0:00:03 > 0:00:07Today we've headed as far west as the Roadshow has ever visited in the UK.
0:00:07 > 0:00:12We're in Northern Ireland, near the town of Enniskillen in Fermanagh.
0:00:12 > 0:00:16In the distance is our venue, which may be welcoming a few first time visitors today,
0:00:16 > 0:00:21because even though it was built in 1789, it's still a relatively well-kept secret.
0:00:21 > 0:00:22Time to change all that.
0:00:22 > 0:00:26Welcome to the Antiques Roadshow from Castle Coole in County Fermanagh.
0:01:10 > 0:01:13There's always a flutter of excitement among our experts
0:01:13 > 0:01:18when they get the list of the venues the Roadshow's going to be visiting.
0:01:18 > 0:01:21None more so than Castle Coole. We were very keen to come here.
0:01:21 > 0:01:23You in particular, Christopher Payne.
0:01:23 > 0:01:26What makes it so special? It's one of my favourite Georgian buildings.
0:01:26 > 0:01:29I'd never seen it until today. Just look at it.
0:01:29 > 0:01:34That fantastic austere avant-garde edifice made of Portland stone,
0:01:34 > 0:01:35all the way from Dorset.
0:01:35 > 0:01:39It came here in Lord Belmore's brig, The Martha, all the way by sea.
0:01:39 > 0:01:40Can you imagine?
0:01:40 > 0:01:44And what about inside? Go and have a look. It's exquisite, very expensive.
0:01:44 > 0:01:45Go and have a look.
0:01:45 > 0:01:46I will.
0:01:48 > 0:01:52Castle Coole was built between 1789 and 1798
0:01:52 > 0:01:55as a summer retreat for a prominent Irish politician,
0:01:55 > 0:01:56the First Earl of Belmore.
0:01:56 > 0:01:58And as Christopher said,
0:01:58 > 0:02:02the architect was a fashionable young Londoner called James Wyatt.
0:02:02 > 0:02:06Castle Coole is said to be the perfect example of his work.
0:02:06 > 0:02:08But do you know what?
0:02:08 > 0:02:10He never came here.
0:02:13 > 0:02:17The fact that James Wyatt never visited here is surprising.
0:02:17 > 0:02:19Apparently, he was hopelessly disorganised
0:02:19 > 0:02:22and soon lost interest in his commissions,
0:02:22 > 0:02:23leaving infuriated owners
0:02:23 > 0:02:27with half-finished houses seething in his wake.
0:02:27 > 0:02:30So really, they're very lucky here at Castle Coole
0:02:30 > 0:02:35that not only did he finish it, but it's also such a beautiful house.
0:02:35 > 0:02:38It wasn't just the house that he designed.
0:02:38 > 0:02:42He also had quite a lot to do with the interior as well.
0:02:42 > 0:02:44A very talented chap.
0:02:48 > 0:02:51This room, the saloon, was the heart of the house.
0:02:51 > 0:02:54It was where important family gatherings were held.
0:02:54 > 0:02:57It was where the entire household, family and servants,
0:02:57 > 0:03:00used to hold morning prayers.
0:03:00 > 0:03:04And I can see what Christopher Payne meant about the exquisite craftsmanship.
0:03:04 > 0:03:08The family spared no expense bringing over the best artisans
0:03:08 > 0:03:11from as far afield as Italy.
0:03:11 > 0:03:15And there's a ladies workroom where they used to sit
0:03:15 > 0:03:19and do their needlework, furnished in the fashionable Chinese style.
0:03:19 > 0:03:22It reflects the importance of being seen to be cultured
0:03:22 > 0:03:23and cosmopolitan.
0:03:27 > 0:03:32I can see why our experts were so excited about seeing this place.
0:03:32 > 0:03:34I think it's time we joined them outside.
0:03:34 > 0:03:38And our hosts here at Castle Coole near Enniskillen
0:03:38 > 0:03:42are The National Trust.
0:03:42 > 0:03:45It really is rather a special watch and chatelaine.
0:03:45 > 0:03:47Now tell me, what do you know about it?
0:03:47 > 0:03:51Nothing really at all. I found it in a cupboard.
0:03:51 > 0:03:54Sorry, you literally found it? As I was cleaning out...
0:03:54 > 0:03:57Yes, as I was tidying up the little cupboard
0:03:57 > 0:04:01and I found this in the box and wondered what it was.
0:04:01 > 0:04:04Somebody must have collected this, or loved it, at some stage.
0:04:04 > 0:04:07Well, I presume my father bought it.
0:04:07 > 0:04:09He was interested in clocks and restored clocks,
0:04:09 > 0:04:14so I presume he had it in the house, but I wasn't aware of it, no.
0:04:14 > 0:04:16That's absolutely fantastic. I mean...
0:04:16 > 0:04:20So this is something you've just come across, literally discovered.
0:04:20 > 0:04:22Yes. Wonderful. Yes. Yes.
0:04:22 > 0:04:26So had you thought of it as a man's watch or a lady's watch?
0:04:26 > 0:04:29Well, I wondered if it would be a lady's watch for days gone by,
0:04:29 > 0:04:32but I wasn't too sure.
0:04:32 > 0:04:34You're absolutely right.
0:04:34 > 0:04:37The lady of the house would have worn that, on a belt,
0:04:37 > 0:04:40and there would have been all sorts of other things here,
0:04:40 > 0:04:44little etuis perhaps with baby scissors, maybe a needle and thread,
0:04:44 > 0:04:46we've got the key.
0:04:46 > 0:04:50It might have had more little objects applied to the chatelaine. I see.
0:04:50 > 0:04:57It is actually English through and through, dating from 1775-1780.
0:04:57 > 0:05:00Right. It's 22 carat gold, amongst other things,
0:05:00 > 0:05:05but the inset stone is what we call a dendritic agate.
0:05:05 > 0:05:06Oh.
0:05:06 > 0:05:11These impurities are dendritic because they look like trees.
0:05:11 > 0:05:15It's from the Greek "dendron," meaning a tree. Right.
0:05:15 > 0:05:17What do you think of it? It's very pretty.
0:05:17 > 0:05:19I think it's pretty.
0:05:19 > 0:05:24I mean, we've got this absolutely magnificent diamond push piece here,
0:05:24 > 0:05:25lovely white enamel dial,
0:05:25 > 0:05:31winding through the dial, obviously, because it's a consular case.
