0:00:01 > 0:00:06We're just outside Newcastle on the windy northeast coast of England.
0:00:06 > 0:00:07We're at a stately home...
0:00:07 > 0:00:09"Nothing unusual in that," I hear you say...
0:00:09 > 0:00:12but what is different is that local people raised almost
0:00:12 > 0:00:16£1 million to stop this place falling into private ownership.
0:00:16 > 0:00:20So what is it about this home that made them so keen to save it?
0:00:20 > 0:00:23Welcome to the Antiques Roadshow from Seaton Delaval Hall,
0:00:23 > 0:00:26home for centuries to the Delaval family.
0:01:06 > 0:01:09There's a picture on the cover of the brand-new brochure
0:01:09 > 0:01:11of many of the people involved in raising the money
0:01:11 > 0:01:16that enabled the National Trust to buy Seaton Delaval Hall.
0:01:16 > 0:01:19So why did 100,000 residents speak out
0:01:19 > 0:01:22against the Hall being sold to private developers?
0:01:22 > 0:01:23Was it because of the lineage
0:01:23 > 0:01:26stretching back as far as William the Conqueror?
0:01:26 > 0:01:29Was it because their ancestors worked down the family mines
0:01:29 > 0:01:31or in the family glassworks?
0:01:31 > 0:01:35Or was it the flamboyant lifestyle of previous residents here?
0:01:35 > 0:01:38Whatever the reason, one of the most obvious answers must be that,
0:01:38 > 0:01:44amidst the suburban sprawl, industrial landscape
0:01:44 > 0:01:47and romantic coastal scenery, stands a haven of peace -
0:01:47 > 0:01:49Seaton Delaval Hall.
0:01:49 > 0:01:52Perhaps that's the most likely explanation as to why
0:01:52 > 0:01:56the place is loved so much by the local community.
0:01:56 > 0:02:00Designed in the early 1700s by the great Sir John Vanbrugh -
0:02:00 > 0:02:03the architect of Blenheim Palace and Castle Howard -
0:02:03 > 0:02:07its future was suddenly thrown into doubt by the death in 2007
0:02:07 > 0:02:09of its owner, Lord Hastings,
0:02:09 > 0:02:12who devoted a lifetime to its rescue and care.
0:02:14 > 0:02:18But this isn't the first time that the local people have come to the rescue of the Hall.
0:02:18 > 0:02:21At dusk on 3rd January 1822,
0:02:21 > 0:02:26sailors out at sea thought the sunset seemed unusually bright.
0:02:26 > 0:02:28Seaton Delaval Hall was on fire.
0:02:32 > 0:02:36Hundreds of people rushed to the scene and managed to save
0:02:36 > 0:02:40some of the building, and some of the family's portraits and possessions.
0:02:40 > 0:02:43But, as a result, the Hall wasn't fully occupied by the family
0:02:43 > 0:02:48until the 1980s, when the late Lord and Lady Hastings took up residence.
0:02:48 > 0:02:53Even today, the Great Hall is preserved as a ruin -
0:02:53 > 0:02:55a reminder of its past. As for the future,
0:02:55 > 0:03:00well, the role of local people here at Seaton Delaval Hall is unique.
0:03:00 > 0:03:04They can use the place for community gatherings and celebrations,
0:03:04 > 0:03:06but also, they are crucial to the running of it,
0:03:06 > 0:03:08and you can spot them working in the house.
0:03:08 > 0:03:11That's Liz, (doing a guided tour.)
0:03:16 > 0:03:18Even outside in the gardens,
0:03:18 > 0:03:21volunteers like Michael are busy keeping it all looking beautiful.
0:03:23 > 0:03:26Just one of the gardening team, making sure the grounds
0:03:26 > 0:03:30are in perfect order for this week's Antiques Roadshow.
0:03:31 > 0:03:36If my house was to catch fire this evening, that would be
0:03:36 > 0:03:39the first thing that I'd grab to remove, take from the house.
0:03:39 > 0:03:41I love it. I've had it 50-odd years.
0:03:41 > 0:03:44Right. What do you think it is?
0:03:44 > 0:03:46Just a naive toy.
0:03:46 > 0:03:50I bought that from a gentleman whose family had lived in the same house
0:03:50 > 0:03:53forever, and it was a house, little cottage in Shildon
0:03:53 > 0:03:57which backed onto the original Darlington-to-Stockton railway
0:03:57 > 0:04:00and I can only assume that that's a toy made by a father
0:04:00 > 0:04:04for his son as he watched that chugging up and down
0:04:04 > 0:04:06outside his back yard.
0:04:06 > 0:04:10Well, that story is wonderful, and it could be fantasy,
0:04:10 > 0:04:13but, actually, I'm thinking along the same lines.
0:04:13 > 0:04:15- Really? Ah. - Let's look at it briefly.
0:04:15 > 0:04:20It's incredibly crude and it's made of re-used components.
0:04:20 > 0:04:26This is probably a leg of a chair. That could be a stair banister.
0:04:26 > 0:04:29It's old bits and pieces knocked together - as you say -
0:04:29 > 0:04:30to please a child,
0:04:30 > 0:04:35and it looks like a locomotive of the 1820-1830 period.
0:04:35 > 0:04:39I think I should explain the reason why I'm so excited.
0:04:39 > 0:04:42We're right at the birth of railways. The Stockton and Darlington -
0:04:42 > 0:04:45up the road, in effect - was opened in 1825.
0:04:45 > 0:04:47The Liverpool and Manchester -
0:04:47 > 0:04:50Stevenson, the great name associated with it -
0:04:50 > 0:04:54opening a few years later. It's not quite the Rocket, you know,
0:04:54 > 0:04:56but it's looking like it.
0:04:56 > 0:04:59It's certainly based on a locomotive of that period.
0:04:59 > 0:05:03So, if this is actually recording those very early years
0:05:03 > 0:05:06of railway history, it is an extraordinary document.
0:05:06 > 0:05:08- Well, I love it.- You love it.
0:05:08 > 0:05:10- You'd save it from your house. - Yes, I really do.
0:05:10 > 0:05:13I'd save it from my house because I am holding what could be
0:05:13 > 0:05:17the oldest toy train in the world.
0:05:17 > 0:05:18Have you thought of that?
0:05:18 > 0:05:22No, I'd never thought of it in that respect, no, not at all.
0:05:22 > 0:05:26I mean crude, basic, like something that's been knocked together
0:05:26 > 0:05:28by someone who wasn't even a very good carpenter.
0:05:28 > 0:05:30I had things like that when I was a child.
0:05:30 > 0:05:33- I expect you did, too. - I certainly did.
0:05:33 > 0:05:36But it's got to start somewhere. Now, if I'm right,
0:05:36 > 0:05:40if this is the world's earliest toy train, what's it worth?
0:05:41 > 0:05:43HE LAUGHS
0:05:43 > 0:05:46That... I'd never thought of it in those terms.
0:05:46 > 0:05:49It is, quite literally, one of those things that I won't part with.
0:05:49 > 0:05:52I'll sell most things, but certainly not that.
