0:10:30That's most interesting, thank you.
0:10:34 > 0:10:36Where did it come from?
0:10:36 > 0:10:40It's been in my maternal grandmother's family for,
0:10:40 > 0:10:43I presume, quite a few generations.
0:10:43 > 0:10:45I believe my great grandmother used it as a cake stand.
0:10:45 > 0:10:49- But more recently it's been locked away in cupboards.- Right.
0:10:49 > 0:10:53- The JJM, this would be a marriage. - Yes.
0:10:53 > 0:10:58James and Jennifer Marlow.
0:10:58 > 0:11:00And the surname would be at the top.
0:11:00 > 0:11:03Does an M appear anywhere back in your family?
0:11:03 > 0:11:05No. No, it doesn't.
0:11:05 > 0:11:08- Well, not as far as I know. - Do you know what it is?
0:11:08 > 0:11:11I think they're called ham stands, aren't they?
0:11:11 > 0:11:14They are. You put the ham on there
0:11:14 > 0:11:18and this would be a largish family, which could afford a ham.
0:11:18 > 0:11:22And it would be cut off daily, as people wanted it.
0:11:22 > 0:11:23And, in fact, the cut marks,
0:11:23 > 0:11:28the scratch marks, work perfectly well
0:11:28 > 0:11:30for this serving as a ham stand.
0:11:30 > 0:11:36This one of course is dated 1787.
0:11:36 > 0:11:40Clapham, we don't know, that would be the place.
0:11:40 > 0:11:44And you've got to settle down with a British Isles atlas and check out all the Claphams.
0:11:44 > 0:11:46- There aren't very many of them. - There are not many?
0:11:46 > 0:11:49There's Clapham in London, of course.
0:11:49 > 0:11:51But that wouldn't tie up with the fish.
0:11:51 > 0:11:56It suggests that this person either enjoyed fishing or was connected
0:11:56 > 0:11:58to the fishing industry.
0:11:58 > 0:12:00This is slipware.
0:12:00 > 0:12:06It's been sort of squeezed on from a bag, through a goose quill,
0:12:06 > 0:12:11to draw all the letters onto what we call a treacle glaze.
0:12:11 > 0:12:15And it is, as you rightly said, unsophisticated.
0:12:16 > 0:12:21But...this one is very different from the run of the mill.
0:12:21 > 0:12:26Because the guy that did this has gone to a lot of trouble to scratch
0:12:26 > 0:12:29in through the slip he's just put on,
0:12:29 > 0:12:34to the treacle background, to give some depth to the letters.
0:12:34 > 0:12:37And indeed that is true of the leaves on here,
0:12:37 > 0:12:41which he's actually gouged out, probably with a chisel.
0:12:41 > 0:12:43OK, you keep it in a cupboard.
0:12:43 > 0:12:47Erm...perhaps you'll bring it out if I tell you that I think
0:12:47 > 0:12:51it could make somewhere in the region of
0:12:51 > 0:12:53£2,500 to £3,500.
0:12:54 > 0:12:55- Hm.- OK?
0:12:55 > 0:12:57Yes, yes.
0:12:57 > 0:12:58Thank you.
0:12:58 > 0:13:03One of the joys of collecting antiques is that we often come across
0:13:03 > 0:13:07things which tell us how people lived in bygone days.
0:13:07 > 0:13:09Now, you've brought along a fantastic collection
0:13:09 > 0:13:12of silver purses,
0:13:12 > 0:13:19which mainly range in date from the 1880s through to 1940-ish.
0:13:19 > 0:13:23And they were part of the absolute essential kit that ladies
0:13:23 > 0:13:27had to carry with them when they went out for fantastic dinners
0:13:27 > 0:13:29or balls, that sort of thing.
0:13:29 > 0:13:33What got you interested in collecting them in the first place?
0:13:33 > 0:13:36Well, my husband had go on business to Milan
0:13:36 > 0:13:40and he wanted me to go with him.
0:13:40 > 0:13:45And we were invited to lunch at this person's house.
0:13:45 > 0:13:48He'd got a lovely big house of antiques and his wife thought that
0:13:48 > 0:13:52she'd like to collect something. So she started these.
0:13:52 > 0:13:57And I was so fascinated, when I came home I thought, "I'll do this."
0:13:57 > 0:14:00Thinking that there were loads and loads about.
0:14:00 > 0:14:02And I found that they were quite scarce, actually.
0:14:02 > 0:14:04They are very pretty objects.
0:14:04 > 0:14:08as you can see. And one of my favourites is this one here.
0:14:08 > 0:14:13- And the reason I love it is that the shape is so unusual.- Yes.
0:14:13 > 0:14:15One of the most important things
0:14:15 > 0:14:20about these purses is, if the insides have their original silk or leather.
0:14:20 > 0:14:23- Yes. - And so let's have a look in here.
0:14:24 > 0:14:26And there we've got the original leather
0:14:26 > 0:14:28in absolutely fabulous condition.
0:14:28 > 0:14:31Looks like it's never been used.
0:14:31 > 0:14:33And these have got little finger rings on them.
0:14:33 > 0:14:36I'm not going to put it on my horrible little finger.
0:14:36 > 0:14:38But why don't we put it on your finger?
0:14:38 > 0:14:40That looks really elegant, doesn't it?
0:14:40 > 0:14:46- Yes, yes. And did they take them to balls and things?- Yes, exactly.
0:14:46 > 0:14:48But what did they put in? They're so small.
0:14:48 > 0:14:51They would have put a couple of sovereigns
0:14:51 > 0:14:53to pay the coachman for going home,
0:14:53 > 0:14:55might have had a dance card on there
0:14:55 > 0:14:57for whoever their next dance was with.
0:14:57 > 0:15:00Have you helped your mother collect these?
0:15:00 > 0:15:03Yes. Yes, I have.
0:15:03 > 0:15:06- We've enjoyed looking at them together, haven't we?- Yes, yes.
0:15:06 > 0:15:09And polishing them. We've got them out regularly.
0:15:09 > 0:15:11- Do you have a favourite?- Yes, I do.
0:15:11 > 0:15:13I love this one.
0:15:13 > 0:15:15- It's so small and dainty.- Yes.
0:15:15 > 0:15:17It's really pretty.
0:15:17 > 0:15:20That's a very elegant one, isn't it?
0:15:20 > 0:15:24- Yes.- The other thing to remember about these purses is that
0:15:24 > 0:15:27they have to be in really good condition to be worth something.
0:15:27 > 0:15:29Yes, I know that from the price I paid.
0:15:29 > 0:15:33Now, I was going to ask, what sort of prices have you been paying for these?
0:15:33 > 0:15:37Most of them were £100 and over.
0:15:37 > 0:15:39- You're paying the right sort of figure for them.- Yes.
0:15:39 > 0:15:44- Because most of them are worth between £100 and £150.- Yes, yes.
0:15:44 > 0:15:48Altogether, these add up to quite a sum.
0:15:48 > 0:15:52So you're probably getting to in excess of £2,000 worth here.
0:15:52 > 0:15:55Oh, right. Yes. And you've only to got to look at them
0:15:55 > 0:15:58to imagine people going to these balls.
0:15:58 > 0:16:02- Some pretty lady... - Imagine ladies in long, flowing, elegant dresses,
0:16:02 > 0:16:05turning up with the absolute essential kit that they had to have.
0:16:05 > 0:16:09So it was an age which was, as I say, governed by etiquette.
0:16:09 > 0:16:11Well, if they come back into fashion,
0:16:11 > 0:16:13I've got my equipment, haven't I?
0:16:13 > 0:16:16- Thank you very much.- Thank you.
0:16:18 > 0:16:22I understand you've come more than a little way to be here today.
0:16:22 > 0:16:24Can you tell me where you've come from?
0:16:24 > 0:16:27- AUSTRALIAN ACCENT: - From Australia.- Queensland.
0:16:27 > 0:16:32That's a long, long way. Well, I think you're probably one of our most travelled visitors today.
