0:00:02 > 0:00:03Rarely do we come to a location that has
0:00:03 > 0:00:05such a surprising and varied history.
0:00:05 > 0:00:07Yes, it is a stately home,
0:00:07 > 0:00:09to the Delaval family for the last 300 years,
0:00:09 > 0:00:12but it was also once used as a prison.
0:00:12 > 0:00:14Welcome back to the Antiques Roadshow
0:00:14 > 0:00:17from Seaton Delaval Hall in Northumberland.
0:00:57 > 0:01:00This is a recently acquired National Trust property
0:01:00 > 0:01:02which hides a remarkable past.
0:01:02 > 0:01:06After the Allied victory at El Alamein in 1942
0:01:06 > 0:01:08and the subsequent invasion of Italy,
0:01:08 > 0:01:10German prisoners-of-war were brought to England,
0:01:10 > 0:01:13and those that were brought to the North East, to work on the land,
0:01:13 > 0:01:16were held here at Seaton Delaval Hall,
0:01:16 > 0:01:19otherwise known as "Camp 69",
0:01:19 > 0:01:21probably one of the most,
0:01:21 > 0:01:25if not THE most, impressive-looking POW camps in the British Isles.
0:01:25 > 0:01:27This uninhabited stately home
0:01:27 > 0:01:30was a much more relaxed prisoner-of-war camp
0:01:30 > 0:01:31than others in the country.
0:01:31 > 0:01:34At its peak, there were 66 German men living here,
0:01:34 > 0:01:36with only three soldiers to guard them.
0:01:36 > 0:01:40The men slept in both wings of the house, in this room -
0:01:40 > 0:01:42though it was nothing like as grand as this, of course.
0:01:42 > 0:01:43There was no electricity,
0:01:43 > 0:01:46no furniture. They just had the bunk beds that they slept in
0:01:46 > 0:01:49and, according to Red Cross reports of the time,
0:01:49 > 0:01:51the place was so damp and cold
0:01:51 > 0:01:55that the men suffered from diseases like TB and bronchitis.
0:01:57 > 0:02:01The prisoners had to get up at 5am, get washed and dressed,
0:02:01 > 0:02:04ready to be out on parade in the courtyard by 6am.
0:02:04 > 0:02:08Most were taken by bus or lorry to work on local farms.
0:02:10 > 0:02:13Considering how severe conditions were for British POWs
0:02:13 > 0:02:14in other parts of Europe,
0:02:14 > 0:02:18the restrictions on German prisoners here at Seaton Delaval Hall
0:02:18 > 0:02:20seem pretty relaxed in comparison.
0:02:22 > 0:02:24They were allowed to walk unescorted
0:02:24 > 0:02:26within a five-mile radius of the hall,
0:02:26 > 0:02:28and as they didn't work on Sundays,
0:02:28 > 0:02:30they could come to worship here,
0:02:30 > 0:02:33at the Church of Our Lady, in the grounds.
0:02:35 > 0:02:37Of course, friendships and relationships
0:02:37 > 0:02:39developed between local people,
0:02:39 > 0:02:41particularly here, where, in the summer,
0:02:41 > 0:02:43the German prisoners would sit in the gardens,
0:02:43 > 0:02:47chatting to the estate manager's children, watching them play.
0:02:47 > 0:02:51One of those children, then a six-year-old girl,
0:02:51 > 0:02:53still lives and works here,
0:02:53 > 0:02:57and she can remember clearly the day the German soldiers left to go home,
0:02:57 > 0:03:00leaving behind their cat Mushie and six kittens.
0:03:00 > 0:03:04And they also left behind this - a wooden toy they'd made.
0:03:04 > 0:03:06Can you see how the lead weight
0:03:06 > 0:03:08moves the arm of the farmer's wife?
0:03:08 > 0:03:12She's throwing out the grain for the chickens to peck at.
0:03:12 > 0:03:16And they gave it to that little girl, as a present.
0:03:16 > 0:03:19We'll get a chance to meet her and hear more of her story.
0:03:19 > 0:03:22For now, though, the grounds are filling up
0:03:22 > 0:03:24as we start another day at the Antiques Roadshow.
0:03:24 > 0:03:27Racing in the family, at all?
0:03:27 > 0:03:30The mother-in-law was part of
0:03:30 > 0:03:32a family bookmaking business in Northumberland.
0:03:32 > 0:03:34It's just passed through the family now.
0:03:34 > 0:03:37- Oh, don't know from when, exactly? - No.
0:03:37 > 0:03:40Racehorse in a gold frame, set with gems,
0:03:40 > 0:03:43and then on the back an inscription.
0:03:43 > 0:03:46- May I read it?- Yes.
0:03:46 > 0:03:49"Lord Westmoreland's Merry Heart,
0:03:49 > 0:03:53"winner of the City and Suburban, in the year 1864."
0:03:53 > 0:03:54Yeah.
0:03:54 > 0:03:56So that dates it extremely well.
0:03:56 > 0:03:59It looks a bit like glass, doesn't it?
0:03:59 > 0:04:00- Yeah.- It's not.
0:04:00 > 0:04:05What the Victorians used to do would be to take a rock crystal -
0:04:05 > 0:04:09a natural stone - and they would get a tool
0:04:09 > 0:04:13and sort of engrave it out from behind,
0:04:13 > 0:04:15and then paint it with the design -
0:04:15 > 0:04:18in this case the racehorse that is described
0:04:18 > 0:04:20on the back of the mount -
0:04:20 > 0:04:23and then it's been set in high-carat gold,
0:04:23 > 0:04:27and then the frame is supplemented by these very pretty green stones.
0:04:27 > 0:04:29- Know what they are?- No.
0:04:29 > 0:04:33- Well, they're very nice-looking emeralds from Colombia...- Oh.
0:04:33 > 0:04:35..which are really quite significant.
0:04:35 > 0:04:38Black enamelled borders and natural pearls around the frame,
0:04:38 > 0:04:42so it's augmented with all these natural gems.
0:04:42 > 0:04:47This was, during its time, quite a significant piece.
0:04:48 > 0:04:51Value. I like it and I know that people
0:04:51 > 0:04:55who are interested in racing and racehorses would like it too.
0:04:57 > 0:04:59£1,500 to £2,000.
0:05:01 > 0:05:03Wow...very good.
0:05:03 > 0:05:05So, ladies, I'm rude enough to ask -
0:05:05 > 0:05:08- you look as if you're sisters. Is that the case?- That is the case.
0:05:08 > 0:05:12- So which of you owns this lovely clock?- I own it.
0:05:12 > 0:05:14Would you have liked to have had that or...?
0:05:14 > 0:05:17I'd have loved to have had it but there were two other clocks which...
0:05:17 > 0:05:19- My brother got one, and I got the other.- Right.
0:05:19 > 0:05:22I think you made a pretty good decision with this one,
0:05:22 > 0:05:24- I have to be honest. - Yes, I've always admired it.
0:05:24 > 0:05:26And how did it come into the family?
0:05:26 > 0:05:30Well, a French lady came over and she needed some money
0:05:30 > 0:05:32- and she had the clock with her. - Right.
0:05:32 > 0:05:36And so she went into a place, we don't know where,
0:05:36 > 0:05:38and swapped it for money
0:05:38 > 0:05:41and it somehow got into the hands of our uncle,
0:05:41 > 0:05:44who had a jewellery shop in London.
0:05:44 > 0:05:46This is all a bit apocryphal, though, you realise.
0:05:46 > 0:05:48- Could be a myth.- Yes, it could!
0:05:48 > 0:05:51But, anyway, he gave it to our parents for their wedding present.
0:05:51 > 0:05:53- That would have been...?- 1930.
0:05:53 > 0:05:56We think of carriage clocks as being the standard wedding present then,
0:05:56 > 0:05:58but this is by no means a standard carriage clock.
0:05:58 > 0:05:59This is rather good, isn't it?
0:05:59 > 0:06:03Oh. Well, I don't really know, we've always liked it.
0:06:03 > 0:06:07OK, looking at the clock very briefly, I think that your thoughts
0:06:07 > 0:06:12about it coming from France make absolute sense.
0:06:12 > 0:06:14- I mean, we obviously know it's a French carriage clock.- Yes, yes.
0:06:14 > 0:06:19But we've got things like "R" and "A" in there and "aiguilles"
0:06:19 > 0:06:21and other such things written in French.
0:06:21 > 0:06:25Had it been for the UK market, as most of them were,
0:06:25 > 0:06:28it would have had that "S" and "F" for slow/fast.