0:05:31 > 0:05:33Gold beetle and poker hands,
0:05:33 > 0:05:37exactly what you'd expect for the period, and there we are,
0:05:37 > 0:05:42a lovely verge movement, and signed "Crosthwaite of Dublin."
0:05:42 > 0:05:47So having said it was English, it still is English, but he would have been the retailer of it. Ah.
0:05:47 > 0:05:50He didn't make this. So he didn't make it?
0:05:50 > 0:05:52No, he put his name to it. I see, right.
0:05:52 > 0:05:54It would have been a special commission. Oh.
0:05:54 > 0:05:56From an extremely rich client.
0:05:58 > 0:06:01You've never seen this thing before, it's just sitting at home.
0:06:01 > 0:06:02Been sitting at home.
0:06:02 > 0:06:06You think your father, as a clock enthusiast, found it. Well, bought it, yes.
0:06:06 > 0:06:09Bought it, put it somewhere safe
0:06:09 > 0:06:12so that prying hands couldn't get near,
0:06:12 > 0:06:16but prying hands have now found it. Absolutely, yes.
0:06:16 > 0:06:19And would prying hands be rather glad to know that at auction
0:06:19 > 0:06:21it would make ?7,000 to ?9,000?
0:06:21 > 0:06:22GASPS
0:06:22 > 0:06:23Very nice.
0:06:25 > 0:06:27That's very good.
0:06:31 > 0:06:34It's wonderful to come to Northern Ireland here
0:06:34 > 0:06:40and for you to have produced three things that are just so Irish.
0:06:40 > 0:06:43Yes. These cups...
0:06:43 > 0:06:49The idea of having the set with one large and a pair of smaller cups
0:06:49 > 0:06:53is something which you find time and time again in Ireland. Yeah.
0:06:53 > 0:06:56And the quality of the workmanship,
0:06:56 > 0:06:59and we are talking 18th century with these,
0:06:59 > 0:07:04they are really fantastic, equal of anything being produced in London.
0:07:04 > 0:07:07And when you look at the way the handle is produced...
0:07:07 > 0:07:10Most handles, when you look at the top there,
0:07:10 > 0:07:13just go straight into the body from that scroll.
0:07:13 > 0:07:15Here, you've got these lovely mouldings
0:07:15 > 0:07:19and look at that lovely little diminishing baluster just there.
0:07:19 > 0:07:22The sort of period we're looking at, of course...
0:07:22 > 0:07:27Had you thought about date at all? I don't know, I've had them a long time, they were handed down to me.
0:07:27 > 0:07:30I didn't know they were Irish until you said they were Irish! Right.
0:07:30 > 0:07:32Never knew that. Well, there we are.
0:07:32 > 0:07:36And I've had them for about 25 years, you know, in my own house.
0:07:36 > 0:07:38But I know nothing about them.
0:07:38 > 0:07:42No, no, well, you're a lucky man. No, know nothing.
0:07:42 > 0:07:46So you're looking at the reign of King George II with these. Yes.
0:07:46 > 0:07:49And actually, there's one very useful pointer
0:07:49 > 0:07:51when you look at the actual marks.
0:07:51 > 0:07:56What we've got here is the figure of Hibernia, obviously for Ireland.
0:07:56 > 0:07:58Yes.
0:07:58 > 0:08:02But that was a tax mark for agricultural development projects
0:08:02 > 0:08:05that was introduced in 1730.
0:08:05 > 0:08:07They've got to be after 1730.
0:08:07 > 0:08:12I mean, here we're looking at a date of around 1740,
0:08:12 > 0:08:14that sort of period.
0:08:14 > 0:08:16Beautiful original armorials there,
0:08:16 > 0:08:20and what's fascinating as well
0:08:20 > 0:08:23is that if we look at the reverse,
0:08:23 > 0:08:26we've got the family crest there.
0:08:26 > 0:08:30Now, when we look at this cup,
0:08:30 > 0:08:33we've actually got a different maker,
0:08:33 > 0:08:36but that same crest appears there.
0:08:36 > 0:08:39This should be your ancestry.
0:08:39 > 0:08:40Could be.
0:08:40 > 0:08:43Yeah, well, you've got to look into that. Yeah.
0:08:43 > 0:08:46The Irish market has... shall we say been a little bit turbulent.
0:08:46 > 0:08:48Downhill.
0:08:48 > 0:08:51So, my thinking is for the pair,
0:08:51 > 0:08:57we should be looking in the order of ?2,000-?2,500.
0:08:57 > 0:09:01And for the single cup, the same sort of value.
0:09:01 > 0:09:03That's wonderful.
0:09:03 > 0:09:06So you've got the best part of 5,000 there.
0:09:06 > 0:09:12That's great, yeah, didn't realise that at all, they've been lying... up for 25 years...
0:09:12 > 0:09:14Didn't cost me anything. So, there you go.
0:09:14 > 0:09:16What could be better? That's it.
0:09:20 > 0:09:21You might wonder why
0:09:21 > 0:09:27a lump of moulded glass has got me very excited,
0:09:27 > 0:09:31which actually it is because it represents a rough diamond,
0:09:31 > 0:09:38and from this rough diamond came nine very, very famous stones which are in the Crown Jewels.
0:09:38 > 0:09:40Ah.
0:09:40 > 0:09:45So tell me first, what made you buy this?
0:09:45 > 0:09:49Well, I was in a charity shop and I saw it,
0:09:49 > 0:09:52and I thought it was very interesting.
0:09:52 > 0:09:55I've always been interested in geology
0:09:55 > 0:09:58and when I read that it was the Cullinan diamond,
0:09:58 > 0:10:00I thought "How interesting,"
0:10:00 > 0:10:04and I looked at it, I liked the glass and the form of it,
0:10:04 > 0:10:06and I bought it.
0:10:06 > 0:10:09Do you know, what is very interesting with diamonds is
0:10:09 > 0:10:15that people don't realise that this is how diamonds can look like,
0:10:15 > 0:10:17in the raw, before they are cut and polished.
0:10:17 > 0:10:21This is around about 3,106 carats.
0:10:21 > 0:10:25It was found...the replica... Obviously, this is a replica.
0:10:25 > 0:10:27Replica, yes. But...
0:10:27 > 0:10:31Otherwise I'd be off down the road if this was a real one, right now.
0:10:31 > 0:10:36No, no, it was found in 1905 in South Africa. Yes.