0:16:32 > 0:16:37And you've brought this absolutely wonderful and amazing decoration,
0:16:37 > 0:16:41the Distinguished Flying Cross.
0:16:41 > 0:16:44Everybody who's interested in aviation history, military aviation,
0:16:44 > 0:16:47knows that it's just absolutely iconic.
0:16:47 > 0:16:50- Is it a family piece? - It's our father's, John Dixon.
0:16:50 > 0:16:52Right.
0:16:52 > 0:16:57And he joined up from Queensland, Australia, when he was very young.
0:16:57 > 0:17:01Did he join the Royal Air Force or Royal Australian Air Force?
0:17:01 > 0:17:03- Royal Air Force.- Right.
0:17:03 > 0:17:07And what did he get this fantastically important medal for?
0:17:07 > 0:17:09It's a gallantry award, it's not something
0:17:09 > 0:17:11that just says that you've been there.
0:17:11 > 0:17:15They're important, but that's for doing something remarkably special.
0:17:15 > 0:17:20Yes. He photographed the Tirpitz, both before and after.
0:17:20 > 0:17:24Right. Very soon after this, that was actually destroyed and gone.
0:17:24 > 0:17:29Yes. And, of course... it was awfully hard,
0:17:29 > 0:17:31with the flack and everything.
0:17:31 > 0:17:34So, yeah, we're very proud of him.
0:17:34 > 0:17:37Well, you should be. All of these big German capital ships
0:17:37 > 0:17:41that they had, they were designed as commerce raiders.
0:17:41 > 0:17:44And if you had a ship like the Tirpitz out on the sea lanes,
0:17:44 > 0:17:47all the convoys that were the lifeline of this country,
0:17:47 > 0:17:52that were being attacked by U-boats, attacked by the German equivalent of Coastal Command,
0:17:52 > 0:17:56with its long-range aircraft, and these whopping great big ships.
0:17:56 > 0:17:58You know, if they had been successful,
0:17:58 > 0:18:01then this country would have just been starved into submission.
0:18:01 > 0:18:07- And we have here, I think, a picture of Tirpitz that he took flying his Spitfire.- Yes, yes.
0:18:07 > 0:18:12And that, presumably, would be one of these stripped-down, tuned-up,
0:18:12 > 0:18:16unarmed - "neeeoowww!" - take-a-picture jobs?
0:18:16 > 0:18:19Yes, well, all they had was their camera.
0:18:19 > 0:18:24It's phenomenal when you think about the courage of somebody doing that.
0:18:24 > 0:18:27Because an asset like that is not going to be left unprotected.
0:18:27 > 0:18:31There would be flack guns around it, whatever could be put together from
0:18:31 > 0:18:35the local Luftwaffe to fly air cover over it.
0:18:35 > 0:18:39And here you are, in an unarmed plane, with nothing but
0:18:39 > 0:18:44the equivalent of a big box Brownie sticking out the bottom.
0:18:44 > 0:18:47I was fascinated by the entries in the log book
0:18:47 > 0:18:53that tell us just what he was doing with his Spitfire, which was Mark 4.
0:18:53 > 0:18:55And it says,
0:18:55 > 0:18:58"Direct action on Tirpitz, 16,000 feet."
0:18:58 > 0:18:59Argh!
0:18:59 > 0:19:01"Bags of flack."
0:19:01 > 0:19:04I mean, that's a bit of an understatement, isn't it?
0:19:04 > 0:19:08When you look at this photograph, it looks kind of pretty insignificant.
0:19:08 > 0:19:11It's black-and-white, it's a bit dog-eared on the corners.
0:19:11 > 0:19:14But when you think about its importance,
0:19:14 > 0:19:19that that tells the strategic planners where that big German asset was,
0:19:19 > 0:19:21Having the ability to launch a raid on it that finally,
0:19:21 > 0:19:24once and for all, dealt with that big capital asset.
0:19:24 > 0:19:29It made everything so much safer and made sure that the supplies
0:19:29 > 0:19:32that were coming over, that kept this island alive...
0:19:32 > 0:19:33So, so important.
0:19:33 > 0:19:37And it's fantastic that your father risked his life for that.
0:19:37 > 0:19:41Yes. You don't realise, sometimes.
0:19:41 > 0:19:46I always find it very difficult, putting a price on one man's bravery.
0:19:46 > 0:19:50And this is bravery of the most naked sort, isn't it?
0:19:50 > 0:19:52Commerce always pokes her nose in, I'm afraid.
0:19:52 > 0:19:56And if you sold this, because of the fact
0:19:56 > 0:19:59that there's all this wonderful provenance with it,
0:19:59 > 0:20:03I think this collection's worth about £5,000.
0:20:03 > 0:20:07Absolutely fantastic. It's great of you to come all this way to bring it.
0:20:07 > 0:20:09THEY LAUGH
0:20:09 > 0:20:12Yes, well, that's amazing.
0:20:15 > 0:20:18You've got six plates by...
0:20:18 > 0:20:21I think you know, it's Lucienne Day
0:20:21 > 0:20:24because her name is on the back.
0:20:24 > 0:20:25But where did you find them?
0:20:25 > 0:20:28I just got them in a charity shop about a year ago.
0:20:28 > 0:20:31And what attracted you to them? Just because you liked them?
0:20:31 > 0:20:35Actually, I just needed some plates because I didn't have any plates
0:20:35 > 0:20:36and I was going to use them.
0:20:36 > 0:20:38I only saw one - only one of them was on display.
0:20:38 > 0:20:42But they said it was a set of six, so I didn't really see
0:20:42 > 0:20:45any of the others until I got them home.
0:20:45 > 0:20:48But then when I saw that it had, like, a proper mark on the back,
0:20:48 > 0:20:51I thought I'd better not use them until I find out more about them.
0:20:51 > 0:20:53So you're sort of sitting at home, no plates,
0:20:53 > 0:20:56and you thought, "Oh, I'll pop down the charity shop."
0:20:56 > 0:21:00- And you just happened to buy six plates by Lucienne Day?- Yeah.
0:21:00 > 0:21:04One of the leading post-war British designers.
0:21:04 > 0:21:06And how much did you pay for them?
0:21:06 > 0:21:09- £5.- For the set?
0:21:09 > 0:21:12Well, I don't know if you ever noticed, but on the back
0:21:12 > 0:21:13they've got the original price.
0:21:13 > 0:21:19And they were £2, nine shillings and thruppence each.
0:21:19 > 0:21:22And these plates will date from the late '50s, early '60s.
0:21:22 > 0:21:25And Lucienne Day is principally known as a textile designer.
0:21:25 > 0:21:28She came to prominence in the Festival of Britain in 1951
0:21:28 > 0:21:32with a fabric called Calyx, which was very much of its era,
0:21:32 > 0:21:36very sort of stark geometric, in sort of earthy colours.
0:21:36 > 0:21:39And these, again, speak of her design as it continued.
0:21:39 > 0:21:44They're very much like her fabric designs, I think that's what collectors like about them.
0:21:44 > 0:21:47And a lot of people don't realise that Lucienne Day
0:21:47 > 0:21:49actually worked as a ceramic designer as well.
0:21:49 > 0:21:54She made pieces for Rosenthal, and the shapes of these are probably designed
0:21:54 > 0:21:58by somebody called Raymond Loewy who was a very famous American designer.
0:21:58 > 0:22:01So to get Raymond Loewy, Lucienne Day,
0:22:01 > 0:22:04with a name like Rosenthal together, you've got ceramic magic.
0:22:04 > 0:22:06It is ceramic magic.
0:22:06 > 0:22:11That said, because she's not so known as a ceramic designer,
0:22:11 > 0:22:14they're not going to be worth as much as you might imagine.
0:22:14 > 0:22:16And I think right now,
0:22:16 > 0:22:21- the value of these is going to be around about £500 to £600.- Really?
0:22:21 > 0:22:23- Yes.- So it's not bad then, is it?
0:22:23 > 0:22:26But I think in a few years' time these will go up,
0:22:26 > 0:22:29because this is just what people are looking for.