0:05:52 > 0:05:54- We'll never prove it. - No, of course not.
0:05:54 > 0:05:59It's either worth £20 as a piece of curiosity or it's worth...
0:05:59 > 0:06:00£5,000.
0:06:00 > 0:06:04You know, it's somewhere between those two, but we'll never prove it.
0:06:04 > 0:06:07- No, never will.- I mean, we both love it.- I do. May I take it?
0:06:07 > 0:06:10You... Sadly, you can take it.
0:06:10 > 0:06:13Thank you very, very much. Glad to have shared your enthusiasm.
0:06:13 > 0:06:15- And yours.- Thank you.
0:06:15 > 0:06:19Basically they were given to me, and I was very lucky.
0:06:19 > 0:06:23I lived in Newport, Monmouthshire - as it then was called -
0:06:23 > 0:06:2543 years ago, 1968...
0:06:25 > 0:06:29and I was a student and there was another student who was graduating that year,
0:06:29 > 0:06:33and he had found these. I think they were about to go in a skip.
0:06:33 > 0:06:38I think if they'd gone in the skip, they would have been seriously damaged.
0:06:38 > 0:06:41He told me that it was a church that was being destroyed
0:06:41 > 0:06:45and so he rescued them. And he couldn't take them with him when he left,
0:06:45 > 0:06:49so I took them from him, and I've carried them with me ever since.
0:06:49 > 0:06:50Well, when you think about
0:06:50 > 0:06:53all the churches that have been demolished
0:06:53 > 0:06:56in the last 50, 60 years, it's scary to think
0:06:56 > 0:06:59of the sort of things that would just be thrown in a skip.
0:06:59 > 0:07:03- Absolutely.- So, yeah, rescue is the word, isn't it?- It is.
0:07:03 > 0:07:05Well, let me just say that
0:07:05 > 0:07:08when it comes to items of a religious nature,
0:07:08 > 0:07:10they tend, generally, to be ignored,
0:07:10 > 0:07:14- certainly from the 19th century, anyway.- Yeah.
0:07:14 > 0:07:19- And these are, I think it's fair to say, 19th century.- Yes.
0:07:19 > 0:07:21But there's a little bit more to them, I think,
0:07:21 > 0:07:24in some respects. I think we've got part of the subject here,
0:07:24 > 0:07:27- because they've formed a frame, haven't they?- Yes.
0:07:27 > 0:07:32- I can't help but think that there would have been something central. - I wish I knew what it was!
0:07:32 > 0:07:35Well, I think that'll keep you guessing for the rest of your life.
0:07:35 > 0:07:39- Yes.- But just looking at them stylistically, I can say that,
0:07:39 > 0:07:44you know, that they are very much of the early 19th century.
0:07:44 > 0:07:47- Oh, right.- But they're also... They go back further in time
0:07:47 > 0:07:50because there's a hint of the Italian Renaissance here.
0:07:50 > 0:07:54- Yes, isn't there? They're lovely. - And they're not late 19th because, you know,
0:07:54 > 0:07:57late-19th-century angels tend to have large wings,
0:07:57 > 0:08:00- they belong to the Pre-Raphaelite movement.- Yes.
0:08:00 > 0:08:03And these, I have to say, are a little bit earlier.
0:08:03 > 0:08:07The good thing is, everybody loves angels.
0:08:07 > 0:08:11Have you done any research on these people at all?
0:08:11 > 0:08:16I haven't. I briefly looked to see whether I could find out what churches
0:08:16 > 0:08:18were destroyed in Newport in 1967-1968,
0:08:18 > 0:08:21without any success, I have to say.
0:08:21 > 0:08:25OK, so, with something like this, you know, you're left pondering.
0:08:25 > 0:08:29Who's going to be interested? It's the sort of thing I expect to find
0:08:29 > 0:08:32in an architectural sort of salvage place.
0:08:32 > 0:08:36Yes, oh, I'd hate to see them in a salvage place.
0:08:36 > 0:08:41- Well, you've moved house with these, have you?- They've lived in about 10 or 11 different places now.
0:08:41 > 0:08:42Oh, my goodness me!
0:08:42 > 0:08:46It's very difficult to put a definite value on them,
0:08:46 > 0:08:49- because they are, you know, they're only plaster.- Yes.
0:08:49 > 0:08:53And I'm just sort of pulling a figure out of thin air,
0:08:53 > 0:08:57but I can't help but think that if I went into an architectural place
0:08:57 > 0:09:00wanting to buy these, I think they'd be asking me around about £800.
0:09:00 > 0:09:04- Right. - But, let's face it, you know,
0:09:04 > 0:09:07how can you put a price on six angels?
0:09:07 > 0:09:12- Absolutely.- Because most of us are very happy to have one guardian angel in our lives.
0:09:12 > 0:09:15- Yes.- And you've got six. - I know. Aren't I lucky?
0:09:17 > 0:09:20- It's a very handsome oak director's clock, isn't it?- Yes.
0:09:20 > 0:09:23But what I particularly like is this magnificent
0:09:23 > 0:09:26engraving down here of this iron bridge.
0:09:26 > 0:09:28What do you know about that one?
0:09:28 > 0:09:31It was donated to a Mr Bell in commemorating
0:09:31 > 0:09:33the building of the bridge over the River Wandswick.
0:09:33 > 0:09:35- Does the bridge still exist?- Yes. - Train bridge
0:09:35 > 0:09:38- or road bridge?- Train bridge. - It just looks sensational.
0:09:38 > 0:09:41- How local is it, just a few miles? - About seven miles, perhaps.
0:09:41 > 0:09:43Oh, right. Dated 1909, which is obviously
0:09:43 > 0:09:46- the completion of the bridge, I imagine.- Yes.
0:09:46 > 0:09:50Now, these big director's clocks
0:09:50 > 0:09:54were either made in the UK or in Germany.
0:09:54 > 0:09:59They are all roughly this size, they come in oak, mahogany
0:09:59 > 0:10:04or even in ebonised wood, but the instant giveaway
0:10:04 > 0:10:06that the country of origin is one particular one,
0:10:06 > 0:10:08is the fact that...
0:10:08 > 0:10:11It is quarter-chiming, you've got your strike/silent,
0:10:11 > 0:10:13but it's only two-train.
0:10:13 > 0:10:17In other words, normally these big clocks have three trains,
0:10:17 > 0:10:21- so going, striking and quarter-chiming.- Right.
0:10:21 > 0:10:26And I'd expect to see, on an English example, lots of gongs
0:10:26 > 0:10:30or even eight bells, but here, we've just got the two trains.
0:10:30 > 0:10:33So, let's just hear what sort of sound it's going to make
0:10:33 > 0:10:36on the quarters. Just running it past the three-quarter.
0:10:37 > 0:10:39CLOCK CHIMES
0:10:45 > 0:10:49So, a nice, mellow quarter-strike really, isn't it?
0:10:49 > 0:10:51Let's have a look at the movement.
0:10:52 > 0:10:57There we go, a typical small-size German movement,
0:10:57 > 0:10:58and even signed here.
0:10:58 > 0:11:02Do you see that factory stamp down at the bottom?