0:10:36 > 0:10:40And only about 18 feet below the ground,
0:10:40 > 0:10:44in a mine, in an open cast mine.
0:10:44 > 0:10:48And would it have looked like this?
0:10:48 > 0:10:50Yes, this is exactly how it would look.
0:10:50 > 0:10:53It's pure carbon that's been crystallised under real...
0:10:53 > 0:10:55lots of heat and pressure. Yes.
0:10:55 > 0:10:57The pressure,
0:10:57 > 0:11:01if you can imagine you've got a coin and you put the Eiffel Tower
0:11:01 > 0:11:02on top of that coin,
0:11:02 > 0:11:08that is the pressure needed to crystallise carbon and a lot, a lot of heat,
0:11:08 > 0:11:13and it's about 160 kilometres below the earth's surface is where diamonds are formed.
0:11:13 > 0:11:16It then travelled, eventually,
0:11:16 > 0:11:19to King Edward VII,
0:11:19 > 0:11:24and he gave it to the Asscher family to cut.
0:11:24 > 0:11:27Now, to cut a diamond,
0:11:27 > 0:11:31you can only cut a diamond with another diamond.
0:11:31 > 0:11:33There's two ways of cutting it.
0:11:33 > 0:11:38You either cut it with the grain, or against the grain.
0:11:38 > 0:11:43So they made the two stones that are really famous.
0:11:43 > 0:11:47One's in the sceptre, the Star of Africa, so the 500 carats,
0:11:47 > 0:11:49and that's in the sceptre in the Crown Jewels.
0:11:49 > 0:11:50And the other one,
0:11:50 > 0:11:55which is called the Cullinan Two, is in the Imperial State Crown.
0:11:55 > 0:11:58Now, when Mr Asscher had to start cutting this,
0:11:58 > 0:12:02they spent a very, very long time
0:12:02 > 0:12:05working out how they were going to cut it,
0:12:05 > 0:12:09and he decided to cleave it himself.
0:12:09 > 0:12:12Now, if you cleave it incorrectly, you can shatter,
0:12:12 > 0:12:15maybe, the stone, so... and it's only one blow.
0:12:15 > 0:12:17My goodness.
0:12:17 > 0:12:23So he sat there, he carved a little groove in the stone. Yes.
0:12:23 > 0:12:27And with a chisel, he just had to make that one cut,
0:12:27 > 0:12:30that one bang to make it split where he wanted it to split.
0:12:30 > 0:12:33Where he wanted it split.
0:12:33 > 0:12:37And the story goes that he did that, and then he fainted.
0:12:37 > 0:12:39As you would.
0:12:39 > 0:12:42As you would, and it went according to plan.
0:12:44 > 0:12:48Lovely silver label you have there.
0:12:48 > 0:12:52The hallmark is 1908, and that was when it was cut. Really? Wonderful.
0:12:52 > 0:12:54So that's really lovely. Yes, it is lovely.
0:12:54 > 0:12:57So what did you pay for it in..? I paid ?60 for it.
0:12:57 > 0:13:00All right, well, I just think...
0:13:00 > 0:13:04I just love what it represents, and quite a few other people loved this as well.
0:13:04 > 0:13:09I would say, if one was to sell it at auction, you'd be looking at about...
0:13:09 > 0:13:11in the region of about ?1,000 now.
0:13:11 > 0:13:15Oh, my goodness, oh, my goodness. Yes, oh, it's fabulous.
0:13:18 > 0:13:21I can only assume you've got a very large house.
0:13:21 > 0:13:27You would be assuming quite wrongly, but it fits into the room.
0:13:27 > 0:13:30How? With great difficulty.
0:13:30 > 0:13:32Why did you buy it?
0:13:32 > 0:13:37I bought it because I loved it.
0:13:37 > 0:13:40I had gone out to buy a suite of furniture,
0:13:40 > 0:13:42and I had bought the suite of furniture,
0:13:42 > 0:13:45and then I went around the corner to look at other things,
0:13:45 > 0:13:51and I saw this, and I thought it was the most beautiful thing,
0:13:51 > 0:13:54and I thought, I wish I could have that,
0:13:54 > 0:13:57and then I thought, why not have it? And I bought it.
0:13:57 > 0:14:00Fair enough. So what happened to the suite of furniture?
0:14:00 > 0:14:03I went back to the man and I said,
0:14:03 > 0:14:07"I've seen something beautiful that I want, I would prefer to have,"
0:14:07 > 0:14:11and he said, "That's OK," and he give me back the cheque.
0:14:11 > 0:14:15Well, anyway, thank you for bringing it along to us.
0:14:15 > 0:14:20I know already there is a signature here somewhere, isn't there? Yes.
0:14:20 > 0:14:23Do you know anything about Lamb of Manchester?
0:14:23 > 0:14:26I just knew that it was Lamb of Manchester.
0:14:26 > 0:14:29He pointed it out to me, but I know nothing about it.
0:14:29 > 0:14:32I mean, it's a very important firm, Lamb of Manchester.
0:14:32 > 0:14:35Oh, right, yes. They were working until around 1900.
0:14:35 > 0:14:38And their earliest work was what we call the Aesthetic Movement,
0:14:38 > 0:14:40William Morris, Arts and Crafts, if you like.
0:14:40 > 0:14:43But this is much more a Renaissance style. Right.
0:14:43 > 0:14:48It's rather unusual for Lamb and I think it probably makes it date to around 1900,
0:14:48 > 0:14:51right at the end of their... or Lamb's life, anyway. Yeah.
0:14:51 > 0:14:53What I think's fascinating about it,
0:14:53 > 0:14:55and I hope somebody can tell me about it,
0:14:55 > 0:14:59this does appear to be machine-carved. Yes, yes.
0:14:59 > 0:15:03You seem to know that. Well, I thought, looking at it, it would be.
0:15:03 > 0:15:04But I wouldn't know.
0:15:04 > 0:15:07In 40 years of looking at furniture,
0:15:07 > 0:15:10I've never found one of these machines. Oh.
0:15:10 > 0:15:14And I'd love to find one because I don't know how they worked, it's extraordinary. Yes.
0:15:14 > 0:15:18It's very regular carving, and this wonderful oak. I bet you know what the wood is.
0:15:18 > 0:15:20It's supposed to be burr oak.
0:15:20 > 0:15:23Yes, it's a type of cut of oak, not exactly burr oak,
0:15:23 > 0:15:25but it's beautiful quality wood, isn't it? Yes.