0:22:29 > 0:22:33You were looking for plates and you came home with, well,
0:22:33 > 0:22:34treasure.
0:22:34 > 0:22:37- Glad I didn't use them, then. - I'm glad you didn't use them either.
0:22:37 > 0:22:42Well, Tatton Park is one of the Wyatt architectural dynasty's greatest creations, actually.
0:22:42 > 0:22:45And they had their favourite firm of cabinet makers,
0:22:45 > 0:22:46Gillows and Co.
0:22:46 > 0:22:49And the Egerton family were one of the greatest patrons of Gillows.
0:22:49 > 0:22:54So I was really hoping that a beautiful piece of Gillows furniture would turn up today.
0:22:54 > 0:22:59I mean, they were based in Lancaster about 40 or 50 miles from here
0:22:59 > 0:23:02and they specialised in creating fantastic quality furniture.
0:23:02 > 0:23:05So I'm incredibly grateful to you for bringing this in.
0:23:05 > 0:23:07Is it something you've always had?
0:23:07 > 0:23:10Well, I've had it for ten years.
0:23:10 > 0:23:13We bought it from a local antique dealer
0:23:13 > 0:23:16and he said it had come from a mill.
0:23:16 > 0:23:21And the mill was closing down and it had been in the boss's office.
0:23:21 > 0:23:26So he bought it and it was in the saleroom.
0:23:26 > 0:23:28But it wasn't in very nice condition.
0:23:28 > 0:23:32- The polish was pretty patchy and it was quite badly scratched.- Right.
0:23:32 > 0:23:36So we sort of hummed and hawed, went back about three times.
0:23:36 > 0:23:41And then we decided to go for it, because it was a lovely piece of furniture.
0:23:41 > 0:23:45Well, the thing about Gillows, from the 18th century onwards,
0:23:45 > 0:23:48really until they were Waring and Gillows in the early 20th century,
0:23:48 > 0:23:51everything that they made is just beautifully finished.
0:23:51 > 0:23:53All the drawers are immaculately lined,
0:23:53 > 0:23:57very tight in their construction, no expense spared on the timbers.
0:23:57 > 0:23:59And although they often used mahogany,
0:23:59 > 0:24:05here we've got an incredible example of Gillows working at the very top of their game in oak.
0:24:05 > 0:24:08But it's this fantastic choice of the timber that they use.
0:24:08 > 0:24:12So, you know, within the doors you've got this very, very carefully chosen
0:24:12 > 0:24:16medullary rays within the oak, to give this incredible liveliness,
0:24:16 > 0:24:18this light fleck to the timber.
0:24:18 > 0:24:21Every single piece is made beautifully.
0:24:21 > 0:24:24And what is very nice is not only do you have the stamp on the top
0:24:24 > 0:24:29- of the door, but you also have this registration number on the top.- Yes.
0:24:29 > 0:24:33I mean, stylistically, with this very beautifully finished bevelled glass
0:24:33 > 0:24:35and the various ornamental treatment
0:24:35 > 0:24:41of the doors and the panels, this dates from around sort of 1880.
0:24:41 > 0:24:47That sort of date. And it's Gillows making very good quality furniture for domestic use.
0:24:47 > 0:24:52So it looks in wonderful condition now. You've obviously done a little bit of work to it
0:24:52 > 0:24:54since you bought it, have you? To put it back...?
0:24:54 > 0:24:57Well, the dealer did it, actually.
0:24:57 > 0:25:00- Right.- He stripped it right back and repolished it,
0:25:00 > 0:25:02because I couldn't have lived with it as it was.
0:25:02 > 0:25:06It was very grey and quite badly scratched.
0:25:06 > 0:25:11- But I'm really pleased with the result because it looks almost new, doesn't it?- Well, it does.
0:25:11 > 0:25:15I mean, I must admit I do love when furniture keeps its old surface.
0:25:15 > 0:25:20So generally I'm a little bit sceptical of when things have been taken back.
0:25:20 > 0:25:24Actually, I think he did a good job here by not going too far.
0:25:24 > 0:25:27It's a little bit flat on the surface, but it brings out
0:25:27 > 0:25:32this incredible strength of the figuring of the oak, which is very important.
0:25:32 > 0:25:35Now, for all the work he did, what did he charge you for it?
0:25:35 > 0:25:39Well, this was 10 years ago and I thought it was a lot of money.
0:25:39 > 0:25:46It was £1,200. That included the stripping, which was about £200.
0:25:46 > 0:25:47I don't think it was too bad, though.
0:25:47 > 0:25:50I think it's the sort of thing, because of the quality,
0:25:50 > 0:25:53because it's got the Gillows stamp, even if it's late Gillows,
0:25:53 > 0:25:57it's a very, very good example and I think you would probably get
0:25:57 > 0:25:59£1,500 or £2,000 if you were to try and sell it today.
0:25:59 > 0:26:02Right. Well, I've not lost anything, have I?
0:26:02 > 0:26:06- You've not lost anything. Exactly, exactly.- Thank you. - Thank you very much.
0:26:06 > 0:26:10You've probably got the history of golf balls there in two boxes.
0:26:10 > 0:26:14They were left to us in a will, last year, by our uncle.
0:26:14 > 0:26:17And they belonged to... Well, this guy on the photograph.
0:26:17 > 0:26:19But that was his great granddad.
0:26:19 > 0:26:21But they just look like a load of old golf balls to us.
0:26:21 > 0:26:23But we thought they might have a value
0:26:23 > 0:26:26because he kept them under the floorboards.
0:26:26 > 0:26:29Well, like I say, you've got the history of golf there.
0:26:29 > 0:26:32It's so unusual to see. I'd see two, three, or four
0:26:32 > 0:26:36of these type a year. I mean, they're not common now.
0:26:36 > 0:26:40This one, especially, that's a feather-filled leather ball.
0:26:40 > 0:26:43They were incredibly expensive things to buy when they were new,
0:26:43 > 0:26:48because the amount of work that went into them, a whole top hat full of feathers would be used.
0:26:48 > 0:26:52I mean, goose feathers, crammed down, would be used to make a ball like that.
0:26:52 > 0:26:55So you can imagine losing that on the golf course, you'd be pretty upset.
0:26:55 > 0:26:58But then you run through the whole range.
0:26:58 > 0:27:03You've got the leather and feather, you've got gutta-percha.
0:27:03 > 0:27:07This one, here, 1840s.
0:27:07 > 0:27:12Gutta-percha is a tree sap which, at boiling temperature, it hardens.
0:27:12 > 0:27:14Then you can mould it and do this mesh pattern.
0:27:14 > 0:27:19It was first designed by a chap called the Reverend Patterson,
0:27:19 > 0:27:24which dramatically improved the flight of the ball from these plain ones.
0:27:24 > 0:27:27So, this was a relative of yours here,
0:27:27 > 0:27:29at the Grand Golf Tournament in 1867?
0:27:29 > 0:27:32Yes. This man in the middle is James Anderson
0:27:32 > 0:27:34and he was my great-great grandfather.
0:27:34 > 0:27:37He lived in Edinburgh, he owned a distillery in Edinburgh.
0:27:37 > 0:27:41And these, as far as we know, have come from him and been passed down
0:27:41 > 0:27:45and ended up with my granddad, who was a very keen golfer.
0:27:45 > 0:27:47And that's how our uncle got them.
0:27:47 > 0:27:51He looks like he's had a good round. He looks pretty pleased with himself.
0:27:51 > 0:27:55And he's playing with some big names there, Morris and various others.
0:27:55 > 0:27:59I mean, he was obviously very well respected and this collection would
0:27:59 > 0:28:03have been formed over quite a few generations, with grandfathers and
0:28:03 > 0:28:08sons collecting, because they range from 1840s right up to the 1940s.
0:28:08 > 0:28:11There are big-name golf balls.
0:28:11 > 0:28:15They need to be named before they're really worth anything.