0:06:28 > 0:06:31- Ah, right.- It would have had "hands" instead of "aiguilles"
0:06:31 > 0:06:33and various other things indicate to me
0:06:33 > 0:06:36- that this was destined initially for the French market.- Mmm.
0:06:36 > 0:06:40Date, round about 1900.
0:06:40 > 0:06:44- Oh, right.- Perhaps a tad earlier, but it's great quality.
0:06:44 > 0:06:49- The enamel is what we call champleve enamel.- Champleve.
0:06:49 > 0:06:52Champleve enamel, and it is decorated all over
0:06:52 > 0:06:56with bands of champleve on the top, the handle,
0:06:56 > 0:07:00these lovely Corinthian columns are all done in champleve,
0:07:00 > 0:07:03as, of course, is the dial mask.
0:07:03 > 0:07:05Not only is the front done,
0:07:05 > 0:07:09but all around the sides and all around the back, as well,
0:07:09 > 0:07:13- because it would probably have stood often in front of a mirror.- Yes.
0:07:13 > 0:07:15So you would see it the whole way round.
0:07:15 > 0:07:19Well, you know I said earlier that you were rather lucky to get that?
0:07:19 > 0:07:22- Mmm, yes.- Because at the moment, as you probably know,
0:07:22 > 0:07:25the Chinese have entered the market in a big way,
0:07:25 > 0:07:28- buying all sorts of things... - Oh, right.
0:07:28 > 0:07:30..and they love enamel. They absolutely love enamel,
0:07:30 > 0:07:34so I could well see this ending up going to China.
0:07:34 > 0:07:38- Oh!- No, no, no.
0:07:38 > 0:07:41My daughter's got it on her list.
0:07:41 > 0:07:43Good, that's exactly where it should stay, in the family,
0:07:43 > 0:07:47and you can tell her this evening when you go home,
0:07:47 > 0:07:48in a decent clock shop,
0:07:48 > 0:07:52in retail condition, this is going to be costing you about £5,500.
0:07:52 > 0:07:56- Good grief!- Right. Oh, that's... Mind you, it will never be sold.
0:07:56 > 0:07:58- But that's what it would cost retail.- Yes.
0:07:58 > 0:08:01That's what you're going to have to insure it for.
0:08:01 > 0:08:05It's a cracking example, because it's such a beautiful colour.
0:08:06 > 0:08:08Being so close to Sunderland, the Tyne
0:08:08 > 0:08:11and the fabulous tradition of shipbuilding and ships,
0:08:11 > 0:08:15I was really hoping today to see an important marine work of art,
0:08:15 > 0:08:17and you certainly haven't let me down.
0:08:17 > 0:08:21This is a fabulous painted wood sculpture of a young sailor,
0:08:21 > 0:08:22but who is he?
0:08:22 > 0:08:25He's... He's a local hero.
0:08:25 > 0:08:27He was... His name is Jack Crawford,
0:08:27 > 0:08:30and this figure was actually made to...on a pub.
0:08:30 > 0:08:34He was a deck hand on the flagship
0:08:34 > 0:08:36of the British Fleet under Admiral Duncan,
0:08:36 > 0:08:38he was on the Venerable.
0:08:38 > 0:08:40They were engaged in a battle
0:08:40 > 0:08:44with the Dutch fleet when the colours were shot down,
0:08:44 > 0:08:48which, of course, was a signal for surrender.
0:08:48 > 0:08:51He spotted this, salvaged the colours, climbed up the mast,
0:08:51 > 0:08:54re-nailed them in position, the battle resumed,
0:08:54 > 0:08:57and the British won a glorious victory.
0:08:57 > 0:08:58The Battle of Camperdown -
0:08:58 > 0:09:01the British were fighting the Dutch,
0:09:01 > 0:09:04but it was the Napoleonic Wars. What was the date of the battle?
0:09:04 > 0:09:08The date was actually 1797. Quite early.
0:09:08 > 0:09:11And I think I see over there is the cast-iron... Is it a doorstop?
0:09:11 > 0:09:15Yes, it's a doorstop which I use at home, erm...
0:09:15 > 0:09:18He's illustrated on various other artefacts made in the North East.
0:09:18 > 0:09:22On the Sunderland pottery, there were castings made of him,
0:09:22 > 0:09:27and there is a big bronze statue of him in the park
0:09:27 > 0:09:30just immediately adjacent to the Sunderland Civic Centre.
0:09:30 > 0:09:35- Fantastic figurehead - and made by a figurehead carver.- Yes.
0:09:35 > 0:09:37Because everything... the style about it,
0:09:37 > 0:09:40the strength of the carving, the way the hair's done,
0:09:40 > 0:09:43it shows all the traditional marks of a figurehead,
0:09:43 > 0:09:44but it's not a figurehead.
0:09:44 > 0:09:46- It's not a figurehead. - It came from a pub.
0:09:46 > 0:09:49It's very difficult to date a piece of sculpture like this,
0:09:49 > 0:09:52but stylistically, I would certainly think it's well over 100 years old,
0:09:52 > 0:09:56so round about 1900 maybe, that sort of thing.
0:09:56 > 0:09:59- And the pub's still there? - No, the pub was bombed
0:09:59 > 0:10:02right at the back end of the war, in one of the last air raids,
0:10:02 > 0:10:06and this was salvaged from the wreckage.
0:10:06 > 0:10:08And then you bought it?
0:10:08 > 0:10:12In the late '60s and I've had it ever since.
0:10:12 > 0:10:16- So, a long time.- Oh, yes.- A long time. Well, what's its value?
0:10:16 > 0:10:18Very difficult.
0:10:18 > 0:10:21Figureheads do occasionally turn up at auction and, when they do,
0:10:21 > 0:10:23they can command substantial prices.
0:10:23 > 0:10:27This is, you know, a known person, but not a figurehead.
0:10:27 > 0:10:30Even so, I still think it's hugely important. At auction,
0:10:30 > 0:10:34I'm sure you'd be talking about a figure of £15,000 to £20,000.
0:10:34 > 0:10:37Really? What a pleasant surprise.
0:10:37 > 0:10:41I knew it had some substantial value, but not that much.
0:10:41 > 0:10:43I'm very pleasantly surprised.
0:10:43 > 0:10:48Well, for me, this vase absolutely shouts the period
0:10:48 > 0:10:49from when it was born,
0:10:49 > 0:10:52and that is the high English Arts and Crafts Movement.
0:10:52 > 0:10:56It just couldn't be anything else and it's a wonderful thing,
0:10:56 > 0:10:57but tell me, how do you know it?
0:10:57 > 0:11:04I was left it by an aunt and it was her mother-in-law's...
0:11:05 > 0:11:09..erm, and she bought it either in a house sale or an auction.
0:11:09 > 0:11:14Erm...I don't know when, probably early 1920s, 1930s.
0:11:14 > 0:11:16Really?
0:11:16 > 0:11:17For five pence.
0:11:17 > 0:11:19- Five pence?- Yes, five old pennies.
0:11:19 > 0:11:22Well, she was a canny shopper, wasn't she?
0:11:22 > 0:11:25Because it's a lovely example of its type,
0:11:25 > 0:11:29and what we are looking at is a piece of Burmantofts,
0:11:29 > 0:11:33and Burmantofts Faience, and Burmantofts were basically a company
0:11:33 > 0:11:37that had their origins in the 19th century.
0:11:37 > 0:11:39They actually started out looking for coal,
0:11:39 > 0:11:40and, while looking for coal,
0:11:40 > 0:11:43came upon clay and thought to themselves,
0:11:43 > 0:11:46"Well, if we can't go for coal, let's make pots,"
0:11:46 > 0:11:49and they actually became, during the 19th century,
0:11:49 > 0:11:53one of the leading architectural ceramic firms in the country.
0:11:53 > 0:11:57But, by the 1880s, they moved into art pottery
0:11:57 > 0:12:01and over the following years they became quite well known for this.
0:12:01 > 0:12:04Actually, by 1904, interest had actually waned
0:12:04 > 0:12:06and they ceased production,
0:12:06 > 0:12:10so we know that this piece has to sit somewhere in that timeframe
0:12:10 > 0:12:13between 1880 and 1904.
0:12:13 > 0:12:16But they were producing all kinds of wares, actually,
0:12:16 > 0:12:19and they got into things like lustres, impastos
0:12:19 > 0:12:22and what we're looking at here, which is called parti-colour.
0:12:22 > 0:12:26And what they used to do was actually incise into the wet clay
0:12:26 > 0:12:33to leave little cells that would then hold the colours before firing.