0:11:02 > 0:11:06- Oh, yes.- The "W&H", that's Winterhalder and Hoffmeier.
0:11:06 > 0:11:09Now, they did make big-size movements as well,
0:11:09 > 0:11:12but this is the slightly cheaper version.
0:11:12 > 0:11:16So... Is it something you've bought recently, or not?
0:11:16 > 0:11:20Approximately 15 years ago. I bought it from a friend.
0:11:20 > 0:11:23- And what did he charge you? - He charged me...I think...
0:11:23 > 0:11:27- it was around about £400. - 400 quid.
0:11:27 > 0:11:30Do you think you were tucked up, or do you think you got a fair deal?
0:11:30 > 0:11:32I'll wait and see.
0:11:32 > 0:11:34RICHARD LAUGHS
0:11:34 > 0:11:37I think your £400 today is going to be
0:11:37 > 0:11:40- roughly £1,500 at auction. - My goodness.
0:11:40 > 0:11:44- So, he didn't do you too badly, did he?- He's forgiven.
0:11:44 > 0:11:47Forgiven! Great word, I like it.
0:11:48 > 0:11:51Well, it's unusual to see one work by John Gilroy,
0:11:51 > 0:11:56but four lovely watercolours by this artist is very unusual.
0:11:56 > 0:12:02Is he a friend of the family, or did you buy them, or...?
0:12:02 > 0:12:06- He was a friend of my mother's family.- Right.
0:12:06 > 0:12:09And these pictures were all done in her autograph album.
0:12:09 > 0:12:14- Oh, I see, in a sort of visitors' book sort of thing, was it, or...? - Well, they were friends.
0:12:14 > 0:12:18- Right.- I think, quite close friends. - More than friends.- Oh, right, was he an admirer?
0:12:18 > 0:12:20- I think so. - An admirer, that's correct, yes.
0:12:20 > 0:12:23- And is this beautiful woman here your mother?- Yes.
0:12:23 > 0:12:27Oh, how lovely, so it really is a very sort of intimate portrait.
0:12:27 > 0:12:29- Very special. - Special portrait.
0:12:29 > 0:12:34- And Gilroy was also the man responsible for the great Guinness advertisements.- Indeed.
0:12:34 > 0:12:38If I remember, the man with the girder on his shoulder...
0:12:38 > 0:12:40"Guinness gives you strength".
0:12:40 > 0:12:43- That's it, and also the toucans. - Yes.
0:12:43 > 0:12:44Which was...you know...
0:12:44 > 0:12:47still I think used 30 or 40 years later, wasn't it?
0:12:47 > 0:12:50- Two can.- Two can, exactly.
0:12:50 > 0:12:52And he did do royal portraits, as well.
0:12:52 > 0:12:56- So he did royal portraits and I believe he painted Churchill.- Yes.
0:12:56 > 0:12:59- And Gielgud and... - All the important people.
0:12:59 > 0:13:02- And your mother-in-law, your mother. - That's correct.
0:13:02 > 0:13:04But aren't these drawings absolutely...
0:13:04 > 0:13:08- These sort of cartoons here, I love. - These are First World War cartoons.
0:13:08 > 0:13:10First World War, so, he wasn't that old,
0:13:10 > 0:13:12- because I think he was born in 1898. - Correct.
0:13:12 > 0:13:16So, towards the end of the First World War - he was in his 20s, so he was a young man.
0:13:16 > 0:13:21- Yes, that's true, yes. - And I love this, "a small scotch". Do you know anything about that?
0:13:21 > 0:13:24My father-in-law was Scottish
0:13:24 > 0:13:25and when I was 50,
0:13:25 > 0:13:30my generous mother-in-law presented me with those.
0:13:30 > 0:13:33Oh, how lovely. So was your father-in-law a small man?
0:13:33 > 0:13:35Yes, he was.
0:13:35 > 0:13:39- Or did he like scotch? - BOTH: Both!
0:13:39 > 0:13:42When he discovered I came from Durham, he said,
0:13:42 > 0:13:44"Oh, well, he can no' help that".
0:13:45 > 0:13:48I love it. Well, they're unique, they're very intimate to you,
0:13:48 > 0:13:51and I think that they're absolutely lovely.
0:13:51 > 0:13:54The more I look at them, the more I love them, and the more,
0:13:54 > 0:13:59in my mind, the value's going up. Probably not a good thing, actually!
0:13:59 > 0:14:02All we have left of sentimental value, rather than money.
0:14:02 > 0:14:06Exactly, exactly. Well, do you want to know what they're worth?
0:14:06 > 0:14:08- Yes, well of course. - Yes, please.
0:14:08 > 0:14:12I've going to say for the four, because it's going to be a bit easier. I think for the four,
0:14:12 > 0:14:15they're worth around sort of £1,500 to £2,000.
0:14:15 > 0:14:18- Really?- They're jolly nice.
0:14:18 > 0:14:21A collection of enamel lapel badges
0:14:21 > 0:14:26from various local racing venues, and a racing game.
0:14:26 > 0:14:28You must be a man of the turf.
0:14:28 > 0:14:32No, they belonged to me grandfather
0:14:32 > 0:14:36and when he died, in 1953, they were left to me.
0:14:36 > 0:14:40So, every time he went to a meeting, he got a lapel badge.
0:14:40 > 0:14:45Well, no, he joined the actual racecourse,
0:14:45 > 0:14:48and that was what you used to get when you paid your subscription.
0:14:48 > 0:14:55OK. Well, I also assume, when he couldn't go racing, he took a game that he could play at home.
0:14:55 > 0:14:58I don't know exactly where this came from.
0:14:58 > 0:15:03All I know is that he used to own five pubs in Durham
0:15:03 > 0:15:07and whether somebody came into the pub and offered it to him or not,
0:15:07 > 0:15:10- I don't know.- Well, I'm very excited about the game,
0:15:10 > 0:15:14more than the lapel badges. We might be talking about, I don't know,
0:15:14 > 0:15:17£20, £30, £40 each.
0:15:17 > 0:15:18But you've got quite a lot of them.
0:15:18 > 0:15:20They all add up - a few hundred pounds.
0:15:20 > 0:15:22But this is something very special.
0:15:22 > 0:15:26This is made by a manufacturer called William Britain,
0:15:26 > 0:15:29who manufactured these in London.
0:15:29 > 0:15:31Very famous for making lead soldiers
0:15:31 > 0:15:34over a period from 1890 all the way up to...
0:15:34 > 0:15:36They're still in production today.
0:15:36 > 0:15:38William Britain's obviously long gone,
0:15:38 > 0:15:44but this is a very early, 1880/1890, gaming toy.
0:15:44 > 0:15:47So how it worked was that you would actually wind
0:15:47 > 0:15:50a piece of string around here, give it a tug then this inertia wheel
0:15:50 > 0:15:54would spin around and that would activate all the horses
0:15:54 > 0:15:55to race round the course,
0:15:55 > 0:15:57and obviously one would win.
0:15:57 > 0:16:01Well, he obviously loved it and it's obviously been well played with.