0:28:15 > 0:28:18I've had a good look and I can't see any names on them.
0:28:18 > 0:28:21But that's where the big money arises.
0:28:21 > 0:28:24You've got tatty ones here which are worth £30, £40.
0:28:24 > 0:28:28This one then goes up to £1,000.
0:28:28 > 0:28:32- This one, £2,000. - Oh, gosh!
0:28:34 > 0:28:35Oh, my God!
0:28:35 > 0:28:39I think comfortably you've got £10,000 there.
0:28:39 > 0:28:42Gosh.
0:28:42 > 0:28:44Doesn't look like it, does it?
0:28:44 > 0:28:46Well, to me, it does.
0:28:49 > 0:28:51Now, this is a rather lovely sedan chair.
0:28:51 > 0:28:53Did you come in the chair this morning, ladies?
0:28:53 > 0:28:56We didn't think it would bear both our weights, didn't we?
0:28:56 > 0:28:59- So, no, I drove.- No, we didn't. - What's the story with this?
0:28:59 > 0:29:03This belonged to Lady Jane Stanley,
0:29:03 > 0:29:05- who lived in Knutsford in Brook House.- So, just down the road.
0:29:05 > 0:29:08Just down the road. She used to use it in Knutsford, but when she
0:29:08 > 0:29:15actually died, she bequeathed this to the Knutsford May Day Committee.
0:29:15 > 0:29:19So, every year since then, this sedan chair has been used
0:29:19 > 0:29:23in our May Day Festival. And the festival has been going 146 years.
0:29:23 > 0:29:27And each year a Queen is selected
0:29:27 > 0:29:31and she's crowned on our heath.
0:29:31 > 0:29:33And each year there's a different crown.
0:29:33 > 0:29:38And the crown is the May Day Queen's ownership after she's crowned.
0:29:38 > 0:29:41- Oh, she gets to keep it? - She gets to keep it, yes.
0:29:41 > 0:29:43Well, that's how we get them. Very often we're left them
0:29:43 > 0:29:45or we're given them or whatever, so
0:29:45 > 0:29:48we have a large selection, but we've just brought you two or three today.
0:29:48 > 0:29:51- So tell me about this one, then. - This one belonged to Nellie Gidman
0:29:51 > 0:29:58in 1893 and this was bequeathed by the family to the Heritage Centre.
0:29:58 > 0:30:02This one is Nellie Hird 1908
0:30:02 > 0:30:07and this is a rather splendid one, because it's got the blue velvet.
0:30:07 > 0:30:09So this, this is her wearing the crown, is it?
0:30:09 > 0:30:10This is her, wearing the crown
0:30:10 > 0:30:12- outside her front door. - Oh, fabulous.
0:30:12 > 0:30:16Because they would decorate the May Queen's house and this was
0:30:16 > 0:30:20really moulded or designed on our recent Queen's Coronation crown.
0:30:20 > 0:30:24- Oh, Queen Elizabeth's... - I think that fits you better!
0:30:24 > 0:30:26It does actually. I could get used to this!
0:30:26 > 0:30:27Kneel! And where did you get these made?
0:30:27 > 0:30:32These were made in a London jeweller,
0:30:32 > 0:30:34but they're now made locally.
0:30:34 > 0:30:37Well, we think probably
0:30:37 > 0:30:41maybe about £1,000 each and, as I say, of course, the queen gets to
0:30:41 > 0:30:45keep them after the ceremony, so every year there is a new one
0:30:45 > 0:30:48- and she waltzes off with it. - And the sedan chair, as well.
0:30:48 > 0:30:50- And...yes.- How wonderful.
0:30:50 > 0:30:54- And it's been used ever since in the procession.- And I love the crowns.
0:30:54 > 0:30:59I quite fancy one of those myself, thank you very much.
0:31:10 > 0:31:11So who is this?
0:31:11 > 0:31:15I'd say he's an intelligent looking man in his smart green jacket?
0:31:15 > 0:31:21- Who is he?- He's reputed to be Daniel Defoe, who wrote Robinson Crusoe.
0:31:21 > 0:31:24If anyone's read an 18th century novel, it's Robinson Crusoe.
0:31:24 > 0:31:25I mean, you know, this is the one.
0:31:25 > 0:31:27Yes, I had a
0:31:27 > 0:31:31copy of it given to me by my grandmother on my
0:31:31 > 0:31:34- 10th birthday. - Is that your grandmother?
0:31:34 > 0:31:37This is my grandmother, which is photographed by Dorothy Wilding.
0:31:37 > 0:31:39- The society photographer.- Indeed.
0:31:39 > 0:31:41She's very glamorous. What did she do, then?
0:31:41 > 0:31:43She was a very colourful lady.
0:31:43 > 0:31:48She ran way from... Well, she ran away and married my grandfather
0:31:48 > 0:31:50without parental permission.
0:31:50 > 0:31:53- Oh, yes.- And under age.- A bolter. What they used to call a "bolter".
0:31:53 > 0:31:56Indeed. And she was on the stage. He was as well
0:31:56 > 0:32:00and then they split up quite shortly after my mother was born.
0:32:00 > 0:32:04And she carried on, on the stage and she was in
0:32:04 > 0:32:06The Chocolate Cream Soldier,
0:32:06 > 0:32:09Bernard Shaw's musical, and she was also in silent films, as well.
0:32:09 > 0:32:13You could understand her, you know, being in plays
0:32:13 > 0:32:17and a successful actress wanting a figure of literature on her wall.
0:32:17 > 0:32:20Now the question is, always, when you've got a portrait of
0:32:20 > 0:32:22a famous personage, is it him?
0:32:22 > 0:32:27And the sort of thing that you can look at to give an answer to that
0:32:27 > 0:32:29question would be... Well, first of all this obvious inscription.
0:32:29 > 0:32:33And the other thing is that there it says "Daniel Defoe, 1720"
0:32:33 > 0:32:38and then some initials which I take to read something "M"
0:32:38 > 0:32:41and indeed there's a clue here "by Mercier".
0:32:41 > 0:32:46Now of course the famous Mercier was Philippe Mercier, but he's quite well
0:32:46 > 0:32:51known and I would have to say that it's like handwriting, this just
0:32:51 > 0:32:54isn't him, it's not Philippe Mercier.
0:32:54 > 0:32:59The thing is that I just can't make his wig and his coat and his general
0:32:59 > 0:33:01demeanour fit with 1720.
0:33:01 > 0:33:04It's just a bit later than that.
0:33:04 > 0:33:06It's closer to Gainsborough than it is to Mercier.
0:33:06 > 0:33:09- More round 1750s, '60s, isn't he? - Yes, '60s I think certainly
0:33:09 > 0:33:11because he's quite close wigged and Daniel Defoe
0:33:11 > 0:33:13would have had this enormous beehive confection thing.
0:33:13 > 0:33:16- Well certainly bigger than that anyway.- Yes.
0:33:16 > 0:33:18He's got this kind of,
0:33:18 > 0:33:22I don't know, late 18th century face and, actually,
0:33:22 > 0:33:25if I was pushed, I would have to say slightly 19th century face and
0:33:25 > 0:33:28I begin to sort of slightly worry about it.
0:33:28 > 0:33:31And, of course, this thing owned by an actress,
0:33:31 > 0:33:35I do get the impression, I get an idea of how she might have lived and,
0:33:35 > 0:33:38like many things on her wall or all her possessions and things,
0:33:38 > 0:33:41some of it might just have been a little bit smoke and mirrors,
0:33:41 > 0:33:45a bit theatrical, not everything exactly what it purported to be.
0:33:45 > 0:33:47Anyway, what this adds up to
0:33:47 > 0:33:50is my feeling that despite a facial resemblance,
0:33:50 > 0:33:54it quite possibly would be a look at Daniel Defoe from 100 years later,
0:33:54 > 0:33:57or 50 years later.
0:33:57 > 0:33:59The question is now, what value?