0:12:33 > 0:12:37- And the pattern's fantastic, isn't it?- It is, it's lovely.
0:12:37 > 0:12:39I mean, I love the way the trees wrap up the body
0:12:39 > 0:12:41in this wonderful sunburst
0:12:41 > 0:12:44and it reminds me straight away of the architect, Voysey,
0:12:44 > 0:12:48who, around the same time, was producing wonderful designs,
0:12:48 > 0:12:51very similar and, actually, it's no great secret
0:12:51 > 0:12:54that Burmantofts were known to pop their head over the fence
0:12:54 > 0:12:57and look what everyone else was doing and copy.
0:12:57 > 0:13:00- But you know what? They did it beautifully.- Mm-hm.
0:13:00 > 0:13:02And this is a really nice example.
0:13:02 > 0:13:08Lovely clean vase and quite desirable today. So, five pence?
0:13:08 > 0:13:11- Yes.- Think we'll see a profit?
0:13:11 > 0:13:14Well, I should think so. LAUGHTER
0:13:14 > 0:13:17Well, if I tell you that five pence over the last 80, 90 years,
0:13:17 > 0:13:23has increased to somewhere in the region of £300 to £400.
0:13:23 > 0:13:26- Right, yes, good. - It's a nice example,
0:13:26 > 0:13:28and you continue to love it and look after it.
0:13:28 > 0:13:32- Yeah, I will do.- Thank you. - Thank you very much. Thank you.
0:13:32 > 0:13:35Great beauty comes in small packages
0:13:35 > 0:13:38and that's absolutely the case with these handbags.
0:13:38 > 0:13:42They are magical, and there's an enormous contrast between the two.
0:13:42 > 0:13:46We've got American Lucite here
0:13:46 > 0:13:49and we've got the height of Paris fashion here.
0:13:49 > 0:13:51Yeah, definitely. I mean, I love them both
0:13:51 > 0:13:54and the contrast between them is amazing,
0:13:54 > 0:13:56and the quality and the styling, definitely.
0:13:56 > 0:14:01They're not everyday pieces that you see, you see today,
0:14:01 > 0:14:04- they're very much of their time... - Right.
0:14:04 > 0:14:08..and their time is just inching into the postwar period.
0:14:08 > 0:14:11- Right.- So you've got, erm, you've got Lucite
0:14:11 > 0:14:14which is the material that really grew out of the war
0:14:14 > 0:14:17and the Americans had this ability to transform it
0:14:17 > 0:14:20and mould it into the most amazing constructions,
0:14:20 > 0:14:24and, you know, everyone in Hollywood wanted a Lucite handbag
0:14:24 > 0:14:28- and everyone in Florida wanted a Lucite handbag.- Really? Right.
0:14:28 > 0:14:31And this particular maker, Miami of Florida,
0:14:31 > 0:14:34I mean, you know, it was the handbag to have, really.
0:14:34 > 0:14:37It's a great construction and a really lovely piece.
0:14:37 > 0:14:41But this is an interesting bag, you know,
0:14:41 > 0:14:43I'm wondering what caught your eye.
0:14:43 > 0:14:44Well, the minute I found it,
0:14:44 > 0:14:47in a second-hand, sort of, clothing shop,
0:14:47 > 0:14:50it emanated quality and also the styling of it
0:14:50 > 0:14:52and, you know, the fact that it came from Paris.
0:14:52 > 0:14:54I thought, "Wow!" you know, just had to have it.
0:14:54 > 0:14:57I haven't actually used it, but I just admire it
0:14:57 > 0:15:00and, you know, it makes a nice contrast with the other one,
0:15:00 > 0:15:03but I love the fact that it's the playing cards and the dice.
0:15:03 > 0:15:06It's just... It's just lovely and it makes you smile.
0:15:06 > 0:15:10- It's got everything about fashionable post-war Paris.- Right.
0:15:10 > 0:15:15- You know, gaming...- Yes. - ..and I want to open it up
0:15:15 > 0:15:18because I'm sure inside there's probably a little secret to be told,
0:15:18 > 0:15:20and I'm right, it says...
0:15:24 > 0:15:29- I know.- I mean, that was the street in Paris to have a handbag from,
0:15:29 > 0:15:32- and, you know, that was the place to shop.- Right.
0:15:32 > 0:15:35- And, erm, it's a very desirable piece now.- Thank you.
0:15:35 > 0:15:37- Do you use either? - I haven't used either of them
0:15:37 > 0:15:40and they've never met each other, they've been kept in separate boxes,
0:15:40 > 0:15:43but it's nice that they've been shown today
0:15:43 > 0:15:45and I'm pleased you like them.
0:15:45 > 0:15:46Have they got any value?
0:15:46 > 0:15:49I mean, would people collect this sort of thing?
0:15:49 > 0:15:54Huge collectors, I mean, there's a massive vintage fraternity out there
0:15:54 > 0:15:57who would love to collect both of these. Great American interest
0:15:57 > 0:15:58- in the Lucite...- Right.
0:15:58 > 0:16:00..increasingly, British interest in it,
0:16:00 > 0:16:04but this is almost like a surrealist piece of art and...
0:16:04 > 0:16:05It's beautiful, isn't it?
0:16:05 > 0:16:09And, you know, it's the equivalent of Dali, but in a handbag.
0:16:09 > 0:16:14- Yes.- Erm, value-wise, I think you're looking at £120, £130 for this.
0:16:14 > 0:16:16Right, right.
0:16:16 > 0:16:21But this lovely Parisian bag, I've got to say at least £200.
0:16:21 > 0:16:27Really? I am surprised, but I appreciate the quality of it.
0:16:30 > 0:16:33Now I know that Fiona mentioned about the prisoner-of-war history
0:16:33 > 0:16:35at the beginning of the programme,
0:16:35 > 0:16:39but I understand these three toys belong to you.
0:16:39 > 0:16:41Yes. Yes, they do, yes.
0:16:41 > 0:16:45The... We came here in 1946 when I was three
0:16:45 > 0:16:49and the prisoners-of-war made these toys for my brother Alan and myself.
0:16:49 > 0:16:55And, er, the... A lot of them stayed till about 1949.
0:16:55 > 0:16:57- Gosh.- So we got to know them quite well, really,
0:16:57 > 0:17:01and they had families at home, they had children at home,
0:17:01 > 0:17:05so I think that's why, you know, they were particularly kind to us.
0:17:05 > 0:17:06You're clutching something...
0:17:06 > 0:17:10Well, yes, that's a photograph of myself.
0:17:10 > 0:17:11Yours truly, as a little girl.
0:17:11 > 0:17:14- Yeah, that's in the arcades in the quadrangle here, yes.- Yes.
0:17:14 > 0:17:18- I mean, it's not a bad place to be incarcerated, is it?- No, no.
0:17:18 > 0:17:21- I mean, they could have been somewhere a lot worse.- A lot worse.
0:17:21 > 0:17:22And what did you think of them?
0:17:22 > 0:17:25Well, I didn't really think of them as being prisoners-of-war,
0:17:25 > 0:17:28you know, they were just guys that were living here
0:17:28 > 0:17:30and they were very, very nice to us.
0:17:30 > 0:17:34You know, my brother and I used to go and sit with them
0:17:34 > 0:17:36while they made these things and did drawings
0:17:36 > 0:17:39and, you know, they were just nice people.
0:17:39 > 0:17:41Yeah, and have you ever kept in touch with any of the people
0:17:41 > 0:17:43who made these?
0:17:43 > 0:17:45No, I haven't. No, I haven't,
0:17:45 > 0:17:48although one or two of the prisoners have returned here.
0:17:48 > 0:17:50They've visited the hall and said,
0:17:50 > 0:17:53you know, "I slept there," and, "My bunk bed was there,"
0:17:53 > 0:17:57and one or two of them did stay behind and got jobs locally.
0:17:57 > 0:18:01Yes, I mean, yes, I know that a lot of German prisoners-of-war
0:18:01 > 0:18:03- chose to stay, either to work on. - Yes, yes.
0:18:03 > 0:18:05- They married local girls.- Yeah.
0:18:05 > 0:18:07And many families are still here
0:18:07 > 0:18:10- to this day, with future generations around.- Yes, of course, yes.
0:18:10 > 0:18:12That's right, yes, yeah.
0:18:12 > 0:18:14Well, of course, the tradition of prisoner-of-war work
0:18:14 > 0:18:18is to use what materials you could get hold of,
0:18:18 > 0:18:23whether it was old bones or bits of wood and bits of metal,
0:18:23 > 0:18:26and to turn an ordinary bit of material into a sort of a toy,
0:18:26 > 0:18:28or a work of art. I mean, look at this one.