0:15:25 > 0:15:27Is this a favourite piece in the house?
0:15:27 > 0:15:30It is for me. I think it's like a work of art.
0:15:30 > 0:15:32It is a work of art, and to me,
0:15:32 > 0:15:35I just sit and have a cup of coffee and enjoy it.
0:15:35 > 0:15:36And talk to it?
0:15:36 > 0:15:40I think, I think of the person who would have worked
0:15:40 > 0:15:44and did all of this sort of thing, and...
0:15:44 > 0:15:47I would like him to know who... is now in his grave...
0:15:47 > 0:15:51that I get as much enjoyment out of it as he would have done creating it.
0:15:51 > 0:15:54That's a lovely story, it's a lovely story.
0:15:54 > 0:15:57I like that very much. Did you pay a lot of money for this?
0:15:57 > 0:15:59Well, I haven't told my husband. Is he listening?
0:15:59 > 0:16:01But I did...
0:16:01 > 0:16:07Well, I paid ?3,999 for it.
0:16:07 > 0:16:10So just under ?4,000 for it. Yes, yes, yes.
0:16:10 > 0:16:12What would the leather suite have cost you?
0:16:12 > 0:16:16It was something... a thousand and something.
0:16:16 > 0:16:20So, what would the leather suite be worth today?
0:16:20 > 0:16:21Nothing.
0:16:21 > 0:16:23And you paid a lot of money for this. Yes, yes.
0:16:23 > 0:16:26More than I've ever heard anyone pay for...
0:16:26 > 0:16:32Well, I thought I... Why shouldn't I sit and enjoy something?
0:16:32 > 0:16:37And the money...money be there when I'm not there.
0:16:37 > 0:16:40Well, I think the value is going to hold. Yes.
0:16:40 > 0:16:43I'm not going to value it at less than you paid for it. I don't mind.
0:16:43 > 0:16:47But I think around ?4,000. It seems quite a lot. Yes, yes, yes, no.
0:16:47 > 0:16:50It's worth a lot more than that leather suite. Yes, yes.
0:16:50 > 0:16:52Thank you very much indeed. Thank you very much.
0:17:05 > 0:17:06Take a look at these diamond rings.
0:17:06 > 0:17:08They are gorgeous,
0:17:08 > 0:17:10and our jewellery specialist Jo Hardy
0:17:10 > 0:17:13tells me that one is worth about ?2,000,
0:17:13 > 0:17:15one is worth ?20,000
0:17:15 > 0:17:18and one is worth ?50,000.
0:17:18 > 0:17:22And she's set me, and you, a little challenge to try and work out which is which,
0:17:22 > 0:17:24so I'm going to have a little look,
0:17:24 > 0:17:28ask our visitors here and then all will be revealed.
0:17:33 > 0:17:37So, you've brought in this rather lovely carriage clock,
0:17:37 > 0:17:43and the first thing I notice on the top is a rather unusual inscription
0:17:43 > 0:17:46that's been engraved into the glass.
0:17:46 > 0:17:50"William Jenner Esq MD."
0:17:50 > 0:17:52Who was he?
0:17:52 > 0:17:56I did some research after buying the clock,
0:17:56 > 0:18:00and he's mentioned in the Dictionary of National Biography,
0:18:00 > 0:18:02and what I discovered about him was
0:18:02 > 0:18:06he was President of the Royal Society of Physicians,
0:18:06 > 0:18:12he was the Chief Physician to Queen Victoria and Prince Albert.
0:18:12 > 0:18:17Fantastic. And he would have looked after Prince Albert up to the time that he died.
0:18:17 > 0:18:21Right, and we've got a date there,
0:18:21 > 0:18:241865, which is lovely,
0:18:24 > 0:18:28and then we've got a donor here. "From George Thompson."
0:18:28 > 0:18:31Do you know anything about him? No, no.
0:18:31 > 0:18:35He didn't come up in research. No. But another very grateful patient, perhaps.
0:18:35 > 0:18:37Very good, yes, yes.
0:18:37 > 0:18:38Makes sense, doesn't it? Yes, it does.
0:18:38 > 0:18:41Well, the clock is absolutely top of the range.
0:18:41 > 0:18:45This would have been a very, very generous present at the time. Right.
0:18:45 > 0:18:49You're probably well aware of the fact that it's got three subsidiary dials,
0:18:49 > 0:18:51the central one being an alarm.
0:18:51 > 0:18:55The hands have been changed. That's not the original hand. Right.
0:18:55 > 0:18:58And then the other two subsidiaries...
0:18:58 > 0:19:02Well, basically starting this side with the day of the week and then the date.
0:19:02 > 0:19:09Very nice feature, all with an engraved and machine-turned mask.
0:19:09 > 0:19:14The case is what we call a gorge case. That's the top of the range carriage clock case,
0:19:14 > 0:19:15with all the pinched corners,
0:19:15 > 0:19:19and let's see if there's any details of the movement,
0:19:19 > 0:19:22as to who might have made it.
0:19:22 > 0:19:25I cannot see any factory mark there at all,
0:19:25 > 0:19:31but it's almost going to be... certainly be someone like Drocourt or one of the other very good makers,
0:19:31 > 0:19:34and the wonderful give-away here
0:19:34 > 0:19:38is we've got two hammers striking on two bells.
0:19:38 > 0:19:43Right, OK. Now, I'm hoping it might be either a petite sonnerie or a grande sonnerie...
0:19:43 > 0:19:46Do you know what I mean by that particular expression? No, no.
0:19:46 > 0:19:49OK, well, let's just have a look.
0:19:49 > 0:19:53And there you've got the selector lever in the base,
0:19:53 > 0:19:57hours and quarters, quarters only, or silent.
0:19:57 > 0:20:00I wasn't aware that that facility was there.
0:20:00 > 0:20:04Well, it's a good facility because otherwise you're going to get fed up with the quarter striking.
0:20:04 > 0:20:08So it's a grande sonnerie. It's a grande sonnerie carriage clock.
0:20:08 > 0:20:15So it's beautifully made, absolutely top of the range clock.
0:20:15 > 0:20:19It needs a little work on it, but in top retail condition,
0:20:19 > 0:20:25this would be retailing for probably anything between ?9,000 and ?12,000.
0:20:25 > 0:20:30Very, very nice. I wasn't expecting that, actually.
0:20:30 > 0:20:33Were you not? No, I wasn't, no, that's very nice.
