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