0:18:29 > 0:18:33- Yeah.- Where did they get the wood from for these?- Well...
0:18:33 > 0:18:34Were they salvaging it from...
0:18:34 > 0:18:38Yes, I think from the building. Window-sills and windows
0:18:38 > 0:18:41and various bits that they could get their hands on, really.
0:18:41 > 0:18:44Right, so the windows became draughtier the more toys they made.
0:18:44 > 0:18:46Yes, they did. Yes, they did, yes.
0:18:46 > 0:18:50This is just such a nice, simple sort of silhouette puppet toy,
0:18:50 > 0:18:52all hand-painted.
0:18:52 > 0:18:57It's kind of in a very American dapper sort of costume.
0:18:57 > 0:18:58Now, was this given to you?
0:18:58 > 0:19:01It was given to my brother. Brother Alan, yes, yes, yes.
0:19:01 > 0:19:06Right, right, and what about this one in the middle, the windmill?
0:19:06 > 0:19:07That was given to my brother, as well.
0:19:07 > 0:19:11- Right, and this one operates just by a little pulley.- It does.
0:19:11 > 0:19:14- There we go.- Yes.- This one's made... Obviously, it's made of pine
0:19:14 > 0:19:17and the decoration of this one, and the one we're going to look at next,
0:19:17 > 0:19:20is done using a hot needle.
0:19:20 > 0:19:24- It's what we refer to as pyrographic decorations.- Right.
0:19:24 > 0:19:27- They're very simple, aren't they? - Oh, very, yes.
0:19:27 > 0:19:30- They're sort of almost folk toys. - They are, yes, they're very simple.
0:19:30 > 0:19:33Now this one, which was seen at the beginning of the programme,
0:19:33 > 0:19:36I had a good look over this earlier, Kathleen,
0:19:36 > 0:19:39and I found something on it -
0:19:39 > 0:19:43that I don't know whether you personally were aware of it.
0:19:44 > 0:19:48Did you ever turn it over and see in very, very faint writing,
0:19:48 > 0:19:51- a little inscription? - I may have, at some time,
0:19:51 > 0:19:53- but I really can't remember. - You'd forgotten.
0:19:53 > 0:19:55- And it's been in a cupboard for so long.- Right.
0:19:55 > 0:19:56Well, this really made it for me,
0:19:56 > 0:20:02because it has an inscription, "Made by a German at...", or to,
0:20:02 > 0:20:08"..Christmas 1946" and then the name of the gentleman, "Rupprecht Jung."
0:20:08 > 0:20:12- Really? I... Right, yes. - So there is the guy who made it.
0:20:12 > 0:20:14- Right, yes.- So what a treat.
0:20:14 > 0:20:18Now, he could still be alive, his family could be about.
0:20:18 > 0:20:20Yes, yes, of course,
0:20:20 > 0:20:23I've never really taken much notice of that writing on the back.
0:20:23 > 0:20:25I can't really remember it being there, actually.
0:20:25 > 0:20:28Yeah, the very man who made it. Again salvaged pine.
0:20:28 > 0:20:31I think this little bit of lead might have...
0:20:31 > 0:20:35- maybe been cut from the roof lead lining.- Quite possibly. Yes.
0:20:35 > 0:20:40They were bad lads, but what a fascinating story, living history.
0:20:40 > 0:20:44- Yes.- At the end of the day, these aren't worth an awful lot of money.
0:20:44 > 0:20:48- No, no.- In a sale, they would probably, as a group,
0:20:48 > 0:20:51fetch as little as perhaps £300 to £500.
0:20:51 > 0:20:55Right, yes. They're not something that I would ever part with.
0:20:55 > 0:20:58- I guessed you'd say that.- Yes, yeah.
0:20:58 > 0:21:03Well, I must say, these are just the prettiest glasses, aren't they?
0:21:03 > 0:21:09I mean, really, how much more gorgeous can a wine glass be?
0:21:09 > 0:21:11Have you known them for ever?
0:21:11 > 0:21:13No, my mother-in-law, who's 99,
0:21:13 > 0:21:16moved into a care home 18 months ago
0:21:16 > 0:21:21and when we were clearing her flat, these were found, 12 of them,
0:21:21 > 0:21:24in a box, brown newspaper surrounding them,
0:21:24 > 0:21:25never seen them before.
0:21:25 > 0:21:29Well, that makes two of us, because I've never seen them before.
0:21:29 > 0:21:32I can tell you that they date from about 1920
0:21:32 > 0:21:35and they're Czech
0:21:35 > 0:21:38and they are enamelled and gilded.
0:21:38 > 0:21:41Basically, in order to create the strawberries
0:21:41 > 0:21:43and the leaves of the strawberries,
0:21:43 > 0:21:46they've painted powdered glass, in suspension, onto them,
0:21:46 > 0:21:48and then fired them on,
0:21:48 > 0:21:52so you can rub for ever and you'd never lose the colour.
0:21:52 > 0:21:54The gilding is more susceptible to wear.
0:21:54 > 0:21:57You may... You know, one of the problems about high valuation,
0:21:57 > 0:22:00and I'm not going to nuke you with a valuation, but, you know,
0:22:00 > 0:22:07you think, "Well, these, all 12 are worth about, at auction, £500."
0:22:07 > 0:22:10So the decision is yours, really.
0:22:10 > 0:22:13Are you going to use £500 glasses?
0:22:13 > 0:22:14Maybe not!
0:22:14 > 0:22:17What will you do with them instead?
0:22:17 > 0:22:19Put them in the china cabinet.
0:22:19 > 0:22:21Well, I think you should bring them out occasionally,
0:22:21 > 0:22:23because they're too good not to use, aren't they?
0:22:23 > 0:22:26They are indeed, yes. Beautiful.
0:22:27 > 0:22:30As a mere southerner, and I apologise for that,
0:22:30 > 0:22:31I love coming up here.
0:22:31 > 0:22:35This is my favourite part of Britain, apart from where I live.
0:22:35 > 0:22:38And it's not just the area and its history.
0:22:38 > 0:22:41What really excites me here about... are two things, railways and coal.
0:22:41 > 0:22:43- Ah!- And here we've got it all.
0:22:43 > 0:22:47- Absolutely. - This is a fantastic map.- It is.
0:22:47 > 0:22:50It's a vision of this world in 1847
0:22:50 > 0:22:54and it shows us the...I suppose, the coal industry almost at its peak.
0:22:54 > 0:22:58- Exactly.- All the pits, all the areas...
0:22:58 > 0:22:59- Yes.- ..and, more important, it shows
0:22:59 > 0:23:01- all the railway lines.- Exactly.
0:23:01 > 0:23:04- A spider web of black.- Exactly.
0:23:04 > 0:23:07And without the railways, there would be no coal industry,
0:23:07 > 0:23:09- except on a very small scale. - No, that's right, yes.
0:23:09 > 0:23:13- And every dot that is a colliery, has got a rail link.- Exactly.
0:23:13 > 0:23:17And so you can see how the incredible wealth of the area
0:23:17 > 0:23:19- was developed by this industry. - Yes, yes.
0:23:19 > 0:23:22- It looked after this great house. - It did.
0:23:22 > 0:23:26It looked after the estates. It generated wealth beyond belief.
0:23:26 > 0:23:28Anyway, what does it mean to you?
0:23:28 > 0:23:31Well, it means exactly that, to us.
0:23:31 > 0:23:33We haven't had this for very long, actually.
0:23:33 > 0:23:37We've been collecting local history and books, mostly.
0:23:37 > 0:23:39- But you are locals? - But we are locals.
0:23:39 > 0:23:43Well, my family... both my families are from up here -
0:23:43 > 0:23:46my father's and my mother's, my mother's especially.
0:23:46 > 0:23:48- My mother was a Pease. - There's a good local name.
0:23:48 > 0:23:50They were the great Quaker family
0:23:50 > 0:23:53who were the financiers for the Stockton and Darlington.
0:23:53 > 0:23:55- Exactly, exactly. - Let's just look at it a bit.
0:23:55 > 0:24:00I mean, as I say, it is the whole area and two things strike me.
0:24:00 > 0:24:03First of all, as I say, the railways.
0:24:03 > 0:24:06Here, right in the centre is the word "Killingworth".
0:24:07 > 0:24:10- And Killingworth is George Stephenson.- Exactly.
0:24:10 > 0:24:14- It's long before the railways as we know them.- Yeah.