0:16:01 > 0:16:03If you had to buy it today,
0:16:03 > 0:16:07you're talking about a figure between £800 and £1,200.
0:16:07 > 0:16:09Ooh.
0:16:22 > 0:16:25If there is one word guaranteed to quicken the pulse
0:16:25 > 0:16:28of any glass expert on the Roadshow, it is Lalique,
0:16:28 > 0:16:31and Eric Knowles knows a thing or two about Lalique.
0:16:31 > 0:16:33He's given us three vases.
0:16:33 > 0:16:38One of them is worth about £400 - that's the basic one.
0:16:38 > 0:16:39The better one is worth 800.
0:16:39 > 0:16:42And then the best one is worth £2,000.
0:16:42 > 0:16:43Now, which is which?
0:16:43 > 0:16:47It's certainly not obvious to me, so I'm going to ask our visitors,
0:16:47 > 0:16:50see if they've got a clue.
0:16:52 > 0:16:56We're fortunate enough to see quite a lot of salt-glazed stone ware
0:16:56 > 0:16:57on the Antiques Roadshow,
0:16:57 > 0:17:00but with its wonderful border of beautiful flowers,
0:17:00 > 0:17:02there's a little bit more to this than meets the eye.
0:17:02 > 0:17:05But tell me your connection to it.
0:17:05 > 0:17:08Well, it belongs to my mother-in-law, one of a pair,
0:17:08 > 0:17:13and the other one has a sunflower on,
0:17:13 > 0:17:16and we looked for something interesting to bring along
0:17:16 > 0:17:23and then when I looked at the bottom I saw "17-1-82",
0:17:23 > 0:17:26I said, "Oh, 1982," and she went,
0:17:26 > 0:17:33"Hardly, Maggie! I'm 90, and I remember it as a very little girl."
0:17:33 > 0:17:36And that's... We don't know anything about it.
0:17:36 > 0:17:38So you don't know where it came from or who made it?
0:17:38 > 0:17:43- No, no. She doesn't, either. - Let me unravel the mystery for you a bit more.
0:17:43 > 0:17:46- You pointed out that mark on the bottom.- Yes, 1982.
0:17:46 > 0:17:49"17-1-82."
0:17:49 > 0:17:52- Not 1982, but 1882.- OK.
0:17:52 > 0:17:55And above here, we have a very important mark.
0:17:55 > 0:17:58- "RW Martin, London and Southall". - Oh, right.
0:17:58 > 0:18:03Which stands for Robert Wallace Martin, one of the Martin Brothers.
0:18:03 > 0:18:06- Oh.- Who at the end of the 19th century were probably
0:18:06 > 0:18:10- the most famous studio potters of their time.- Really?- Oh, yes.
0:18:10 > 0:18:11They became renowned
0:18:11 > 0:18:14for the manufacture of fine stone ware
0:18:14 > 0:18:17and they're really famous for their wonderful comic grotesque birds,
0:18:17 > 0:18:19- which we call the Wally Birds.- Ah.
0:18:19 > 0:18:25But the nice thing about the Martin Brothers is that every single piece is unique.
0:18:25 > 0:18:28Every single piece is different. But they had a wonderful understanding
0:18:28 > 0:18:31of the potter's art and all the way through from 1873,
0:18:31 > 0:18:35when they first started in Fulham, to 1915,
0:18:35 > 0:18:39- when they closed in Southall, they produced beautiful pots.- Oh.
0:18:39 > 0:18:42Now, this one does have one little bit of damage.
0:18:42 > 0:18:44- Damage, yes. - Just on the edge of the foot.
0:18:44 > 0:18:47But, that said, your lovely Martin Brothers jug
0:18:47 > 0:18:52would easily fetch somewhere in the region of £600 to £800.
0:18:52 > 0:18:56Oh, really? That's amazing.
0:18:56 > 0:19:01So, I think you can go back now and inform your mother-in-law...
0:19:01 > 0:19:04You can impart all that information, but continue to love it
0:19:04 > 0:19:07- with a little bit more knowledge. - OK. Thank you very much.
0:19:07 > 0:19:13Now, what do you think, in the 18th century, was the greatest fear
0:19:13 > 0:19:18and danger to many houses throughout the world, but certainly in Britain?
0:19:18 > 0:19:24- Fire.- Correct. Well done. You're absolutely right.
0:19:24 > 0:19:27This house being a prime example.
0:19:27 > 0:19:32I mean, gutted in the great fire in the early 19th century,
0:19:32 > 0:19:35and the central part of the house clearly never recovered.
0:19:35 > 0:19:43And that was the big problem, and so the ingenuity of dozens and dozens
0:19:43 > 0:19:48of inventors and patentees went into making candle wick trimmers.
0:19:48 > 0:19:51Because, you've got to think,
0:19:51 > 0:19:55in the 18th century, candles were not as well refined as the candles
0:19:55 > 0:19:59we have today, and the wicks did gutter and splutter
0:19:59 > 0:20:02and grew long and incandescent, and if you just cut it off,
0:20:02 > 0:20:06what happened to the bit that you cut off?
0:20:06 > 0:20:08- It would fall on the floor. - It would fall on the floor,
0:20:08 > 0:20:11and go through a gap in the floorboards,
0:20:11 > 0:20:14where there would be a lovely draught underneath
0:20:14 > 0:20:16and the house would burn down. And so, as I say,
0:20:16 > 0:20:20the ingenuity of all sorts of inventors went into creating
0:20:20 > 0:20:22candle snuffers that avoided that.
0:20:22 > 0:20:26So, your candle is guttering, it needs trimming, you open that...
0:20:26 > 0:20:28just as a pair of scissors.
0:20:28 > 0:20:33Originally, this would have automatically risen as you scissored it.
0:20:33 > 0:20:39As you closed it, cut the wick, it snaps down, trapping the bit of wick in the box.
0:20:39 > 0:20:44Very simple, very ingenious and it must have saved many a house.
0:20:44 > 0:20:48This example was made in the second quarter of the 19th century.
0:20:48 > 0:20:52They're not quite Georgian - maybe in the 1840s.
0:20:52 > 0:20:55They are... Where do you think they were made?
0:20:55 > 0:20:58- Italy or...- No, no, they are English.
0:20:58 > 0:21:01- They're English.- They are, almost without doubt, made in Sheffield.
0:21:01 > 0:21:04- Right.- Possibly Birmingham.
0:21:04 > 0:21:08So, they are a perfect example of one of the measures taken
0:21:08 > 0:21:12to avoid the great danger of 18th- and early-19th-century houses.
0:21:12 > 0:21:15What are they worth?
0:21:15 > 0:21:17In that condition...
0:21:17 > 0:21:22Interesting, but less than perfect... Probably £100, the lot.
0:21:22 > 0:21:25- Right.- But you can't get away from, I think,
0:21:25 > 0:21:29- the fascination of the story. - Well, my grandfather actually...
0:21:29 > 0:21:35Even though he had electricity and gas, he read by candle.
0:21:35 > 0:21:39- Right up to his dying day. - And did he use these very ones?
0:21:39 > 0:21:42Yes. That's why they're like that now.