0:33:59 > 0:34:02If we just put that question mark very
0:34:02 > 0:34:06confidently and honestly on it, in terms of its,
0:34:06 > 0:34:10both the sitter and the authorship, then we'll probably still be looking
0:34:10 > 0:34:14at a very decorative picture because he's a handsome man. About £1,500.
0:34:14 > 0:34:17- Great!- So if we could prove that it is in fact Daniel Defoe,
0:34:17 > 0:34:22well, really, I mean the sky's the limit, such an important man.
0:34:22 > 0:34:24- Well, we'd be talking about a six figure sum.- Really?
0:34:24 > 0:34:27So there's a lot riding on it,
0:34:27 > 0:34:29but I don't think we'll ever do it, I'm afraid.
0:34:33 > 0:34:35So what have you brought me?
0:34:35 > 0:34:37- My pot of gold.- Your pot of gold.
0:34:37 > 0:34:41- Yes.- Wow, tell me, what is this pot of gold? Where did you get this from?
0:34:41 > 0:34:48It was my grandfather's and he died in 1924 and he had a carousel
0:34:48 > 0:34:50all his life, you know...
0:34:50 > 0:34:52- The fun fair.- Fun fair one, yes.- OK.
0:34:52 > 0:34:55And he... This is what he used to paint the horses
0:34:55 > 0:34:57with and things like that, and...
0:34:57 > 0:35:00- Oh, fantastic.- Yeah, it's pure
0:35:00 > 0:35:03- gold, 24 carat gold.- Is it?- Yes.
0:35:03 > 0:35:06- Can I open the top and have a little look inside?- Yes, certainly.
0:35:06 > 0:35:09I've never had a pot of gold before.
0:35:09 > 0:35:11- No rainbow today.- No rainbow.
0:35:11 > 0:35:15We need a rainbow, yes, we do, there you go. Wow, look at that!
0:35:15 > 0:35:17That's unbelievable and it's powder.
0:35:17 > 0:35:19It's like gold dust, yes. It's like gold dust.
0:35:19 > 0:35:21It is exactly like gold dust.
0:35:21 > 0:35:24That is incredible. I don't think I've ever seen anything like it.
0:35:24 > 0:35:27Oh, you can smell... It has a smell about it, doesn't it?
0:35:27 > 0:35:30Yes, oh, money does, doesn't it? Always.
0:35:30 > 0:35:32THEY LAUGH
0:35:32 > 0:35:36Well, we would have to obviously test it to make sure that it's absolutely,
0:35:36 > 0:35:41but yes, I mean, you are talking about 22 carat, 23,
0:35:41 > 0:35:43- up to 24 carat gold.- Yes.
0:35:43 > 0:35:45Unbelievable. Where do you keep this?
0:35:45 > 0:35:47Oh, well, in a drawer.
0:35:47 > 0:35:49- In a drawer.- In a drawer, yeah.
0:35:49 > 0:35:50Well, you don't want to spill any
0:35:50 > 0:35:54- of this and you don't want to get it anywhere, do you?- No, not really, no.
0:35:54 > 0:35:56Well, you know, gold at the moment
0:35:56 > 0:36:00today is just absolutely going through the roof so,
0:36:00 > 0:36:02value wise... Do you know what kind of value a pot of gold
0:36:02 > 0:36:05- like this would bring?- No idea, that's why we've brought it.
0:36:05 > 0:36:09Well, I would say this is going to be roughly around
0:36:09 > 0:36:11about £7,000 to £9,000.
0:36:11 > 0:36:13ONLOOKERS GASP
0:36:13 > 0:36:17Well, it won't go back in the drawer, then!
0:36:17 > 0:36:21- Well, don't start painting yourself with it either!- Definitely not.
0:36:21 > 0:36:25But it would have be tested, you know, to make sure that it has got
0:36:25 > 0:36:32the purity of 23, 24 carat, but yes, at today's prices that is a fantastic
0:36:32 > 0:36:34find at the end of your rainbow.
0:36:34 > 0:36:40- My goodness. I shall go on holiday if I can get somebody to buy it. - THEY LAUGH
0:36:40 > 0:36:44And thank you so much, that's brilliant, absolutely marvellous.
0:36:44 > 0:36:46That's amazing, gosh.
0:36:47 > 0:36:49This is one of my favourite toys.
0:36:49 > 0:36:52I'm a great fan of robots, I've got robots at home.
0:36:52 > 0:36:54- How many of these do you have at home?- Just one.
0:36:54 > 0:36:55That's it, I'm afraid.
0:36:55 > 0:36:58- A little lonely one.- Exactly, yes.
0:36:58 > 0:37:00And is it yours from childhood?
0:37:00 > 0:37:02No, it belongs to my son.
0:37:02 > 0:37:06It was given to him by his gran, but it was one of the...
0:37:06 > 0:37:08We think it belonged to his dad.
0:37:08 > 0:37:11OK, and let's take that back to date.
0:37:11 > 0:37:16- When do you think?- We think it's 1960's but we're not 100% sure.
0:37:16 > 0:37:17Good stuff, OK. Let's look at him.
0:37:17 > 0:37:21First of all, you've got a bit of the box here. Where's the rest of it?
0:37:21 > 0:37:23I've no idea, that's how it come I'm afraid.
0:37:23 > 0:37:26Well, boxes are important, but the good thing is that he has been
0:37:26 > 0:37:32in the bottom part of the box and, as a result, is in good condition.
0:37:32 > 0:37:35He is a Japanese robot and do you know who he's made by?
0:37:35 > 0:37:40No idea at all. We don't know hardly anything at all about him.
0:37:40 > 0:37:44OK. OK, I'm going to prize open the front door here
0:37:44 > 0:37:48and if you look down here in that corner you can see a little white
0:37:48 > 0:37:52label, and on it is a sort of diamond shape and in the middle it says "SH".
0:37:52 > 0:37:57And that is the trademark for a company called Horikawa.
0:37:57 > 0:38:01Japanese company, started in business in 1959
0:38:01 > 0:38:06and it produced some of the great and collectable space toys of the period.
0:38:06 > 0:38:12Japan really was very clever in that it zeroed in on space toys as being
0:38:12 > 0:38:16a unique product and it was one that was sold throughout the world,
0:38:16 > 0:38:19particularly in The States, but obviously throughout Europe, as well.
0:38:19 > 0:38:25Dating from about 1963, '64, it's called
0:38:25 > 0:38:28the "Space Explorer".
0:38:28 > 0:38:32That's what it would have said on the box lid, had you had the box lid.
0:38:32 > 0:38:34- Yes. - It would have said "Space Explorer"
0:38:34 > 0:38:36and what it does is it walks forward and kills people.
0:38:36 > 0:38:39- That's right.- So, shall we?- Yeah.
0:38:39 > 0:38:40Stand back.
0:38:40 > 0:38:43ROBOT CLICKS RAPIDLY
0:38:52 > 0:38:57- Very noisy.- OK, well, that's dealt with the cameraman, the sound
0:38:57 > 0:38:59crew and the director. Great object.
0:38:59 > 0:39:03Value? What's it worth? It's going to be worth between about £200 and £300.
0:39:03 > 0:39:05It's an absolute cracker
0:39:05 > 0:39:08so I think what you need to do now is just go home and buy him a friend.
0:39:08 > 0:39:12That would be good. If we can get him a friend, that would be nice.
0:39:13 > 0:39:16This is an absolutely stunning binding.
0:39:16 > 0:39:19I can't help think that whoever owned it must have felt it was one
0:39:19 > 0:39:23of their most treasured possessions. What do you make of it?
0:39:23 > 0:39:26I know absolutely nothing about it. It was just found.
0:39:26 > 0:39:29When my father died, it was found in a drawer with lots
0:39:29 > 0:39:32of other little bits and pieces, snuff boxes and things like that.
0:39:32 > 0:39:35- So, it's a wonderful binding.- Yeah. - Let's see what's inside.
0:39:39 > 0:39:44Right, well it's French. "Etrennes mignones, curieuses et utiles".