0:24:14 > 0:24:18- It's the beginning of locomotives hauling coal wagons.- Yes, yes, yes.
0:24:18 > 0:24:20So that's a key name.
0:24:20 > 0:24:21I must point out, we are here.
0:24:21 > 0:24:27Here's the house, here's the local collieries, Hartley and Seaton,
0:24:27 > 0:24:30and, of course, the other thing that strikes me is, wherever we look,
0:24:30 > 0:24:35- every fraction of land is owned by somebody quite grand.- Yes, yes.
0:24:35 > 0:24:38I mean, one I liked particularly was,
0:24:38 > 0:24:41"Royalties belonging to Sir Arthur Grey Hazlerigg, Baronet."
0:24:41 > 0:24:44- They'd really got it carved up. - Exactly, absolutely.
0:24:44 > 0:24:48So we've got great names, 19th-century industrial history.
0:24:48 > 0:24:50- Yes, yeah.- It's a great map. - Absolutely. Fantastic.
0:24:50 > 0:24:52So you said you bought it recently?
0:24:52 > 0:24:55- Yes, we did.- If I was looking to buy one of these,
0:24:55 > 0:24:59I would expect to pay about £1,000.
0:24:59 > 0:25:02- Yes, we paid a little bit more than that, but...- Did you?
0:25:02 > 0:25:04..but I think, I was quite happy to pay the money,
0:25:04 > 0:25:07because it suits exactly what we want.
0:25:07 > 0:25:08I'm going to justify,
0:25:08 > 0:25:11I don't know what you paid, the higher price, on two grounds.
0:25:11 > 0:25:13- One, you wanted it.- Yes.
0:25:13 > 0:25:16- And, more important, you probably paid a local price.- Yes.
0:25:16 > 0:25:20And, of course, we've got to think about that classic phrase,
0:25:20 > 0:25:22- "coals to Newcastle."- Yes. - This is it.- Yes.
0:25:24 > 0:25:26I bet this face has got a few stories to tell,
0:25:26 > 0:25:30- not least of which, that this chair was stolen, wasn't it?- That's right.
0:25:30 > 0:25:33- From the church in the grounds. - That's right, it was stolen in 1991.
0:25:33 > 0:25:36It was taken in the February
0:25:36 > 0:25:38and it was missing until the following Christmas,
0:25:38 > 0:25:40and then an attempt was made to ransom it.
0:25:40 > 0:25:45Er, the... Someone close to the thieves,
0:25:45 > 0:25:48we don't think it was the thieves themselves, got in touch
0:25:48 > 0:25:50and asked where the vicar was.
0:25:50 > 0:25:54They came on Christmas Eve,
0:25:54 > 0:25:56and the churchwarden got in touch with the police,
0:25:56 > 0:25:58and they set up a trap for him.
0:25:58 > 0:26:00Now, am I right, that the police...
0:26:00 > 0:26:02One of the policemen dressed up as a vicar?
0:26:02 > 0:26:03That's right.
0:26:03 > 0:26:05- In order to set this trap. - That's right.
0:26:05 > 0:26:07Complete with Bible under his arm and everything.
0:26:07 > 0:26:09He stood inside the church door,
0:26:09 > 0:26:11and the other policemen hid behind the gravestones,
0:26:11 > 0:26:13and they let the chap take the chair,
0:26:13 > 0:26:15which is very heavy, off the van.
0:26:15 > 0:26:18Yes, I wonder how on earth he managed to do that.
0:26:18 > 0:26:21They... The mind boggles,
0:26:21 > 0:26:22but he humped it into the church
0:26:22 > 0:26:26and then they, sort of, did the old "You're nicked!" routine on him,
0:26:26 > 0:26:29and apparently he was led away in handcuffs, muttering,
0:26:29 > 0:26:32"Well, you can't even trust vicars these days."
0:26:32 > 0:26:36Erm, and he was never ever actually charged with stealing it,
0:26:36 > 0:26:38he was only charged with receiving it.
0:26:38 > 0:26:40It's like something out of a film, isn't it?
0:26:40 > 0:26:43The idea of the cops... Well, it's Keystone Cops, in a way,
0:26:43 > 0:26:46hiding behind the graveyard, it's around Christmas,
0:26:46 > 0:26:49- it's dark, I can imagine a kind of misty night.- Yes, yes.
0:26:49 > 0:26:51- There's a policeman dressed as the vicar.- Yes.
0:26:51 > 0:26:54Do you think the policeman enjoyed his moment as a vicar?
0:26:54 > 0:26:57Oh, I think he probably would, yes. I know I would have done. Yes!
0:26:59 > 0:27:02MUSIC: Theme to When The Boat Comes In
0:27:34 > 0:27:37- Are these something you inherited? - No, actually,
0:27:37 > 0:27:39I bought them all myself, over the past year.
0:27:39 > 0:27:40In just one year?
0:27:40 > 0:27:45- Yes.- Goodness gracious.- The five of them.- Can I ask you how old you are?
0:27:45 > 0:27:4617.
0:27:46 > 0:27:49Well, congratulations, because I think this is a first.
0:27:49 > 0:27:51I don't think I've ever met anybody
0:27:51 > 0:27:56of your age that's bought such amazing things
0:27:56 > 0:27:59- in the 20 years that I've doing the Antiques Roadshow.- Thank you.
0:27:59 > 0:28:02Well, what got you interested in silver in particular?
0:28:02 > 0:28:05I went to a local auction and I saw something silver for sale.
0:28:05 > 0:28:09It was a piece of English silver. I bought it. I decided to re-sell it
0:28:09 > 0:28:11and I quite liked it, so I continued doing that,
0:28:11 > 0:28:13then I was looking at auction houses across the UK
0:28:13 > 0:28:14and I came across pieces of silver
0:28:14 > 0:28:17like this with the enamel on, and I decided I really liked them,
0:28:17 > 0:28:19so I started buying them to keep, really.
0:28:19 > 0:28:22- And did you know where they came from?- Not at first.
0:28:22 > 0:28:26- I know some of them are from Russia, but that's about all.- Right.
0:28:26 > 0:28:28How very enterprising of you.
0:28:28 > 0:28:32You're putting me to shame now, starting at such a young age.
0:28:32 > 0:28:36Anyway, let's have a look at what you bought in the last year.
0:28:36 > 0:28:41We've got a very pretty typical late-19th-century Russian spoon,
0:28:41 > 0:28:43- beautifully enamelled on the back. - Yes.
0:28:43 > 0:28:47Spoons like this normally go for around £100.
0:28:47 > 0:28:49- Does that fit in with what you paid? - Yes.
0:28:49 > 0:28:54And this very handsome case with this nice engraving on,
0:28:54 > 0:28:58a bit more difficult, the plain silver cases,
0:28:58 > 0:29:00and it is, of course, a cheroot case, this size.
0:29:00 > 0:29:05- Is it a larger type of cigarette? - A cheroot - like a small cigar.
0:29:05 > 0:29:06Ah.
0:29:06 > 0:29:10I would imagine you could have paid £500, £600 for that.
0:29:10 > 0:29:13I actually paid about £180 for that one.
0:29:13 > 0:29:15- 180!- Mm, so that... I obviously did quite well with that.
0:29:15 > 0:29:18Well, you're well on the way to being a very good dealer,
0:29:18 > 0:29:21I can see that. But the one that I really, really love,
0:29:21 > 0:29:23and I'm fascinated to know what you paid for it,
0:29:23 > 0:29:25because if we pick it up and look inside,
0:29:25 > 0:29:28it's got marks for Moscow
0:29:28 > 0:29:31and made in 1893
0:29:31 > 0:29:35- but do you know who the maker is? - No, I don't.
0:29:35 > 0:29:39I'm pretty sure that's a maker called Maria Semonova
0:29:39 > 0:29:41and she was one of the most distinguished makers
0:29:41 > 0:29:46of this wonderful, and typically Russian, polychrome enamel.
0:29:46 > 0:29:50Look at the work that's gone into this. It's in fabulous condition.
0:29:50 > 0:29:53And what did you have to give for this?
0:29:53 > 0:29:55£950, that was, at auction.
0:29:55 > 0:29:58Oh, that's pretty good, because I was thinking of a figure
0:29:58 > 0:30:01between £800 and £1,000, so you're right in the right ball park.
0:30:01 > 0:30:04So did anybody teach you about what you should and shouldn't buy?
0:30:04 > 0:30:09Not really, no. I just bought what I liked, really.
0:30:09 > 0:30:12Well, you've done incredibly well, because pretty much everything
0:30:12 > 0:30:15I can see on the table is really, really good.