0:21:42 > 0:21:47Right, so they've been used and overused for much longer than their normal working life.
0:21:47 > 0:21:49I would think so!
0:21:55 > 0:21:59We have got three glass vases here.
0:21:59 > 0:22:03One's worth 400, another's worth £800,
0:22:03 > 0:22:06and then the best one of all is worth £2,000.
0:22:06 > 0:22:10Have a little look and tell me which you think is which.
0:22:10 > 0:22:12I would think, maybe, that one.
0:22:12 > 0:22:16- This one?- Basic.- Basic.- I think.
0:22:16 > 0:22:19- No, this one.- That's the better one. - The better one.
0:22:19 > 0:22:22Right, which means by an inexorable process of deduction...
0:22:22 > 0:22:26- Quite.- ..this is the best. - The best one.- Why do you think this is the best one?
0:22:26 > 0:22:29It's old, it looks old.
0:22:29 > 0:22:33- The best is this one?- Probably, because it's more small and dinky.
0:22:33 > 0:22:36It's just prettier and fancier than the other two.
0:22:36 > 0:22:38- So, you think this is the best one? - Yes.
0:22:38 > 0:22:43- This is pretty lovely, this one. Are you sure?- You're trying to persuade me.- Well...!
0:22:43 > 0:22:47- I don't know, I just have a feeling about it.- A feeling?- Yes.
0:22:47 > 0:22:49What do you think? What do you think, Fiona?
0:22:49 > 0:22:52- You tell me. - Well, now, that would be telling.
0:22:52 > 0:22:55- Eric Knowles is going to tell us very shortly.- OK.
0:22:55 > 0:22:58- Are you going to stick with these? - Yes, I will do.
0:22:59 > 0:23:03There's one area of antiques that's seen a meteoric rise
0:23:03 > 0:23:07in the last few years, and that's in all things Chinese.
0:23:07 > 0:23:13You've brought along a very pretty tea set that's typical of tea sets
0:23:13 > 0:23:18made in Canton and Shanghai in the early 20th century.
0:23:18 > 0:23:23And if we pick this up, and have a look at the bottom,
0:23:23 > 0:23:27it's got the maker's mark - "HC" for Hung Chong.
0:23:27 > 0:23:30Fairly prolific maker in the late 19th century
0:23:30 > 0:23:35and early 20th century, but decorated in typical prunus leaves,
0:23:35 > 0:23:42and has become very sought-after in just the last few years.
0:23:42 > 0:23:45But you've also brought along...this.
0:23:45 > 0:23:49Now, that's what I call a bowl.
0:23:49 > 0:23:53It seems that you have some connection with the Far East here.
0:23:53 > 0:23:56Is that where they were acquired?
0:23:56 > 0:24:00Yes, Great Uncle lived in Shanghai in the early 20th century
0:24:00 > 0:24:06and he worked for ICI, and then he was captured during the war,
0:24:06 > 0:24:10and, after the war, he took everything to South Africa with him,
0:24:10 > 0:24:12and it's passed down the line,
0:24:12 > 0:24:16- so we've got hundreds of Chinese things.- Hundreds?- Hundreds.
0:24:16 > 0:24:18SHE LAUGHS
0:24:18 > 0:24:22Well, that's a good start!
0:24:22 > 0:24:24This, actually, isn't Chinese.
0:24:24 > 0:24:28- Oh, right.- It's Japanese.- Oh, right. - Japanese is still pretty sought-after,
0:24:28 > 0:24:34but not quite had the same rise in popularity that the Chinese market has seen.
0:24:34 > 0:24:39But it's a well-known design with all these wonderful lily leaves
0:24:39 > 0:24:43round the side, and it looks like it's had a little bit of damage
0:24:43 > 0:24:47in places, but it's obviously had quite a history.
0:24:47 > 0:24:49Great parties.
0:24:49 > 0:24:51HE LAUGHS
0:24:51 > 0:24:55But the main thing about silver from this part of the world
0:24:55 > 0:24:58is the Chinese themselves are buying huge quantities.
0:24:58 > 0:25:02A Chinese tea set like that, a few years ago,
0:25:02 > 0:25:06would have made £300.
0:25:07 > 0:25:13Now, that is worth 700, 800, maybe 1,000.
0:25:13 > 0:25:14Wow.
0:25:14 > 0:25:20This bowl - made again in the early part of the 20th century -
0:25:20 > 0:25:22is not solid.
0:25:22 > 0:25:26It's actually lined and a lining of silver and hollow inside.
0:25:26 > 0:25:27If I tap it...
0:25:27 > 0:25:29- HOLLOW TAPPING - Come in!
0:25:29 > 0:25:32..you can hear that it is hollow inside.
0:25:32 > 0:25:36Still, it's staggeringly good size, isn't it?
0:25:36 > 0:25:40Apart from being a little dirty! When cleaned up, it will look terrific,
0:25:40 > 0:25:45and I think that, also, is a pretty saleable piece.
0:25:45 > 0:25:51- I would comfortably think that would make 4,000.- Right.
0:25:53 > 0:25:56This is a copy of Harry Potter And The Chamber Of Secrets.
0:25:56 > 0:25:58As every Harry Potter fan will know,
0:25:58 > 0:26:00that's the second in the series -
0:26:00 > 0:26:02the one after The Philosopher's Stone -
0:26:02 > 0:26:05- but this is a rather special volume to you.- Yes.
0:26:05 > 0:26:09- Signed, on the title page, by members of the cast.- Yes.
0:26:09 > 0:26:13- Can you tell me who's who here? - There's Rupert Grint, who played Ron,
0:26:13 > 0:26:17Emma Watson, who played Hermione,
0:26:17 > 0:26:21- Chris Columbus, who was the director of the first two films...- Right.
0:26:21 > 0:26:23- ..Daniel Radcliffe... - Daniel Radcliffe, excellent.
0:26:23 > 0:26:25..and a signature from Sean Haggerty.
0:26:25 > 0:26:27- Sean Haggerty, who played Oliver Wood.- Yes.
0:26:27 > 0:26:30Okey dokey. How have you come by this volume?
0:26:30 > 0:26:33Well, I was an extra on the first two films.
0:26:33 > 0:26:37And I gave it to the director, Chris,
0:26:37 > 0:26:40and he got it signed by the cast and himself.
0:26:40 > 0:26:45- I've got the first book signed, but didn't bring it today.- You've got The Philosopher's Stone?- Yes.
0:26:45 > 0:26:47- But not a first edition. - No, not a first edition.
0:26:47 > 0:26:51Well, this is not a first edition, either. On the back of the title page, we should have a full set
0:26:51 > 0:26:57of numbers there - zero to ten - which we haven't, but I don't think that matters in this instance.
0:26:57 > 0:27:00- It's the signatures and the history that it all means to you.- Yes.
0:27:00 > 0:27:05That sounds to be a very sort of glamorous actress lifestyle you were leading as a young lady.
0:27:05 > 0:27:08Not really, it just got me out of school for a few weeks!
0:27:08 > 0:27:13This is a document that says you were allowed to take time off school and go and be an extra in the films.