0:20:33 > 0:20:38It's a lovely clock. Well, thank you very much.
0:20:50 > 0:20:53We've got three diamond rings here. A basic one...
0:20:53 > 0:20:57They all look pretty nice, frankly, but a basic one worth ?2,000.
0:20:57 > 0:21:03The better one worth ?20,000, and the best one is worth ?50,000.
0:21:03 > 0:21:05Have a look and...
0:21:05 > 0:21:06I mean, use these.
0:21:06 > 0:21:10Tell me which you think is which. It's just pot luck, isn't it?
0:21:10 > 0:21:12You think that's basic, why? It looks it.
0:21:12 > 0:21:17OK! If you're right... Hope that's not the most expensive one.
0:21:17 > 0:21:23It's very difficult because they're beautiful. I think maybe that one.
0:21:23 > 0:21:24I'm not too sure.
0:21:24 > 0:21:26You think that one's the...
0:21:26 > 0:21:28The dearer of the two, more expensive.
0:21:28 > 0:21:30The ?50,000. I'm not sure.
0:21:30 > 0:21:35I think basic here because it's quite blingy
0:21:35 > 0:21:37and it doesn't look as expensive.
0:21:37 > 0:21:40Is there a lady in your life? Yes, she's standing over there.
0:21:40 > 0:21:43Have you bought her a diamond ring? I did yes, not so long ago.
0:21:43 > 0:21:45So you should know what you're talking about.
0:21:45 > 0:21:47Well... Come on, then. She picks, I pay.
0:21:47 > 0:21:51I'll go with the bigger one being the basic one. Oh, really? Why?
0:21:51 > 0:21:55Small is best, sort of thing. Are you saying that because he's listening over there? Yeah.
0:21:55 > 0:21:57Fancy a diamond ring yourself?
0:21:57 > 0:22:00Yeah, I wouldn't mind one.
0:22:04 > 0:22:08Do you know, back in the Ming Dynasty,
0:22:08 > 0:22:11they had stables in the Forbidden City. Right.
0:22:11 > 0:22:12For elephants.
0:22:12 > 0:22:16In China, they were given as a tribute by the Kings of Burma,
0:22:16 > 0:22:18to the Chinese.
0:22:18 > 0:22:23So they actually had stables for them. That was, what, 1368-1644.
0:22:23 > 0:22:25By the time you get to the 18th century,
0:22:25 > 0:22:28elephants had become really quite an important imperial symbol.
0:22:28 > 0:22:32The Emperor Chien-Lung, who reigned in the middle of the 18th century,
0:22:32 > 0:22:36for his birthday processions, he had elephants paraded in front of him
0:22:36 > 0:22:39with vases tied on their backs, and they symbolised peace.
0:22:39 > 0:22:42They have a really interesting history.
0:22:42 > 0:22:46These ones here are a little bit later,
0:22:46 > 0:22:48they date from the 19th century, but when...
0:22:48 > 0:22:53How did you get them? My father-in-law bought a chest of furniture.
0:22:53 > 0:22:57He bought a chest of furniture? Yes, and they were in one of the drawers.
0:22:57 > 0:22:59So that's how they come about.
0:22:59 > 0:23:00That's a pretty damn good find.
0:23:00 > 0:23:04Extraordinary little faces they've got on them, haven't they?
0:23:04 > 0:23:07These date from the middle of the 19th century, they're Chinese.
0:23:07 > 0:23:11It's called famille rose decoration, it's a French term, actually,
0:23:11 > 0:23:14related to the decoration, which is this pink enamel. Yes.
0:23:14 > 0:23:17Which you don't see in Chinese art until after about 1720.
0:23:17 > 0:23:20These ones here would be made for the export market,
0:23:20 > 0:23:25so they were made to be decorative, and they certainly are that,
0:23:25 > 0:23:28with all these flowers all over them and so forth.
0:23:28 > 0:23:31I just can't believe they turned up in a drawer. Yeah!
0:23:31 > 0:23:35So they've been what...passed down the family since? Yeah, my husband's.
0:23:35 > 0:23:37And what do you do with them now, then?
0:23:37 > 0:23:39They were wrapped up in a box.
0:23:39 > 0:23:40What, just wrapped up in a box?
0:23:40 > 0:23:42Yeah, yeah, yeah.
0:23:42 > 0:23:46OK. I think you've got an amazing find there.
0:23:46 > 0:23:49He did extremely well. They are really quite valuable things now.
0:23:49 > 0:23:53There is a bit of damage. There's a bit of restoration, on one of the trunks
0:23:53 > 0:23:56and on the tail, a little break here. Yes.
0:23:56 > 0:23:58But it's not going to make a huge amount of difference.
0:23:58 > 0:24:03In auction today, I could see these making ?6,000, ?7,000.
0:24:03 > 0:24:06Mm. There you are.
0:24:06 > 0:24:10You know, the crowd behind you are far more astonished than you are.
0:24:10 > 0:24:12It's a lot of money to find in a drawer.
0:24:12 > 0:24:15It is, yeah, yeah, right.
0:24:18 > 0:24:22This utterly captivating little painting really caught my eye
0:24:22 > 0:24:26because I loved all the different chiming colours in it,
0:24:26 > 0:24:28and I thought, how sweet is that?
0:24:28 > 0:24:32And then I saw that it's actually signed by Rex Whistler,
0:24:32 > 0:24:35the great muralist and society portraitist
0:24:35 > 0:24:40and illustrator of books, and I wondered,
0:24:40 > 0:24:43who is that little girl and why is she sitting up in bed like that?
0:24:43 > 0:24:47Well, it's me. It's you, you're the little girl. Yes.
0:24:47 > 0:24:48Why are you in bed?
0:24:48 > 0:24:52Because I'd just had my tonsils and adenoids out
0:24:52 > 0:24:58and I think my mother thought that I would sit still if I was in bed.
0:24:58 > 0:25:02Rex Whistler came round and painted my picture.
0:25:02 > 0:25:05You're being kept busy by cutting up little bits of coloured paper.
0:25:05 > 0:25:08That would keep any child busy, I'm sure. It did, yes.
0:25:08 > 0:25:12But how old were you? I think I was seven, six or seven.
0:25:12 > 0:25:16Because that looks like a child's portrait of Rex Whistler on the blackboard behind,
0:25:16 > 0:25:19and he's signed it "Rex Whistler" on the blackboard and dated it there.