0:30:17 > 0:30:20I love this little vesta case here which matches the cigarette case.
0:30:20 > 0:30:23These are actually French.
0:30:23 > 0:30:25- Did you buy them together? - No, I actually bought...
0:30:25 > 0:30:27Good heavens, well, they match each other.
0:30:27 > 0:30:31I bought the Vesta in an auction and I bought that at a dealer's,
0:30:31 > 0:30:33about three or four months later,
0:30:33 > 0:30:34just complete coincidence,
0:30:34 > 0:30:37and it turned out the dealer was the one that put it into auction,
0:30:37 > 0:30:39- because it was damaged.- Right.
0:30:39 > 0:30:45The Vesta case, I would think, ought to be worth several hundred pounds,
0:30:45 > 0:30:49but if we turn it over, we see it's quite damaged on the back.
0:30:49 > 0:30:51Even so, it's very, very pretty
0:30:51 > 0:30:54and I still think it could be worth £150.
0:30:54 > 0:30:58- I hope you didn't pay more than, maybe, 150 for it.- No.
0:30:58 > 0:31:02- No, good.- Not anything near that. - Excellent. What did you pay?
0:31:02 > 0:31:05I paid about 40 for it.
0:31:05 > 0:31:08That's still a bargain and the cigarette case? A few hundred?
0:31:08 > 0:31:12- I paid about 500 for that. - Mm, that's a bit top heavy, I think.
0:31:12 > 0:31:17I would have said maybe £350-£400, but you're not far out.
0:31:17 > 0:31:19Anyway, you've done amazingly well.
0:31:19 > 0:31:21Thank you.
0:31:21 > 0:31:25I can't congratulate you enough, at your young age, to have the nerve
0:31:25 > 0:31:28to go and buy seriously good things
0:31:28 > 0:31:31and to get things of very good quality,
0:31:31 > 0:31:36and every expert on the Antiques Roadshow will tell you -
0:31:36 > 0:31:40it's the quality, condition, that matters more than anything else.
0:31:40 > 0:31:41So, well done, keep doing it,
0:31:41 > 0:31:44and one day we might see you on the Antiques Roadshow as an expert,
0:31:44 > 0:31:46- who knows?- Thank you.
0:31:47 > 0:31:49We couldn't be in a better place
0:31:49 > 0:31:50to look at these two pieces of furniture
0:31:50 > 0:31:53with this wonderful house behind us.
0:31:53 > 0:31:58- Partly because they are essentially contemporary.- Right.
0:31:58 > 0:32:00And if you look at the two side pieces
0:32:00 > 0:32:03- on the house, which have these angles which project forward...- Yes.
0:32:03 > 0:32:07..in a sense you have the same dramatic character
0:32:07 > 0:32:09in these two pieces of furniture.
0:32:09 > 0:32:13I'm going to say straight away - when I see this, I say "Italian".
0:32:13 > 0:32:15And...the house was built...
0:32:15 > 0:32:19I think, or it was commissioned in 1726
0:32:19 > 0:32:23and these two pieces of furniture are about, ooh, 1700-1720,
0:32:23 > 0:32:26so essentially just the period of the house.
0:32:26 > 0:32:29So did you know they were Italian?
0:32:29 > 0:32:31We've always known them in the family as Italian.
0:32:31 > 0:32:35I inherited them from my mother who in turn got them from her mother
0:32:35 > 0:32:37who in turn got them from her mother.
0:32:37 > 0:32:39Fantastic. And was she...?
0:32:39 > 0:32:44She was Sybil Vivian and she died in 1936 and...
0:32:44 > 0:32:46And was she living in Italy or...?
0:32:46 > 0:32:47No, she was living in London,
0:32:47 > 0:32:51but was, er...travelled regularly to Italy
0:32:51 > 0:32:55and the family story is that she collected them on one of her visits
0:32:55 > 0:32:58and brought them back to London.
0:32:58 > 0:33:01- North Italian and they are essentially Baroque...- Yes.
0:33:01 > 0:33:04- ..which is what the style of the house is...- Yes, yes.
0:33:04 > 0:33:07..and one associates most of the Baroque style as coming from Italy.
0:33:07 > 0:33:11- Yes.- And Vanbrugh was certainly influenced by it.
0:33:11 > 0:33:16They're not the highest quality, but they are very decorative.
0:33:16 > 0:33:19So you have walnut with stringing and banding
0:33:19 > 0:33:21and then this wonderful decorative design,
0:33:21 > 0:33:23which is all the same design
0:33:23 > 0:33:26but cut out and then reversed like a picture puzzle,
0:33:26 > 0:33:30so you get light in dark, dark in light, and that on both pieces,
0:33:30 > 0:33:33so, again, you get this Baroque feature of contrast,
0:33:33 > 0:33:35and when the pieces were new,
0:33:35 > 0:33:39- the contrast would have been much, much more direct.- Absolutely.
0:33:39 > 0:33:42As with much Italian furniture, when you look on the inside of them,
0:33:42 > 0:33:45- they are pretty rough...- Crude.
0:33:45 > 0:33:49..and ready, and this is a kind of characteristic of the furniture.
0:33:49 > 0:33:53Er...great pieces, very decorative,
0:33:53 > 0:33:57- I have to say would sell much better in Italy than they would here.- Ah.
0:33:57 > 0:34:00On the other hand, it's a very attractive pair,
0:34:00 > 0:34:02they're very decorative pieces.
0:34:02 > 0:34:08You'd be looking at, I think, around £1,500 for the pair.
0:34:08 > 0:34:11- Really, really? Mm. They're not for sale.- Good.
0:34:13 > 0:34:16We've got an amazing collection of butterflies here.
0:34:16 > 0:34:18All enamel work and, of course,
0:34:18 > 0:34:20the butterfly has been associated
0:34:20 > 0:34:24with Psyche and the wonderful love affair of Cupid and Psyche,
0:34:24 > 0:34:27a very classical mythological story.
0:34:27 > 0:34:28So is this a real passion of yours
0:34:28 > 0:34:31or is it just something you've come across?
0:34:31 > 0:34:33More of an obsession, really, than a passion.
0:34:33 > 0:34:35And how did the obsession start?
0:34:36 > 0:34:39When I was very young, my grandma owned that one,
0:34:39 > 0:34:43for many years and every time I went to her house, I would play with it,
0:34:43 > 0:34:47and take things out the jewellery box. In the end, she got fed up
0:34:47 > 0:34:51and gave me it, and then about seven years ago,
0:34:51 > 0:34:54I spotted another one, the same, but different colour, and bought it
0:34:54 > 0:34:55and then everywhere I went,
0:34:55 > 0:34:58I seemed to see one and just kind of turned into an obsession.
0:34:58 > 0:35:01Well, that's brilliant, having an obsession, passion,
0:35:01 > 0:35:04whichever way you want to look at it, it's just wonderful
0:35:04 > 0:35:07to see a collection grow. How long have you been collecting for?
0:35:07 > 0:35:11- About seven years.- Oh, fantastic! Well, the one that you've got there,
0:35:11 > 0:35:14the beautiful pale lilac and green enamel-work
0:35:14 > 0:35:18and it's a form of enamelling called guilloche enamel
0:35:18 > 0:35:22and basically, that means that the pattern that you see in the wings,
0:35:22 > 0:35:26is engraved into the silver that we have here and then the enamel
0:35:26 > 0:35:29is poured over the top and it creates this fabulous effect
0:35:29 > 0:35:32and it makes it look as though the pattern is actually
0:35:32 > 0:35:33on top of the actual brooch,
0:35:33 > 0:35:35but it's actually underneath
0:35:35 > 0:35:37and it's all very smooth when you touch it.
0:35:37 > 0:35:40One of the greatest designers of jewellery like this
0:35:40 > 0:35:44- was David Andersen, a Scandinavian designer.- Yes.
0:35:44 > 0:35:46And you actually have one of his,
0:35:46 > 0:35:48which is this green and bright yellow enamel piece -
0:35:48 > 0:35:49absolutely wonderful -
0:35:49 > 0:35:52and his firm was starting in the late 19th century,
0:35:52 > 0:35:55but certainly into the early part of the 20th century,
0:35:55 > 0:35:58he was becoming very popular,
0:35:58 > 0:36:01and is well known for both his enamel butterfly brooches
0:36:01 > 0:36:03- and leaf brooches, as well.- Yes.
0:36:03 > 0:36:06And, over the years, people have become to realise
0:36:06 > 0:36:07how good an enamellist he was
0:36:07 > 0:36:10and have basically come to collect them.