0:27:13 > 0:27:16- Yes.- What did you actually do? - Just got dressed up as a witch
0:27:16 > 0:27:21and was around in the background, basically! It wasn't very glamorous.
0:27:21 > 0:27:24- It sounds like fun.- Yes. - And you got paid for this?
0:27:24 > 0:27:27Just £35 a day. Nothing to break the bank.
0:27:27 > 0:27:32- But when I was eleven, that was quite a lot.- A fortune. - Yes, a fortune.- Excellent stuff.
0:27:32 > 0:27:36Well, you got to see the stars of the show, and I guess this means a great deal to you.
0:27:36 > 0:27:38Yes, it was a really good experience.
0:27:38 > 0:27:41Yes, well it's a very nice volume. Because it isn't a first edition,
0:27:41 > 0:27:45- it doesn't have that sort of high, high value.- Yes. - But I, nevertheless, say,
0:27:45 > 0:27:48if you ever came to sell it, in the current market, it would be
0:27:48 > 0:27:52very well received, and something like £400 to £600 would be
0:27:52 > 0:27:55an auction price that I would be quite confident of achieving.
0:27:55 > 0:27:57Oh, right, brilliant.
0:27:57 > 0:28:01- Thanks very much for coming along today.- OK. Thank you very much.
0:28:10 > 0:28:14When it comes to Lalique, who can forget one particular item
0:28:14 > 0:28:18that came Eric Knowles' way a couple of years back at a Roadshow in Scotland?
0:28:18 > 0:28:21It's been up in our loft. We were cleaning out our loft
0:28:21 > 0:28:24and we came across this, and we were going to bin it.
0:28:24 > 0:28:26- We thought it was just a heap of junk.- Yeah.
0:28:26 > 0:28:29So, we were going to bin it and then we thought, no,
0:28:29 > 0:28:32we'll hold on to it - we heard the Antiques Roadshow was coming.
0:28:32 > 0:28:35And that's how I've held on to it, but I bought it at a car boot.
0:28:35 > 0:28:39And it had a plant inside it, a kind of purple plant.
0:28:39 > 0:28:41That was the reason we bought it - for the plant -
0:28:41 > 0:28:45- because it was quite nice in the bowl. - Yeah. Do you know who made it?
0:28:45 > 0:28:49- No, I don't know anything about it. - Oh, right, well can I tell you?- Yes.
0:28:49 > 0:28:52OK. If you look very carefully, there's actually a name on it,
0:28:52 > 0:28:56and the name is sort of lurking behind here. We'll turn it around.
0:28:56 > 0:28:59And that name is Lalique.
0:28:59 > 0:29:01And, so...
0:29:01 > 0:29:04- Have you heard of Lalique? - Lalique? No.
0:29:04 > 0:29:07Lalique, no? OK. Well, you're on a rapid learning curve today.
0:29:07 > 0:29:09- So car boot.- Yes.
0:29:09 > 0:29:12For plant, how much were they asking for the plant?
0:29:12 > 0:29:18- I only paid £1! The vase and the plant.- You paid a pound, right, OK.
0:29:18 > 0:29:23- Well, it's worth a mere £25,000. - Oh, my God.
0:29:25 > 0:29:28Looking back at that, it was a heck of a moment, wasn't it?
0:29:28 > 0:29:32It was. I waited 28 years for that moment.
0:29:32 > 0:29:3428 years on the Antiques Roadshow, that is,
0:29:34 > 0:29:37so, yeah, very special, very special indeed.
0:29:37 > 0:29:41- Now, we've got more Lalique.- Yeah. - You like your Lalique, Eric, I know.
0:29:41 > 0:29:45- Yeah.- So you set us a challenge. There's a basic vase here worth, what, £400, is it?
0:29:45 > 0:29:49- £400.- The better one, £800, and then the best one 2,000.
0:29:49 > 0:29:54- Correct.- Everyone thought something different amongst those I asked.- Oh, good.
0:29:54 > 0:29:58Now, I feel confident that this one is the basic one.
0:29:58 > 0:30:02- OK.- It was an absolute toss-up between these two.- Yes.- I think they're both beautiful. I thought,
0:30:02 > 0:30:05that's better and this is the best, just because I like it best.
0:30:05 > 0:30:10- But I couldn't be any more scientific than that.- So, you want to know which one's right, do you?
0:30:10 > 0:30:15- I do, and I have a horrible feeling I've got it wrong. - Well, bit of yes and a bit of no.
0:30:15 > 0:30:18- Fiona, forgive me, I've taken a bit of a liberty with you.- Right.
0:30:18 > 0:30:21- Because we've gone back a few series.- Nothing new in that, Eric.
0:30:21 > 0:30:26No, but, either way, I hate to say that I've played a little bit of a trick in so far as...
0:30:26 > 0:30:31Let me, first of all, tell you that this is the basic one.
0:30:31 > 0:30:36This is the better one. Now, when I say "trick", I'm simply mentioning this to you.
0:30:36 > 0:30:39To all intents and purposes, anybody would be forgiven for thinking
0:30:39 > 0:30:43that was a Lalique vase, because it's actually very well designed,
0:30:43 > 0:30:46and the use of the opalescent is fantastic.
0:30:46 > 0:30:50- But this is not Lalique.- Oh. - This is a firm called Verlys.
0:30:50 > 0:30:55There were lots of other people making opalescent glass in France, who were his contemporaries.
0:30:55 > 0:30:59Sabino is another name, and Barolac in Czechoslovakia.
0:30:59 > 0:31:04But that is quite a special piece, and that is why it's worth £400.
0:31:04 > 0:31:08So, even though it looks like Lalique, it could be as beautiful as Lalique,
0:31:08 > 0:31:11because it's not actually Lalique...it's basic.
0:31:11 > 0:31:15This particular one is just that bit exceptional, because it's a great design.
0:31:15 > 0:31:20So often the design is quite... wanting, for better of another word.
0:31:20 > 0:31:24But this one... I can tell you now...
0:31:24 > 0:31:28This is your better, and this is called "Acacia"
0:31:28 > 0:31:32and it's beautifully stained, it's a lovely shape, it's a great design.
0:31:32 > 0:31:35Lalique is the master of design. He transforms what is,
0:31:35 > 0:31:39to all intents and purposes, a simple, moulded glass vase,
0:31:39 > 0:31:42and he turns it into a work of art. It's a rare talent.
0:31:42 > 0:31:48Now, from a value point of view, we're looking at around about £800.
0:31:48 > 0:31:51So, 400, 800,
0:31:51 > 0:31:55but when it comes to 2,000, right next to you.
0:31:55 > 0:31:58Because, well... I hate to say -
0:31:58 > 0:32:03it is bigger, but there's better definition, it's a great design.
0:32:03 > 0:32:07The staining which has all been applied, just lifts those feathers.
0:32:07 > 0:32:09- It's called Plumes. - And is it rarer?
0:32:09 > 0:32:13It is rarer. So, it's got the two qualifications -
0:32:13 > 0:32:17rarity and size on its side, so I have to say...