0:39:44 > 0:39:46What it is, is
0:39:46 > 0:39:50a very sweet little New Year's gift of curious and useful information and
0:39:50 > 0:39:55it's "pour l'annee", for the year, "mille sept cents quatre vingt six".
0:39:55 > 0:39:58So it's for the year 1786.
0:39:58 > 0:40:03- Goodness me.- Three years before the French Revolution.- Gracious me!
0:40:03 > 0:40:08So this very lavish binding, you can sort of understand now why it's so
0:40:08 > 0:40:11beautiful and over the top.
0:40:11 > 0:40:13So made in France.
0:40:13 > 0:40:17In fact, it's what we call an almanac, useful information.
0:40:17 > 0:40:21Let's see what else is inside. We've got February here, the month
0:40:21 > 0:40:22of February. This is all the...
0:40:22 > 0:40:27Every day of February is a saints day and so that you knew, if you were a
0:40:27 > 0:40:32French lady in the late 18th century, probably be Catholic and you would
0:40:32 > 0:40:36therefore want to know what saints day it was each day of the week.
0:40:36 > 0:40:42- Yeah.- It also has all the sovereigns of Europe for this year, 1786, and so
0:40:42 > 0:40:48here we are, England, "Angleterre", George of Brunswick, George III.
0:40:48 > 0:40:49He was king in 1760,
0:40:49 > 0:40:53- so just sort of useful information. - Yeah.- Trivia if you like.- Yeah.
0:40:53 > 0:40:58And then here there are all sorts of information about
0:40:58 > 0:41:00carriages, the cost of carriages.
0:41:00 > 0:41:05So if you were taking a carriage to Aix in Provence
0:41:05 > 0:41:09- which carriages you would take.- So it's a bit like a train timetable.
0:41:09 > 0:41:13It's exactly like a train timetable. This one as well, very unusually,
0:41:13 > 0:41:15has a mirror in the front of it.
0:41:15 > 0:41:16So we really get the feel that this
0:41:16 > 0:41:19- was made for a lady.- Which is still intact after all that time!
0:41:19 > 0:41:22You do just wonder, you know, who first looked in that mirror,
0:41:22 > 0:41:25don't you, when they received this New Year's gift?
0:41:25 > 0:41:28And then a small silk pocket in the back for
0:41:28 > 0:41:31perhaps the odd billet doux would have been sort of tucked in there.
0:41:31 > 0:41:39- Yes.- The condition is not terrific, and so I suppose when it comes to
0:41:39 > 0:41:44a valuation for something like this you have to take that into account.
0:41:44 > 0:41:47If this was to appear at auction now
0:41:47 > 0:41:50I think it would probably fetch something in the region of £700.
0:41:50 > 0:41:53No! My goodness me.
0:42:07 > 0:42:10A lot of people queuing here today at Tatton Park, not surprisingly
0:42:10 > 0:42:14because I think we've had something like 2,000 people turn up today.
0:42:14 > 0:42:17So, I've taken the advantage of a lull in the ceramics queue to drag
0:42:17 > 0:42:20along Steven Moore, our ceramics specialist. Steven, I wanted to ask
0:42:20 > 0:42:23you, as I'm asking all our experts in this series, what is the item
0:42:23 > 0:42:28that you would most like to see and what's the item you see the most of?
0:42:28 > 0:42:32Most of, no contest, Japanese eggshell porcelain.
0:42:32 > 0:42:36- We see tons of it.- And why is this so common, or so popular, then?
0:42:36 > 0:42:39There's various reasons. The main reason is that...
0:42:39 > 0:42:41I think because it was so fine, and if you look at how thin it is,
0:42:41 > 0:42:45it's called "eggshell" for a reason, it was kind of used once, the tea
0:42:45 > 0:42:49went cold because it's so thin and it was put away in the sideboard.
0:42:49 > 0:42:52- Actually, yes, it is.- But the more interesting reason for me is that
0:42:52 > 0:42:57in the '40s and '50s when, you know, drab post war period when
0:42:57 > 0:43:01- coloured ware was banned from sale in England...- It was banned, why?
0:43:01 > 0:43:02It was banned. For export.
0:43:02 > 0:43:05They weren't selling in the domestic market because they were wanting to
0:43:05 > 0:43:08- sell it abroad for foreign currency. - Oh, I see.- And it was also seen
0:43:08 > 0:43:11as an extravagance in the post war era, so if you were
0:43:11 > 0:43:16a son or a husband or a brother out on National Service in the Far East
0:43:16 > 0:43:21and you saw this exotic with Mount Fuji, geisha girls,
0:43:21 > 0:43:24you know, very fine and delicate, you'd buy it for your mother
0:43:24 > 0:43:26or your wife, great auntie.
0:43:26 > 0:43:29It would be brought back as this amazing thing of wonder, very fine,
0:43:29 > 0:43:33very delicate. You hold the cup up, it's got a Geisha girl in the bottom.
0:43:33 > 0:43:36Yes, I can see that, there. Look there she is.
0:43:36 > 0:43:39To drab 1940's Britain, this would have been a thing of wonder, so it
0:43:39 > 0:43:44was cherished and reminded them every time they used it of their loved ones
0:43:44 > 0:43:48fighting the war or doing National Service, so they have
0:43:48 > 0:43:50a real emotive power in a family.
0:43:50 > 0:43:53The sad thing is, they're worth next to nothing.
0:43:53 > 0:43:57- They're worth next to nothing, really?- Next to nothing, yes.- Ouch.
0:43:57 > 0:44:00So if this is what you see the most of,
0:44:00 > 0:44:03on the flip side what would you most like to see?
0:44:03 > 0:44:06Well, it's slightly controversial because it's not ceramic,
0:44:06 > 0:44:08it's furniture which is a love of mine as well.
0:44:08 > 0:44:10And it combines two loves because
0:44:10 > 0:44:14my other love is art, Francis Bacon is one of my favourite artists,
0:44:14 > 0:44:17the man known for his screaming Popes, all those agonised
0:44:17 > 0:44:22tortured paintings. But what a lot of people don't realise is that before
0:44:22 > 0:44:24he became famous as an artist he was
0:44:24 > 0:44:26an interior designer and designed furniture and rugs.
0:44:26 > 0:44:28I had no idea.
0:44:28 > 0:44:31They are very rare, nobody's ever seen them.
0:44:31 > 0:44:33Two or three of his rugs exist.
0:44:33 > 0:44:36Two in the V&A, two were discovered a couple of
0:44:36 > 0:44:39years back and came up for auction but then were withdrawn for sale
0:44:39 > 0:44:44before they were sold, but nobody has seen any of his furniture ever.
0:44:44 > 0:44:46And were pictures taken at the time of it?
0:44:46 > 0:44:50Fortunately yes, we have this book, this is the Studio from 1930.
0:44:50 > 0:44:54Here is an article of photographs taken in his studio,
0:44:54 > 0:44:56which was a converted garage, of furniture he designed.
0:44:56 > 0:45:00Here we've got the bottom of a rug there signed Francis Bacon.
0:45:00 > 0:45:02There's another one here, but this is his furniture.
0:45:02 > 0:45:09It's very typical of its era, chrome, glass, metal, coloured, enamelling.
0:45:09 > 0:45:12It's in the manner of Eileen Grey who was an Irish artist influenced by
0:45:12 > 0:45:15Paris, who lived in Paris. Bacon worked in Paris as well
0:45:15 > 0:45:18and I think he'd probably seen Eileen Grey's work.
0:45:18 > 0:45:19If you like it is an ersatz
0:45:19 > 0:45:23version of Eileen Grey, but because it's Francis Bacon, because nobody's
0:45:23 > 0:45:26ever seen a single piece of this, if something like this dressing table,
0:45:26 > 0:45:29if that came to the market, one hundred, two hundred
0:45:29 > 0:45:32thousand pounds, the right piece could be worth a million pounds.
0:45:32 > 0:45:33- A million pounds?- A million pounds.