0:36:10 > 0:36:11Now, in terms of value,
0:36:11 > 0:36:14I mean, naturally it is more difficult to get black ones
0:36:14 > 0:36:16and they are a little bit more unusual
0:36:16 > 0:36:18and I think the quality of this one is particularly good
0:36:18 > 0:36:21and individually, if you were to sell that at auction,
0:36:21 > 0:36:25- I think you'd get somewhere between £120, £150 for it.- Excellent.
0:36:25 > 0:36:27Naturally, there's nothing that can take away
0:36:27 > 0:36:30from the sentimental value of a piece,
0:36:30 > 0:36:32but the small one that your grandmother gave you,
0:36:32 > 0:36:36that's probably worth about £80 to £120, as well.
0:36:36 > 0:36:39And then the David Andersen ones, these can fetch between £200, £300
0:36:39 > 0:36:44on a really good day, so you've got an absolutely stunning collection
0:36:44 > 0:36:48and I'm sure as a collection, then somebody would be willing to pay
0:36:48 > 0:36:52- in the region of between £3,000 and £4,000 for them.- Wow!
0:36:52 > 0:36:55- Yes, I shall... I'll keep going. - Wonderful.
0:37:00 > 0:37:03Now, there's nothing I like better than a glass of champagne
0:37:03 > 0:37:05and I've heard there's a bottle of champagne
0:37:05 > 0:37:07lurking here at the Roadshow. Is this for me?
0:37:07 > 0:37:13No, no, no, no, no! It's from my uncle. He gave it to me.
0:37:13 > 0:37:17It's beautifully bedecked and beribboned. What is it?
0:37:17 > 0:37:22Well, he worked in John Brown's shipyard and it was his job to...
0:37:22 > 0:37:26- What, on the Clyde?- On the Clyde, yes. In Clydebank, yes,
0:37:26 > 0:37:30and it was his job to connect this bottle
0:37:30 > 0:37:33for the launch of various ships and he was there...
0:37:33 > 0:37:37Most of the ships over his period when he worked there,
0:37:37 > 0:37:40and, erm, this was the one from the QE2.
0:37:40 > 0:37:44- So this... - That's a spare from the QE2.
0:37:44 > 0:37:48Now, hang on a minute, so the bottle that was used to launch the QE2...
0:37:48 > 0:37:51- Has gone. - And this was a spare?
0:37:51 > 0:37:53Yes, they always carried a spare
0:37:53 > 0:37:56- in case the first bottle didn't work or...- Really?
0:37:56 > 0:37:59Yes, indeed, yes. They always carried a spare...
0:37:59 > 0:38:02a second bottle, and this is the second bottle
0:38:02 > 0:38:05and he gave it to me before he died, actually.
0:38:05 > 0:38:08How extraordinary! I'd no idea they carried a spare.
0:38:08 > 0:38:10And this has champagne in it still?
0:38:10 > 0:38:14- I'm sorry to say no, no, no.- Oh. - HE LAUGHS
0:38:14 > 0:38:15It's called Empire Wine, as far as I know.
0:38:15 > 0:38:18Empire Wine, what's that?
0:38:18 > 0:38:21I don't know, I've never tasted it, I don't know anything about it,
0:38:21 > 0:38:22but it's called Empire Wine.
0:38:22 > 0:38:25Sounds like some kind of fortified sherry or something like that,
0:38:25 > 0:38:28- doesn't it?- I think so, yes. - Well, who'd have thought it?
0:38:28 > 0:38:30I never knew they had a spare
0:38:30 > 0:38:33- and I never knew it was Empire Wine inside.- That's right, yes. Mm-hm.
0:38:33 > 0:38:36So I guess we won't be drinking this, after all.
0:38:36 > 0:38:38No, I'm afraid not, I'm afraid not. I'm keeping it.
0:38:41 > 0:38:42Isn't it great to have a box
0:38:42 > 0:38:45where you know what's going to happen inside?
0:38:45 > 0:38:50Here it is, there's a picture in there of this fantastic ox cart,
0:38:50 > 0:38:54it's called Les Boeufs and we've got the initials FM here.
0:38:54 > 0:38:57Open up the box and, blow me down...
0:39:00 > 0:39:06..sort of looks a bit... slightly like the lid.
0:39:06 > 0:39:09I mean, it was before the age of the Trade Descriptions Act,
0:39:09 > 0:39:11so, you know, you could be a little bit more flowery
0:39:11 > 0:39:14with the illustration than the actual toy.
0:39:14 > 0:39:16It's lovely. Where did it come from?
0:39:16 > 0:39:19It actually belongs to a friend of mine,
0:39:19 > 0:39:23who is slightly older than I am, and it was bought for her father
0:39:23 > 0:39:28when he was three years old and the box has 1897 on it,
0:39:28 > 0:39:30- so he was born in 1894.- Where?
0:39:31 > 0:39:34- Ah, brilliant.- On the bottom. - "To Daniel."- Yes.
0:39:34 > 0:39:37And it was bought for him by his two siblings
0:39:37 > 0:39:40and they were at prep school in Carlisle
0:39:40 > 0:39:43and they bought the toy in Carlisle, as well.
0:39:43 > 0:39:45- Isn't that brilliant?- Mm-hm.
0:39:45 > 0:39:49- And it looks as if it was bought for the price of one shilling.- Yes.
0:39:49 > 0:39:51Amazing.
0:39:51 > 0:39:57Well, it's made by one of the very best toy makers, not of Germany,
0:39:57 > 0:40:01but of France - a company called Fernand Martin -
0:40:01 > 0:40:03that's the F and the M there.
0:40:03 > 0:40:06He was a passionate toy maker,
0:40:06 > 0:40:08but the thing that really makes it unusual
0:40:08 > 0:40:12about the toys that Fernand Martin made,
0:40:12 > 0:40:16was that he looked at scenes from everyday life
0:40:16 > 0:40:19- and converted them into toys.- Right.
0:40:19 > 0:40:23So he looked around him and I'm sure he would have seen an ox cart
0:40:23 > 0:40:28pulling a great wagon of hay and there he captured it in toy form.
0:40:28 > 0:40:31He used simple mechanisms, sometimes a fly wheel,
0:40:31 > 0:40:33sometimes a simple clockwork mechanism.
0:40:33 > 0:40:36This one is missing its flywheel mechanism,
0:40:36 > 0:40:40but if I turn the handle, you can see what would have happened -
0:40:40 > 0:40:42- up and down go the oxen.- Oh.
0:40:42 > 0:40:47And the little boy with his whip, keeps them going,
0:40:47 > 0:40:50so it would have had a very endearing action too.
0:40:50 > 0:40:56But he also tended to use fabric and other materials with his toys,
0:40:56 > 0:41:00so this is absolutely typical of the toys made by Martin.
0:41:01 > 0:41:06We know the date, 1897, but he started in business,
0:41:06 > 0:41:07his first patent was in 1878
0:41:07 > 0:41:10and he went right the way through until 1912,
0:41:10 > 0:41:13when he went into partnership with somebody else.
0:41:13 > 0:41:14Fascinating.
0:41:14 > 0:41:17So, it is a great piece of toy-maker's art...
0:41:17 > 0:41:19in lovely condition.
0:41:19 > 0:41:21Everybody says to me,
0:41:21 > 0:41:24"Hilary, you always go on about the original boxes." I do, don't I?
0:41:24 > 0:41:27I go on about the original boxes and the reason I do
0:41:27 > 0:41:30is because it generally means that the toy
0:41:30 > 0:41:34is put back in its box afterwards and keeps in wonderful condition.
0:41:34 > 0:41:40So, one shilling it cost, 5p. What's it worth now?
0:41:40 > 0:41:45Well, it is worth something between, I'd say, £600 and £700.
0:41:45 > 0:41:49Wow! She will... My friend will be very pleased.
0:41:49 > 0:41:52Well, wonderful.
0:41:52 > 0:41:56Now, the great thing about this programme
0:41:56 > 0:41:58is we have been teaching the nation,
0:41:58 > 0:42:04for 30-odd years, about the merits of various antiques
0:42:04 > 0:42:09and, in particular, the name Doulton and Lambeth and stoneware
0:42:09 > 0:42:11and, dare I say it, Hannah Barlow,
0:42:11 > 0:42:14have turned up on many an occasion.
0:42:14 > 0:42:19- Yes.- And, well, you know, I can't see enough of the stuff.- Good.