0:32:17 > 0:32:19I knew there was something going for it!
0:32:19 > 0:32:23- Well, you got that one right. - Well, there you are.
0:32:24 > 0:32:26Ten out of ten, at least for this one.
0:32:26 > 0:32:28Size and rarity - that's what you're looking for in Lalique.
0:32:28 > 0:32:33If you think you might have some Lalique at home, Eric would certainly like to see it.
0:32:33 > 0:32:35Why not bring it along to one of our Roadshows?
0:32:35 > 0:32:39You can see the dates and our locations on our website:
0:32:46 > 0:32:49Unfortunately, I can't tell you a great deal
0:32:49 > 0:32:52apart from I inherited it from my mother, but I think
0:32:52 > 0:32:55it might be a bit older than that - possibly her mother, grandparents,
0:32:55 > 0:32:59something like that, but that would be about the turn of the century.
0:32:59 > 0:33:02No information was imparted to you, this is a special locket
0:33:02 > 0:33:05- within the family context? - I'm sorry, nothing at all, no.
0:33:05 > 0:33:08So, there's nothing, really, we can add to that.
0:33:08 > 0:33:11My mother died some years ago, so I can't go and ask questions.
0:33:11 > 0:33:14Well, it follows and conforms with the design of many lockets.
0:33:14 > 0:33:17It's never been a locket that opened, though, has it?
0:33:17 > 0:33:21No, you would remove that back and perhaps use it to contain...
0:33:21 > 0:33:24perhaps hair, or indeed, these days, of course, a photograph.
0:33:24 > 0:33:28And it's pink and green enamel on a black background.
0:33:28 > 0:33:33- Oh, I thought that was just painted. - No, no, it's enamelled.
0:33:33 > 0:33:37And then to almost augment that, to reinforce that issue,
0:33:37 > 0:33:43on the tapered pendant loop, there's another flower, as well.
0:33:43 > 0:33:47It's mounted on a modern gold chain, and I'm terribly disappointed
0:33:47 > 0:33:50to tell you that the chain is not very exciting at all.
0:33:50 > 0:33:52No, I'm not interested in the chain, anyway.
0:33:52 > 0:33:55It's the locket that's got a bit of a focus to it and the reason is -
0:33:55 > 0:33:57and I've been perhaps a little bit naughty
0:33:57 > 0:34:00because I'm showing it the wrong way round,
0:34:00 > 0:34:03because this is the back of the locket
0:34:03 > 0:34:06and you can see all the delicacy of the design there with that
0:34:06 > 0:34:10stylised spray, but when you turn it over,
0:34:10 > 0:34:17the front of the locket is surely a tour de force of decoration.
0:34:17 > 0:34:22That is a very serious design on the front of that locket.
0:34:22 > 0:34:24So, it's a cloisonne effect,
0:34:24 > 0:34:28where they fill individual little cells with colour.
0:34:28 > 0:34:32And the work is incredibly deft, and when you look at the complexity
0:34:32 > 0:34:37of the design here, it's really very, very concentrated.
0:34:37 > 0:34:39It's tiny, individual little cells of colour
0:34:39 > 0:34:45forming a stylised naturalistic floral study.
0:34:45 > 0:34:49Now, the story about it is, in the 19th century in France,
0:34:49 > 0:34:54in around about 1860-70, there was a jeweller called Falise.
0:34:54 > 0:34:58Now, Falise was one of these very important pioneering goldsmiths
0:34:58 > 0:35:02who was active at that time, and he had a son.
0:35:02 > 0:35:05So, there were father and son working together,
0:35:05 > 0:35:10and they specialised in this kind of incredibly intricate detail of work.
0:35:10 > 0:35:13They were inspired by the East -
0:35:13 > 0:35:19Japan, India, Persia - and they executed these designs
0:35:19 > 0:35:23with incredible complexity of style and panache.
0:35:23 > 0:35:28Now, this isn't signed, but I think it shouts Falise.
0:35:30 > 0:35:34So, there's the front again. Let's look at the back once more.
0:35:34 > 0:35:39Enamelled device on the back, and that's another feature of Falise -
0:35:39 > 0:35:44it's not just enough to do the front, let's do the back as well.
0:35:46 > 0:35:51The value of Falise is reasonably substantial.
0:35:51 > 0:35:54If... Now, I'm going to be a little careful here.
0:35:54 > 0:35:58IF, after research, it was established, categorically, that it was Falise,
0:35:58 > 0:36:01- then would you feel happy with £1,000 for it?- Much happier, yes.
0:36:01 > 0:36:05- Well, it's not worth £1,000, unfortunately.- Oh, shame.
0:36:05 > 0:36:09- I think it's worth £3,000 to £5,000. - Good Lord!
0:36:09 > 0:36:12Wow! I'd no idea it was that.
0:36:14 > 0:36:17Well, it's only a little glass, but, boy, does it tell a big story.
0:36:17 > 0:36:19- It certainly does.- Go on.
0:36:19 > 0:36:23They were sold to raise money for the widows of the miners
0:36:23 > 0:36:27killed in the Hartley Pit Disaster in 1862.
0:36:27 > 0:36:30And where's Hartley Pit?
0:36:30 > 0:36:34- That way. Not very far.- And how far? - Ooh, five miles at the most.
0:36:34 > 0:36:38Five miles. So, the nature of the accident was,
0:36:38 > 0:36:41as far as I understand it,
0:36:41 > 0:36:45that there was a beam across the deep shaft
0:36:45 > 0:36:49and the cage that took the miners down that big, big pit...
0:36:49 > 0:36:54The beam broke, and the cage collapsed right to the bottom
0:36:54 > 0:37:00- and the elements of the beam jammed the cage down the bottom. - That's right.
0:37:00 > 0:37:03And 199 of them died down below
0:37:03 > 0:37:08and five died on the surface, attempting to rescue them.
0:37:08 > 0:37:11And it was a disaster that changed the face of mining
0:37:11 > 0:37:17in that, from that day forward, two shafts needed to be sunk for a pit,
0:37:17 > 0:37:21because if you blocked one, nobody could get out.
0:37:21 > 0:37:24So, what's your connection with it?
0:37:24 > 0:37:27It actually belongs to my mother-in-law and she was left it
0:37:27 > 0:37:30by someone who lived in the village, when they died.
0:37:30 > 0:37:35So, when you consider what this glass represents,
0:37:35 > 0:37:38to do a valuation on it seems almost a travesty.
0:37:38 > 0:37:41But we must, because that's the essence of the Roadshow.
0:37:41 > 0:37:44And so if you were to put this glass into auction,
0:37:44 > 0:37:47you'd probably get no more than £150 for it.
0:37:47 > 0:37:50But what's the message that this glass sends to us?
0:37:50 > 0:37:54Well, it's written very clearly on here and it says,
0:37:54 > 0:37:56"Accidents will happen".
0:37:56 > 0:37:59That's right.
0:37:59 > 0:38:02Now, just tell me... We're in Northumberland.
0:38:02 > 0:38:06How come you've got this fantastic GERMAN table regulator?
0:38:06 > 0:38:11This clock has been handed down through my family for about five generations.