0:25:19 > 0:25:22I think he probably asked me to do it.
0:25:22 > 0:25:26I might have said, "You're painting me, now it's my turn to paint you."
0:25:26 > 0:25:30But it's typical of the wit that he had, isn't it? I know.
0:25:30 > 0:25:32That he would do that. I know. In that little thing.
0:25:32 > 0:25:37Don't you love the way that yellow works with the blue ribbon and the nightie and then this pink flower.
0:25:37 > 0:25:40I love the way it's lit from the window,
0:25:40 > 0:25:43the whole thing beautifully lit, and it's a painting in oils.
0:25:43 > 0:25:47Quite thinly painted, but beautifully glazed and finished.
0:25:47 > 0:25:50There's no question that you're getting better, is there?
0:25:50 > 0:25:53You look really healthy in there.
0:25:53 > 0:25:56Talking of wit, you've got a drawing there by him, haven't you?
0:25:56 > 0:25:59Yes, he gave it to me as a present.
0:25:59 > 0:26:03Let's see. So after he painted you... he gave you this. He gave me a present, yes.
0:26:03 > 0:26:07Because, you see, I grew up with that book that he wrote with his brother Laurence,
0:26:07 > 0:26:10and illustrated with reversible faces.
0:26:10 > 0:26:15This is a reversible face. Yes. So on one side we've got Henry VIII...there he is.
0:26:15 > 0:26:17Yes. I love this. It just gets me every time.
0:26:17 > 0:26:21You turn it upside down and you've got one of his wives,
0:26:21 > 0:26:22Anne of Cleves.
0:26:22 > 0:26:25Yes. Who was very, very ugly.
0:26:25 > 0:26:28But didn't he call her the Mare of Flanders?
0:26:28 > 0:26:31That's right, and sent her straight back again.
0:26:31 > 0:26:33Well, I think it's absolutely hilarious,
0:26:33 > 0:26:38and this is the original? This isn't the print from the book? It's the original, yes.
0:26:38 > 0:26:42This is the actual original. He must have liked you very much. I don't know.
0:26:42 > 0:26:45Well, he certainly did, I would say. Right, right.
0:26:45 > 0:26:48So, he's a great muralist and society painter, isn't he?
0:26:48 > 0:26:52And isn't the cafe in The Tate painted in murals by him? That's right, yes, yes.
0:26:52 > 0:26:54Let's talk about the drawing first.
0:26:54 > 0:26:56If that drawing came onto the market,
0:26:56 > 0:26:59then I'm afraid it's not in fantastic condition.
0:26:59 > 0:27:02It's been through the wars, hasn't it? I'm afraid it has, yes.
0:27:02 > 0:27:07In which case I could really only put ?1,000 to ?2,000 on it. Right.
0:27:07 > 0:27:09But it's still quite a lot for what it is.
0:27:09 > 0:27:13Amazing for the size of it, isn't it? Yes, but it's such a funny thing, I love it.
0:27:13 > 0:27:15Yes. And then on this painting...
0:27:15 > 0:27:17Well, that's a little more difficult.
0:27:17 > 0:27:21I can't remember seeing anything quite as lovely as this by him.
0:27:21 > 0:27:26And I feel that it would make between ?6,000 and ?8,000 at auction.
0:27:26 > 0:27:29Right. But I think that if the right people saw it,
0:27:29 > 0:27:35well, it would soar away and it may not stop until you get to ?15,000.
0:27:35 > 0:27:39Really? Really? Really? Well, hopefully I don't need to sell it.
0:27:39 > 0:27:41Well, of course not.
0:27:41 > 0:27:43No. Well, thank you very much.
0:27:43 > 0:27:44Thank you.
0:27:56 > 0:27:59Jo, you set us this task earlier on
0:27:59 > 0:28:03of trying to work out which of these diamond rings is the basic one,
0:28:03 > 0:28:04worth about 2,000,
0:28:04 > 0:28:07the better one worth a great leap to 20,000
0:28:07 > 0:28:11and then the best worth a socking 50,000.
0:28:12 > 0:28:15It was so difficult, I have to say.
0:28:15 > 0:28:20I, in the end decided, to be perverse, thinking you might have bowled me a googly...
0:28:20 > 0:28:25to put this as the basic because it looks the most ritzy, this is better because I had no idea,
0:28:25 > 0:28:29and this is best because it has a slightly yellowish tinge to it, looked beautiful.
0:28:29 > 0:28:33That's about it, that's as scientific as it got.
0:28:33 > 0:28:35What should we be looking for?
0:28:35 > 0:28:37Well, with diamonds, you have the four Cs,
0:28:37 > 0:28:43which is cut, clarity, colour and carat weight.
0:28:43 > 0:28:46All four of those elements make up to how you value a diamond.
0:28:46 > 0:28:48So it's not just the size of it, then?
0:28:48 > 0:28:52No, no, no, no, it has to be... either be the inclusions...
0:28:52 > 0:28:54If there's inclusions... What does that mean?
0:28:54 > 0:28:58Impurities in the diamond, then the price drops,
0:28:58 > 0:29:02because that's allowing less light to come back to the eye.
0:29:02 > 0:29:06The colour... What you want is like an ice cube.
0:29:06 > 0:29:10And you put an ice cube on the white of a card and it's colourless,
0:29:10 > 0:29:14well, that's what you're looking for with a diamond, the colour is colourless. Oh.
0:29:14 > 0:29:18And then a little bit more yellow that comes into the diamond,
0:29:18 > 0:29:19the less the price.
0:29:19 > 0:29:22OK. I can see which way this is going already, but right.
0:29:22 > 0:29:25Until you get to a really amazing yellow
0:29:25 > 0:29:29and that's a fancy coloured diamond and it shoots up in price again. Right.
0:29:29 > 0:29:35Cut is also very important because you want to be able to get the maximum light back to the eye,
0:29:35 > 0:29:38so you want to have the light coming down through the diamond,
0:29:38 > 0:29:42bouncing across the diamond, and coming back up again,
0:29:42 > 0:29:44and if it's too shallow or too deep,
0:29:44 > 0:29:45the stone will actually look dull.
0:29:45 > 0:29:51And then the weight, the carat weight, that's obviously sort of the size of the diamond.
0:29:51 > 0:29:54So putting it altogether, but just having a big one,
0:29:54 > 0:29:56but with lots of inclusions,
0:29:56 > 0:29:58is not necessarily good
0:29:58 > 0:30:02because you might want one that's smaller but better inclusions and a whiter stone.