0:42:19 > 0:42:22But what I would like to know is just how
0:42:22 > 0:42:27a piece of Lambeth stoneware by the same lady finds its way
0:42:27 > 0:42:32to this wonderful part of the North East of England.
0:42:32 > 0:42:36- So just enlighten me.- Well, it comes via Scotland, actually.- Oh, does it?
0:42:36 > 0:42:39I inherited it from my aunt who, I think,
0:42:39 > 0:42:42got it at a house clearance sale in Oban, in the west of Scotland.
0:42:42 > 0:42:46- Um-hm.- But I don't know how it got there.- OK.
0:42:46 > 0:42:49Well, let's look at the object itself.
0:42:49 > 0:42:51It is, let's open it up.
0:42:51 > 0:42:54It's got this lid, which appears to be silver,
0:42:54 > 0:42:56but I can't find any silver marks,
0:42:56 > 0:42:59- so let's talk silver plate.- Yep.
0:42:59 > 0:43:02Did you ever think it might have had another cover on at one stage?
0:43:02 > 0:43:06Well, my aunt sent a picture of it into an antiques magazine
0:43:06 > 0:43:09and they said the lid did not belong with the bottom.
0:43:09 > 0:43:12Well, I think this cover is absolutely right.
0:43:12 > 0:43:14It's silver plate, it's hinged.
0:43:14 > 0:43:19I think these two have been wedded since this pot was made in 1878.
0:43:19 > 0:43:23I'm very happy that these two have been wedded from the word go.
0:43:23 > 0:43:26- Good.- What's interesting is with all early pots...
0:43:26 > 0:43:28This one's actually dated
0:43:28 > 0:43:33and it says 1878. There's the monogram, by the way.
0:43:33 > 0:43:36- There she is, look. - Oh, that's it, yes.- Hannah Barlow.
0:43:36 > 0:43:39Now, that's not many years after Hannah Barlow
0:43:39 > 0:43:43actually switched from using her right hand to using her left hand
0:43:43 > 0:43:46and the reason being she developed
0:43:46 > 0:43:48an arthritic condition in her right hand,
0:43:48 > 0:43:51which meant that she had to switch hands.
0:43:51 > 0:43:55- Oh, so she did things left handed? - She had to do things left handed.
0:43:55 > 0:43:58And this, stylistically, is obviously with her left hand.
0:43:58 > 0:44:00- I say obviously... - How can you tell?
0:44:00 > 0:44:05Well, because her early pieces are more spirited, they're more sketchy.
0:44:05 > 0:44:07By the time she gets to using her left hand,
0:44:07 > 0:44:11it all becomes very meticulous and the detail is...
0:44:11 > 0:44:14Well, you can see. I mean, it's just fundamentally wonderful.
0:44:14 > 0:44:15It is!
0:44:15 > 0:44:18So let's just have a look at the decoration.
0:44:18 > 0:44:21It's incised decoration, or sgraffito.
0:44:21 > 0:44:24So if I can give it a turn, you've got various horses.
0:44:24 > 0:44:28- And a donkey.- Yes, well, I'm just about to introduce him.
0:44:28 > 0:44:31There he is. You've got a lovely little donkey.
0:44:31 > 0:44:34- That's right.- People love donkeys.
0:44:34 > 0:44:38- People love Hannah Barlow, on an international basis.- Oh, good.
0:44:38 > 0:44:42- I think it's a prince of biscuit barrels.- Ah, lovely!- I really do.
0:44:42 > 0:44:45I think that if I wanted to go and buy it from a good
0:44:45 > 0:44:47dealer in Doulton stoneware,
0:44:47 > 0:44:53I would have to pull out around about £1,000.
0:44:53 > 0:44:55Good heavens!
0:44:56 > 0:44:58This is a dream object for me.
0:44:58 > 0:45:00Not only is it old,
0:45:00 > 0:45:03not only is it very sought after,
0:45:03 > 0:45:06not only is it beautiful,
0:45:06 > 0:45:08but it's something I love.
0:45:08 > 0:45:10Do you know what it is?
0:45:10 > 0:45:15- I thought it was a christening cup or a stirrup cup.- No.
0:45:15 > 0:45:19- No?- It's neither, it's actually a tumbler cup.- Oh, right.
0:45:19 > 0:45:22And the London ones had much rounder bases.
0:45:22 > 0:45:24So when you tip them,
0:45:24 > 0:45:27they should really go back into the correct position,
0:45:27 > 0:45:30- but this more falls, rather than tumbles.- Right.
0:45:30 > 0:45:34It's got some initials at the front "S.B." Is that a family thing?
0:45:34 > 0:45:38Well, I thought, thinking it was my mother-in-law's.
0:45:38 > 0:45:44Her surname was Briggs, so I assumed it was maybe a christening cup.
0:45:44 > 0:45:47- Well, it is actually for drinking out of.- Yes.
0:45:47 > 0:45:48A tumbler cup.
0:45:48 > 0:45:49This form of decoration,
0:45:49 > 0:45:54with this alternate concave and convex fluting,
0:45:54 > 0:45:56came in in the reign of William III.
0:45:56 > 0:45:59So even without looking at the hallmarks,
0:45:59 > 0:46:03you know this is a piece that dates from the late 17th century.
0:46:03 > 0:46:06And it went through into the early part of Queen Anne's reign,
0:46:06 > 0:46:09in the early 18th century.
0:46:09 > 0:46:12But the condition of this is really good, you know,
0:46:12 > 0:46:13the fluting is all undamaged.
0:46:13 > 0:46:18There's typical, sort of, rather basic decoration
0:46:18 > 0:46:20engraved round the edge here,
0:46:20 > 0:46:22whereas this is all embossed and punched through,
0:46:22 > 0:46:25because you can see the decoration coming through on the inside.
0:46:25 > 0:46:30But there's one incredibly rare thing about it and that is,
0:46:30 > 0:46:34it's got maker's mark struck twice, "EB"
0:46:34 > 0:46:38and that's for Eli Bilton.
0:46:38 > 0:46:41And it's got an early Newcastle mark.
0:46:41 > 0:46:43Bits of old Sellotape stuck round the marks,
0:46:43 > 0:46:45so get those off if you can.
0:46:45 > 0:46:48- Right.- But this dates from 1690,
0:46:48 > 0:46:50so it's really old,
0:46:50 > 0:46:55it's really collectable and it's really valuable.
0:46:55 > 0:46:57Oh, dear.
0:46:57 > 0:47:00- How about £5,000-£7,000?- No!
0:47:00 > 0:47:03- No!- Gosh.
0:47:03 > 0:47:06No. Oh, dear me!
0:47:10 > 0:47:13- Honest?!- I'd love to pack it up and take it away.
0:47:13 > 0:47:16I could tell when you looked at it, how delighted you were with it.
0:47:16 > 0:47:19This is a museum object. It is SO rare.
0:47:19 > 0:47:21And any 17th century silver,
0:47:21 > 0:47:24especially made just down the road from here at Newcastle...
0:47:24 > 0:47:27I know, I wondered if it was Newcastle.
0:47:27 > 0:47:30..is very rare. You've made my day. Thank you so much.
0:47:30 > 0:47:32All right, thank you. Thank YOU very much.
0:47:36 > 0:47:38When you come to somewhere as old as Seaton Delaval Hall,
0:47:38 > 0:47:42there are always a few stories, legends, associated with it,
0:47:42 > 0:47:45and there's one about a ghost, apparently from the 18th century,
0:47:45 > 0:47:47a lady who lived in the hall,
0:47:47 > 0:47:51waved her husband off to sea and he never returned.
0:47:51 > 0:47:53And on dark nights, apparently,
0:47:53 > 0:47:55you can see her standing at the window
0:47:55 > 0:47:57gazing out to sea for her husband.
0:47:57 > 0:48:00Now, you may not know that the night before a Roadshow,
0:48:00 > 0:48:04when the big bits of furniture are brought in, and the paintings,
0:48:04 > 0:48:06ready for the programme the following day,
0:48:06 > 0:48:09someone has to stay up with all those objects overnight,
0:48:09 > 0:48:12to act as a kind of security guard in the hall.
0:48:12 > 0:48:15Now, Dave, lucky man, you had that job of staying up all night.
0:48:15 > 0:48:18- Certainly did, yes.- Got to ask - did you see the white lady?
0:48:18 > 0:48:21No, I didn't, Fiona, but it was awfully cold
0:48:21 > 0:48:24- and a very, very long night. - I bet it was!- Very long.
0:48:24 > 0:48:28From Dave, and the Antiques Roadshow from Seaton Delaval Hall, bye-bye.