0:38:13 > 0:38:17The story goes - can't be 100% sure it's accurate -
0:38:17 > 0:38:20that there were three sisters.
0:38:20 > 0:38:25One of them wanted to marry a Danish Count, and the family was against it.
0:38:25 > 0:38:30But her two sisters helped persuade her parents to allow the marriage
0:38:30 > 0:38:34to go ahead, so the Count had three clocks made,
0:38:34 > 0:38:39and this is one of them. He gave two to the sisters who had helped persuade the parents,
0:38:39 > 0:38:41and one to his wife as a wedding present.
0:38:41 > 0:38:44That is a great story.
0:38:44 > 0:38:47It's a great story. I can't guarantee the accuracy but it's...
0:38:47 > 0:38:50And there's every possibility it could be right -
0:38:50 > 0:38:53this would have been an amazingly expensive thing
0:38:53 > 0:38:57when it was new, and to commission three, well...
0:38:57 > 0:39:01- Yeah. He was a Count. - Yes, but not all counts are wealthy!
0:39:01 > 0:39:02Clearly, this one was.
0:39:02 > 0:39:08- So, I have to say that W Bofenschen is not a maker that I know particularly well at all.- Right.
0:39:08 > 0:39:10But looking at the case style,
0:39:10 > 0:39:12the bronze and the gilt-bronze,
0:39:12 > 0:39:16we'd be looking around about the 1830s-1840s.
0:39:16 > 0:39:20- Right.- And I see from this rectangular-footed base,
0:39:20 > 0:39:23- it should have a glass dome. Do you have that?- I have one.
0:39:23 > 0:39:25It's not the original one,
0:39:25 > 0:39:29but I do have a glass dome it's normally under, yes.
0:39:29 > 0:39:31Right. OK, well, let's just look at the clock.
0:39:31 > 0:39:34First of all we've got this wonderful running seconds
0:39:34 > 0:39:37around this outer chapter ring,
0:39:37 > 0:39:39and then you've got twin subsidiaries there,
0:39:39 > 0:39:41for the minutes and the hours.
0:39:41 > 0:39:45But the most beautiful thing about it is its visible escapement,
0:39:45 > 0:39:49which is a coup perdu spring-detent escapement.
0:39:49 > 0:39:51It's absolutely superb.
0:39:51 > 0:39:57And then, running down to the pendulum, which I'm briefly going to stop...
0:39:57 > 0:40:02Not only is that incredibly heavy, but look at the complexity.
0:40:02 > 0:40:05It's bi-metallic, so you've got strips of brass and steel,
0:40:05 > 0:40:10and then you've got this wonderful temperature scale here.
0:40:10 > 0:40:13And at the moment, it being a rather warm day,
0:40:13 > 0:40:16it's going up from average towards the warm.
0:40:16 > 0:40:21- On a very cold day, it would be right down here towards the German kalt - cold.- Yes.
0:40:21 > 0:40:23Just set it going again.
0:40:23 > 0:40:26That is as lovely a pendulum as I've ever seen.
0:40:26 > 0:40:30Does this actually indicate the temperature?
0:40:30 > 0:40:35- This pendulum compensates for the change of temperature.- Ah, right.
0:40:35 > 0:40:38What accuracy are you getting out of it at home?
0:40:38 > 0:40:41It loses about two or three minutes over a week, between windings.
0:40:41 > 0:40:44- Then it needs serious adjustment. - Right.
0:40:44 > 0:40:47You should get this to... I would say to you,
0:40:47 > 0:40:51within...a couple of seconds a week, I'd like to see this.
0:40:51 > 0:40:53- Is it possible for me to adjust it? - Yes.
0:40:53 > 0:40:57Because if I stop the pendulum, and we just turn around...
0:40:57 > 0:41:03- From the back, you can see here, your fine adjustment on the pendulum.- Oh, right.
0:41:03 > 0:41:06By moving this knob,
0:41:06 > 0:41:08that effectively is like a rack and pinion,
0:41:08 > 0:41:11it's moving the suspension spring up and down
0:41:11 > 0:41:14within there, and here you've got a knob.
0:41:14 > 0:41:18- That's much more for coarse adjustments.- Right.
0:41:18 > 0:41:21It is absolutely gorgeous. Well, I'll tell you something -
0:41:21 > 0:41:25German precision table regulators are very scarce,
0:41:25 > 0:41:27very scarce indeed.
0:41:27 > 0:41:31As a result, it's actually quite a difficult thing for me to price,
0:41:31 > 0:41:34- not that you'll ever sell it, I'm sure.- No. It's my daughter's.
0:41:34 > 0:41:36Your daughter's. What a lucky girl!
0:41:36 > 0:41:39I'm going to say to you that, at auction,
0:41:39 > 0:41:42I can see this making between...
0:41:42 > 0:41:46- 20,000 and 25,000.- Oh, wow!
0:41:46 > 0:41:50It is a sensational and highly technical object.
0:41:50 > 0:41:54Very, very hard to find another, although you say there are two more!
0:41:54 > 0:41:59And I'll tell you something - technically, it's the finest clock I've ever seen on the Roadshow.
0:41:59 > 0:42:01Oh, my word! Oh, God!
0:42:01 > 0:42:04I'm pleased I brought it along for you, then.
0:42:04 > 0:42:05So I am I, absolutely.
0:42:07 > 0:42:09We get some colourful characters at the Antiques Roadshow -
0:42:09 > 0:42:12we've had our fair share of them today -
0:42:12 > 0:42:15but none, may I say, as colourful as this chap.
0:42:15 > 0:42:17Sir Francis Delaval.
0:42:17 > 0:42:20In the 18th century, resident of Seaton Delaval Hall.
0:42:20 > 0:42:25Now, he liked practical jokes, and going to bed as a guest at Delaval Hall
0:42:25 > 0:42:29while he was in residence, was a pretty unnerving experience.
0:42:29 > 0:42:31For example, guests would be going to bed,
0:42:31 > 0:42:34undressing and suddenly find that one of the walls
0:42:34 > 0:42:37of the bedroom would be raised by a mechanical hoist,
0:42:37 > 0:42:42and suddenly they would be exposed, in their nakedness, to the public view.
0:42:42 > 0:42:45And if you think that's bad, even worse...
0:42:45 > 0:42:47There was one bedroom with a four-poster bed
0:42:47 > 0:42:51and by dint of a mechanical winch on the other side of the wall,
0:42:51 > 0:42:55the four-poster bed would be lowered,
0:42:55 > 0:42:58complete with occupants, into a tank of cold water
0:42:58 > 0:42:59in the middle of the night!
0:42:59 > 0:43:02Certainly not somewhere I'd like to have stayed.
0:43:02 > 0:43:04The reason we know what he looks like,
0:43:04 > 0:43:06is this is one of the paintings saved by the local community
0:43:06 > 0:43:09from the fire here at Seaton Delaval Hall.
0:43:09 > 0:43:13So here he is, Sir Francis Delaval, prankster extraordinaire.
0:43:13 > 0:43:17From the Antiques Roadshow, until next time, bye-bye.