0:30:02 > 0:30:06I've got a sinking feeling because I think I've got them completely wrong,
0:30:06 > 0:30:08in completely the wrong order then.
0:30:08 > 0:30:10Go on, move the signs, let's see.
0:30:10 > 0:30:13Well, you've done pretty well, actually. Have I?
0:30:13 > 0:30:15Yeah, you have sort of done very well.
0:30:15 > 0:30:19I'm going to move... That's going to stay the same.
0:30:19 > 0:30:22You were trying to trick us with that, weren't you? This one...
0:30:22 > 0:30:29I'm going to change this one to here, and this one to here.
0:30:29 > 0:30:33Right. Why is this the best one, then? Because it looks quite plain.
0:30:33 > 0:30:35It does, but it's very, very white,
0:30:35 > 0:30:40it is one of the top colours you can get for a diamond
0:30:40 > 0:30:43and it has a wonderful signature, Cartier. Which I didn't spot!
0:30:43 > 0:30:48You'd think after working on this programme for four years, I might have worked that out.
0:30:48 > 0:30:50Can I put this one on, just to show how fabulous it is? Yes, yes.
0:30:50 > 0:30:54Because I suspect it's what it looks like on the hand, look at that.
0:30:54 > 0:30:57Oh, it's beautiful, it really is beautiful. Those...
0:30:57 > 0:31:01It's a perfect cut, you can see how much the light is coming back to the eye,
0:31:01 > 0:31:04how much it's sparkling. That is beautiful.
0:31:04 > 0:31:07It is gorgeous. OK, Mr Cartier, I didn't spot that.
0:31:07 > 0:31:10And for a diamond like that, you don't need a fancy setting.
0:31:10 > 0:31:13The diamond's doing all the talking.
0:31:13 > 0:31:18This one, that I thought was better because it was slightly yellowy, is the reason it's not. Exactly right.
0:31:18 > 0:31:21Now you can see, quite obviously can't you, against this one,
0:31:21 > 0:31:24how it is slightly more yellow, and you can see that visibly,
0:31:24 > 0:31:26so that's why that is the second one.
0:31:26 > 0:31:31And this is the basic one, even though it looks the fanciest one.
0:31:31 > 0:31:33Mmm.
0:31:33 > 0:31:37It's in an Art Deco mount, and they are diamond baguettes,
0:31:37 > 0:31:40but the centre stone is a fake.
0:31:40 > 0:31:45Oh. Crafty. It's a cubic zirconia.
0:31:45 > 0:31:47I wondered if you might have slipped one of those in,
0:31:47 > 0:31:50but I thought 2,000 seems a lot for a fake but... Right.
0:31:50 > 0:31:54Well, the stone itself is worth ?10, it's the mount,
0:31:54 > 0:31:55it's all in the mount. Right, right.
0:31:55 > 0:31:58But you know, sometimes what happens
0:31:58 > 0:32:00is that someone who has a fantastic diamond,
0:32:00 > 0:32:07they might put it in the bank and put a cubic zirconia in so they can...
0:32:07 > 0:32:10They don't have to walk around with the real thing.
0:32:10 > 0:32:13The secrets of the trade! Right. So that's the basic one.
0:32:13 > 0:32:15Well, how fascinating.
0:32:17 > 0:32:20I sense we have an avid collector of tea caddies here.
0:32:20 > 0:32:24That's correct. How long have you been after these chaps?
0:32:24 > 0:32:2520 years.
0:32:25 > 0:32:27And where did you actually get these from?
0:32:27 > 0:32:30They come from an auction.
0:32:30 > 0:32:31Right.
0:32:31 > 0:32:34Is this a recent auction?
0:32:34 > 0:32:36It was only last week.
0:32:36 > 0:32:40Oh, right, oh, so right, fresh. OK, right, OK.
0:32:40 > 0:32:42Well, let me have a look at them.
0:32:42 > 0:32:46They're very interesting and this is obviously tortoiseshell as you...
0:32:46 > 0:32:50I'm sure you realise. Yeah. And this lovely Regency shape...
0:32:50 > 0:32:54the sarcophagus shape of this one, but let's have a look.
0:32:57 > 0:32:59Studied silence.
0:33:03 > 0:33:07What were they described as in the... catalogue, presumably, was it?
0:33:07 > 0:33:10It was tortoiseshell tea caddies.
0:33:10 > 0:33:13Right. Did they date them?
0:33:13 > 0:33:14No date.
0:33:15 > 0:33:17What date do you think they are?
0:33:18 > 0:33:22I think about 1780, 1790.
0:33:22 > 0:33:24Well, the shape is a little bit later than that,
0:33:24 > 0:33:29I'm not going to split hairs with you, but we would call them Regency, 1810. Yes, that's what I mean.
0:33:29 > 0:33:35But we're roughly in the same date as the house that we're standing in front of, yeah, yeah.
0:33:35 > 0:33:37Well.
0:33:37 > 0:33:40These aren't old. A week?
0:33:40 > 0:33:43Well, they're probably older than a week.
0:33:45 > 0:33:47But I'm afraid they're modern copies.
0:33:47 > 0:33:49Made in China?
0:33:49 > 0:33:53Possibly made in China, or Taiwan, anyway, somewhere like that,
0:33:53 > 0:33:56and I'll try and explain a few reasons why.
0:33:56 > 0:33:59I think, picking them up, looking at the underside here,
0:33:59 > 0:34:03that is fabricated date and age.
0:34:05 > 0:34:08The baize in here... well, that can be replaced, obviously.
0:34:08 > 0:34:13An awful lot of silvering left in there,
0:34:13 > 0:34:16and usually that's gone for this period.
0:34:16 > 0:34:20The lock... I'm not aware of any of these being made...
0:34:20 > 0:34:23It's essentially an English type tea caddy
0:34:23 > 0:34:26with a circular pin and circular hole there.
0:34:26 > 0:34:30That's more of a Continental lock and pin,
0:34:30 > 0:34:32and the brass isn't quite right.
0:34:32 > 0:34:36This to me, again, the outside is the same, a bit too good to be true.
0:34:37 > 0:34:39I'm sorry about this. OK.
0:34:39 > 0:34:43Why have you got this oak here? Why, what's that for? And there's no...
0:34:43 > 0:34:46When you look at that, when you think about it... Really fresh.