0:45:33 > 0:45:37Well, if you happen to be nursing a piece of Francis Bacon furniture
0:45:37 > 0:45:39in your home, or a rug, or anything else
0:45:39 > 0:45:41that will quicken Steven's heart, get in touch.
0:45:48 > 0:45:51This is a beautiful Victorian oil painting.
0:45:51 > 0:45:53Tell me, where did you get it from?
0:45:53 > 0:45:58At the local art shop in Wilmslow, Cheshire, in 1988.
0:45:58 > 0:46:04They did a Christmas show of paintings and we always
0:46:04 > 0:46:08went along and my husband fell in love with it, because of the dog.
0:46:08 > 0:46:12He thought it reminded him of one he had when he was
0:46:12 > 0:46:1410 or 12 years old.
0:46:14 > 0:46:15Well, how lovely, because normally
0:46:15 > 0:46:19with these types of Victorian paintings people are attracted to
0:46:19 > 0:46:23them because they're so sentimental, but you know certainly if they have a
0:46:23 > 0:46:28dog that looks like this dog, they're going to be attracted to the picture.
0:46:28 > 0:46:32Even in these modern days this is how pictures are sold.
0:46:32 > 0:46:35Clients are attracted to them by the subject.
0:46:35 > 0:46:39Now tell me, do you know about the artist? The picture is signed.
0:46:39 > 0:46:41No, I don't know anything.
0:46:41 > 0:46:45GA Holmes is George Augustus Holmes.
0:46:45 > 0:46:47He was quite a prolific painter, based in London
0:46:47 > 0:46:53and I notice also it's dated, looks like '76, so that would be 1876.
0:46:53 > 0:46:56He didn't really become a Royal Academician, but he did exhibit
0:46:56 > 0:46:59at the Royal Academy about 20 times.
0:46:59 > 0:47:01Tell me, do you still love the picture?
0:47:01 > 0:47:07Yes, because John liked it and unfortunately he's passed away so
0:47:07 > 0:47:12I do, I like it, it's very nice, it feels restful and feels like home.
0:47:12 > 0:47:14- Where does it belong at the moment? - Well...
0:47:14 > 0:47:16It's in my house at the moment,
0:47:16 > 0:47:20got a little bit more wall space so at the moment it's in
0:47:20 > 0:47:22one of the spare bedrooms.
0:47:22 > 0:47:25So it's been discarded into the spare bedroom. Why's that?
0:47:25 > 0:47:28Well, it's a lovely picture, it's very sort of chocolate box for me,
0:47:28 > 0:47:32but I guess I don't have quite the connection that my mum had with it.
0:47:32 > 0:47:36So it's on the wall but it's not in a prominent place at the moment.
0:47:36 > 0:47:40I love the subject and it's so sort of angelic and sweet how
0:47:40 > 0:47:43the child looks, and the new puppy.
0:47:43 > 0:47:47What slightly concerns me is the condition. You can see,
0:47:47 > 0:47:50certainly from the lower edge, two inches up, that there's been quite a
0:47:50 > 0:47:53lot of restoration, re-touching, and the old, original paint may have
0:47:53 > 0:47:57flaked and then it's been retouched and it's slightly discoloured now.
0:47:57 > 0:48:00But that, you know, it's still a lovely picture from
0:48:00 > 0:48:04the Victorian period. If it was in perfect original condition, we'd be
0:48:04 > 0:48:07looking at probably £4,000 to £6,000.
0:48:07 > 0:48:10I think in the present state with that restoration on the lower edge,
0:48:10 > 0:48:13maybe £3,000 to £5,000. But I think the important
0:48:13 > 0:48:17thing is that perhaps Mum loves the picture more than you, and that might
0:48:17 > 0:48:19be unfair and perhaps the picture should come back to your house.
0:48:19 > 0:48:22- Thank you.- OK. We'll do the deal.
0:48:22 > 0:48:23THEY LAUGH
0:48:26 > 0:48:28It's been in the family for quite some time. It belonged
0:48:28 > 0:48:31to my husband's mother and she was Scottish but we don't
0:48:31 > 0:48:33really know whether it's got any Scottish
0:48:33 > 0:48:36connections at all, so we really don't know anything about it at all.
0:48:36 > 0:48:39- Waiting to see what you tell me. - It's not Scottish, you know that.
0:48:39 > 0:48:44But do you have any idea where it may be from?
0:48:44 > 0:48:46Not at all, no, I really don't know anything about it.
0:48:46 > 0:48:48That's why I brought it today.
0:48:48 > 0:48:49- OK and when you study the top.- Yes.
0:48:49 > 0:48:51- What do you see there?- Well, at first
0:48:51 > 0:48:55I thought it was sort of sailing images or something like that.
0:48:55 > 0:48:59- Yes, yeah.- Not really certain at all, can't make a lot out of that.
0:48:59 > 0:49:02You can see, if you look very carefully, you can see an anchor.
0:49:02 > 0:49:06- Yes.- And then you can see these little hammocks.
0:49:06 > 0:49:08Yes, and I thought actually that was part of a
0:49:08 > 0:49:09sail, but is that a hammock as well?
0:49:09 > 0:49:12It could be, but I thought it was a hammock and then we've got
0:49:12 > 0:49:14canons and canon balls.
0:49:14 > 0:49:19The beauty of this particular piece is actually when it's opened.
0:49:19 > 0:49:23- Yes.- Because in its heyday this is what it looked like.
0:49:25 > 0:49:28- Much more colour. - The colour was just there.
0:49:28 > 0:49:30It's absolutely fantastic.
0:49:30 > 0:49:34Yes, it's very pretty, I love this part as well. That's gorgeous.
0:49:34 > 0:49:36- Somebody's going to tell us where this church is.- Yes.
0:49:36 > 0:49:39If you look really hard, can you see these little figures?
0:49:39 > 0:49:42- Yes, I can, yes. - Do they say anything to you?
0:49:42 > 0:49:45Little sort of Georgian figures or something like that, possibly, yes?
0:49:45 > 0:49:48- Don't know.- What do they look like?
0:49:48 > 0:49:49- Just sort of...- Military?
0:49:49 > 0:49:54- Yes, possibly.- Soldiers.
0:49:54 > 0:49:56This box was made by soldiers.
0:49:56 > 0:49:58Gracious.
0:49:58 > 0:50:02- Prisoner of war.- Oh, gracious, oh, I didn't know that.
0:50:02 > 0:50:06This was made by Napoleonic French prisoners of war
0:50:06 > 0:50:08around the 1800s, 1805.
0:50:08 > 0:50:12Tiny little pieces of straw and they had almost like a little guillotine
0:50:12 > 0:50:16and they used to cut the piece of straw in half and just lay them down.
0:50:16 > 0:50:18Incredible, it's incredible, it really is.
0:50:18 > 0:50:21Piece by piece and then later, hand coloured.
0:50:21 > 0:50:24It's the colours which are so vibrant.
0:50:24 > 0:50:29Subject here is Aesop's Fables, but again when I open this other
0:50:29 > 0:50:30compartment
0:50:30 > 0:50:35it's just wow. It's just unbelievable.
0:50:35 > 0:50:39The prisoners of war, what they used to do, they would
0:50:39 > 0:50:42sit down and make these things and then they would come out of
0:50:42 > 0:50:46the prison, something like an open prison, and sell them on the streets.
0:50:46 > 0:50:48Good gracious.
0:50:48 > 0:50:51As an ordinary box like that, as soon as I saw it, I thought...
0:50:51 > 0:50:53that's worth between £500 and £600.
0:50:53 > 0:50:57It may fetch £1,000, pushing it.
0:50:57 > 0:50:58But when you see that...
0:50:58 > 0:51:00you say £3,000.
0:51:00 > 0:51:02You are joking, you're not serious?
0:51:02 > 0:51:05No, I'm not a comedian. THEY LAUGH
0:51:05 > 0:51:07Goodness me.
0:51:09 > 0:51:13You've brought along a box with historical diamonds,
0:51:13 > 0:51:17so the first thought that I've got when I see this box is could it
0:51:17 > 0:51:19possibly contain historical diamonds?
0:51:19 > 0:51:23Because if you do, what could they be?
0:51:23 > 0:51:26We open up the box lid,
0:51:26 > 0:51:32revealing this kaleidoscope of enormous, great big stones.
0:51:32 > 0:51:38Now the initial reaction is if these are genuine, historical diamonds,
0:51:38 > 0:51:41we're going to have to have a ring of security around us here
0:51:41 > 0:51:43five foot wide.
0:51:43 > 0:51:48Clearly these are not genuine diamonds, they're facsimiles.
0:51:48 > 0:51:53They're copies that were made, usually in around about the 1910s,
0:51:53 > 0:51:571920s, right the way through to the 1940s and '50s that typically would
0:51:57 > 0:52:02have been used by a jeweller in his shop window,
0:52:02 > 0:52:05so how on earth did you manage to come by them?
0:52:05 > 0:52:08We purchased them about 20 years ago at a sale.
0:52:08 > 0:52:11And what drew you to them?
0:52:11 > 0:52:13We just heard about the sale and
0:52:13 > 0:52:16we went up and had a look at them and we seen those.
0:52:16 > 0:52:20Well, they're meant to impress and do you find them quite impressive?
0:52:20 > 0:52:22- Oh, yes, yes.- Because I do.
0:52:22 > 0:52:26Over the years I've seen quite a few of these sets and no matter how many
0:52:26 > 0:52:32times you see them, you see the kind of symmetry of them and also
0:52:32 > 0:52:35the fact that they're direct replicas of the genuine stones.
0:52:35 > 0:52:39So it gives a sense, perhaps, of the size of diamonds, when you get
0:52:39 > 0:52:44these important stones. These were used for teaching as well if you've
0:52:44 > 0:52:47got all the stones here which, incidentally, are made out of glass.
0:52:47 > 0:52:51There you've got in the lid, all the descriptions of each of the different
0:52:51 > 0:52:55- stones, so you can teach yourself about historical diamonds.- Yeah.
0:52:55 > 0:52:58My favourite has to be The Hope.
0:52:58 > 0:52:59This is described here.
0:52:59 > 0:53:05The Hope Diamond, 44 carats, a blue diamond of incredible depth,
0:53:05 > 0:53:07in fact the real stone is deeper blue than this.
0:53:07 > 0:53:09Right.
0:53:09 > 0:53:12I mean we're not going to go on to the values of these things
0:53:12 > 0:53:18if they were genuine, but many, many millions of pounds.
0:53:18 > 0:53:20What was paid for this set?
0:53:20 > 0:53:24- Do you remember?- 20 years ago I think we paid £100.
0:53:24 > 0:53:28Interesting. Your £100 investment today I
0:53:28 > 0:53:35think at auction would make something in the region of £2,000 to £3,000.
0:53:35 > 0:53:39Wow! I didn't expect that at all.
0:53:39 > 0:53:41Very good, thanks very much.
0:53:41 > 0:53:44Believe me, they'd be queuing up for it, they really would.
0:53:49 > 0:53:52This would have been a lovely, little
0:53:52 > 0:53:56cream boat, or sauce boat and made by the Worcester factory
0:53:56 > 0:54:00in about 1752-53, quite early on in Worcester's history.
0:54:00 > 0:54:04They started in 1751, but it's a bit of a wreck.
0:54:04 > 0:54:08It's got an artificial handle, a wicker handle made for it.
0:54:08 > 0:54:12It's got chips galore, but it's a lovely little pot.
0:54:12 > 0:54:16The peculiar thing about the painter who painted all these little birds is
0:54:16 > 0:54:20that he put different numbers of toes on his feet of the birds.
0:54:20 > 0:54:22That one's got four toes, this one's got three toes.
0:54:22 > 0:54:24That's crazy, isn't it?
0:54:24 > 0:54:29Now the condition of it renders it not so very valuable. It would
0:54:29 > 0:54:34have been a beautiful pot worth about three or four thousand pounds.
0:54:34 > 0:54:37But the wreckage brings it down to a
0:54:37 > 0:54:40few hundred, which is a shame, isn't it?
0:54:40 > 0:54:45And this chap is perfect condition, except for a little tiny chip there
0:54:45 > 0:54:51which is very negligible, but it's an extremely rare Worcester cream boat.
0:54:51 > 0:54:57When I first saw this today, my heart quivered, because it's
0:54:57 > 0:55:01one of the loveliest things I've ever been allowed to handle at a Roadshow.
0:55:01 > 0:55:05It's so beautiful it just rings wonderful bells.
0:55:05 > 0:55:08And terribly interesting, they've had a little bit of
0:55:08 > 0:55:10damage before in the factory.
0:55:10 > 0:55:13That tiny green patch has been put on
0:55:13 > 0:55:18there by the painters in the factory to camouflage a little bit of damage.
0:55:18 > 0:55:23- Gosh.- So it was a risk getting some of these things through the factory.
0:55:23 > 0:55:24It's very early days, 1751,
0:55:24 > 0:55:27the Worcester factory had only just started.
0:55:27 > 0:55:29Imagine just starting a business
0:55:29 > 0:55:33- and you have to produce something as beautiful and delicate as that.- Yes.
0:55:33 > 0:55:39The landscapes, people climbing up ladders and little dogs down in there
0:55:39 > 0:55:45in the arcade, and trees galore, a fantastic amount of exotic bird
0:55:45 > 0:55:50flying up in the sky and a castle, incredible landscape indeed.
0:55:50 > 0:55:52- And it's absolutely marvellous.- Gosh.
0:55:52 > 0:55:54Do you know about its history?
0:55:54 > 0:55:59They're my friend's, and all I know is that they are inherited pieces.
0:55:59 > 0:56:01Yes, well there's one pot of
0:56:01 > 0:56:06this particular series and types made in 1751 which has the word "Wigornia"
0:56:06 > 0:56:10under the base. Wigornia is the Latinised name for the City of
0:56:10 > 0:56:13Worcester and that is probably the rarest Worcester pot
0:56:13 > 0:56:16you'll ever come across, only one of them.
0:56:16 > 0:56:19I looked at the bottom of this and it hasn't got the word "Wigornia".
0:56:19 > 0:56:25If it had, it would be worth about £100,000, something like that.
0:56:25 > 0:56:26But this isn't.
0:56:26 > 0:56:31But one extremely like this one has been recently sold at auction
0:56:31 > 0:56:34for £38,000.
0:56:34 > 0:56:39Now this has got this little, tiny chip, so I'm going to have to reduce
0:56:39 > 0:56:43the value of this down, but still call it a Worcester cream boat
0:56:43 > 0:56:48of exceptional quality and rarity, so it's jolly nice.
0:56:48 > 0:56:52- I wish it was mine.- I know. I wish it was mine, so I'll let you know how
0:56:52 > 0:56:54- much then I think it's worth.- Go on.
0:56:54 > 0:56:56- With this little bit of damage. - Go on.
0:56:56 > 0:56:58£20,000.
0:56:58 > 0:57:00- That's still a lot. - Still a lot, isn't it?
0:57:00 > 0:57:03But it's a lovely pot, thank you for bringing it in.
0:57:03 > 0:57:06I wish it was mine!
0:57:08 > 0:57:12We've had a wonderful day here at Tatton Park and look at the crowds.
0:57:12 > 0:57:15I think we're going to be here until pretty late.
0:57:15 > 0:57:19- PLANE FLIES OVERHEAD - And one other thing. Can you hear that?
0:57:19 > 0:57:22The dulcet sound of a plane. There are planes going overhead
0:57:22 > 0:57:25every three minutes, which isn't the easiest thing when you're filming.
0:57:25 > 0:57:28But we battled on regardless and had a marvellous time.
0:57:28 > 0:57:29From the Antiques Roadshow team
0:57:29 > 0:57:33in Tatton Park in Cheshire, until next time, bye-bye.
0:57:49 > 0:57:52Subtitles by Red Bee Media Ltd