0:34:46 > 0:34:50You've got the experience of 20 years of collecting,
0:34:50 > 0:34:52and in hindsight, you can see how fresh that is.
0:34:52 > 0:34:56There's a lot of dirt around, and, you know,
0:34:56 > 0:34:58you don't see dirt in tea caddies very often,
0:34:58 > 0:35:02not unless they've been buried or something like that.
0:35:02 > 0:35:04I'm afraid you have two modern fakes.
0:35:04 > 0:35:06Forgeries.
0:35:06 > 0:35:10It's your word. I'm afraid so, they are absolutely brand new.
0:35:10 > 0:35:14Whether it's last year or last month, I'm not sure.
0:35:14 > 0:35:17And you wonder how many are around when you see these.
0:35:17 > 0:35:19Did you pay a lot of money for them?
0:35:19 > 0:35:21I wouldn't like to tell you.
0:35:21 > 0:35:24You're not going to tell..!
0:35:24 > 0:35:26Well, I wonder if there's a recourse.
0:35:26 > 0:35:27Don't think so.
0:35:29 > 0:35:33I'm not sure that I really should be giving a value on the Antiques Roadshow of these,
0:35:33 > 0:35:37because I don't want to give any credence at all
0:35:37 > 0:35:39to the fact that these are fake pieces,
0:35:39 > 0:35:41they shouldn't be on the market.
0:35:41 > 0:35:45And another reason for that is that this is...we always call it tortoiseshell...
0:35:45 > 0:35:50it's turtle shell. That's splitting hairs in a way, but it's illegal to trade in this,
0:35:50 > 0:35:53and you need a CITES licence to get them in and out of Europe,
0:35:53 > 0:35:56so, you know, I think I'm going to leave the value out.
0:35:56 > 0:36:00They're not old. I'm afraid you were sold a pup.
0:36:00 > 0:36:03Looks like it.
0:36:03 > 0:36:04Tell me what you paid for them.
0:36:04 > 0:36:08Whisper it to me. Nobody'll hear.
0:36:08 > 0:36:12I'll say it out. This is for all your benefits.
0:36:12 > 0:36:16The larger of the two was ?1,500 before fees,
0:36:16 > 0:36:19the smaller one was ?1,100 before fees.
0:36:19 > 0:36:22Thank you for being so frank with us.
0:36:22 > 0:36:26So you're chatting roughly ?3,000.
0:36:26 > 0:36:30I'm so very grateful that you've allowed us to record these,
0:36:30 > 0:36:34because I think it's important that the public see what's going on. I agree with you.
0:36:34 > 0:36:37They're really good copies, they're fakes, they've taken you in.
0:36:37 > 0:36:41You're an experienced collector. We all have this problem.
0:36:41 > 0:36:44Not experienced enough on this occasion.
0:36:44 > 0:36:47Well, well, it's very important people get the very best advice.
0:36:47 > 0:36:51I'm very grateful you've shown them to us and to everybody else. Thank you.
0:36:54 > 0:36:58I don't want to give the impression of being rude when I say this,
0:36:58 > 0:37:02but these three pieces have been worn out.
0:37:02 > 0:37:05Give me some information about why they're so worn.
0:37:05 > 0:37:10They belonged to my father, and he inherited them from my great uncle.
0:37:10 > 0:37:14He worked in London and he was a maitre d'
0:37:14 > 0:37:19in a gentleman's residence. What, like a club? A gentlemen's club.
0:37:19 > 0:37:21A private gentlemen's club. Right, right.
0:37:21 > 0:37:24He acquired them from a gentleman
0:37:24 > 0:37:28who unfortunately ran up quite a substantial account.
0:37:28 > 0:37:30Oh, really? Yes.
0:37:30 > 0:37:35So he was somebody who was there and he enjoyed himself enormously
0:37:35 > 0:37:38and then on the day of presenting him with the cheque, it evaporated.
0:37:38 > 0:37:41He couldn't... Correct, yes.
0:37:41 > 0:37:43Oh, dear. So what did he say to him?
0:37:43 > 0:37:47"Well, you've got to pay for your bill somehow or other"?
0:37:47 > 0:37:51Yes. He said to my great uncle,
0:37:51 > 0:37:55"Well, have you any other means by settling your account?"
0:37:55 > 0:38:03and he said that he had actually three sapphire and diamond rings in platinum, and a watch.
0:38:03 > 0:38:06Yes.
0:38:06 > 0:38:10And would that do, to settle the account, and he liked them so much
0:38:10 > 0:38:14and decided to purchase them and settle the gentleman's account.
0:38:14 > 0:38:20Yes, it has to be said that it worked out rather well for the family, didn't it? Don't you agree? Yes.
0:38:20 > 0:38:26When was he working at the club in London? He would have been working probably during WWII,
0:38:26 > 0:38:30right up until about 1960. '65, he died.
0:38:30 > 0:38:35I think that these two rings... Now, you know what they are, they're diamond, sapphire and platinum.
0:38:35 > 0:38:38Yes. I think they were made in around about 1935.
0:38:38 > 0:38:40Right.
0:38:40 > 0:38:42But the sapphires are these Burmese blue,
0:38:42 > 0:38:47this royal blue that we find with the very best of the best sapphires.
0:38:47 > 0:38:49Now this one is a faceted sapphire.
0:38:49 > 0:38:51Right.
0:38:51 > 0:38:54And this one is a polished en cabochon.
0:38:54 > 0:38:56The diamonds are on the shoulders. Yes.
0:38:56 > 0:38:59There. Ultimately, if someone were to buy them,
0:38:59 > 0:39:02they would have those sapphires polished. Right.
0:39:02 > 0:39:07Now we move on to the most seriously distressed item of the three,
0:39:07 > 0:39:11which is the wrist watch, which is so distressed that it is...
0:39:11 > 0:39:14I mean... What word could one use to describe it?
0:39:14 > 0:39:18It's in a mess, isn't it? It really, really is.
0:39:18 > 0:39:21My father says it's worth something in scrap
0:39:21 > 0:39:23and I thought I'll bring it along.
0:39:23 > 0:39:27Well, it... All right, well, first of all I'm going to start off
0:39:27 > 0:39:30by saying that the bracelet is simply white metal, it's steel.
0:39:30 > 0:39:32So there's no scrappage there, sorry to say.
0:39:32 > 0:39:38Let's have a look at the case. The face... You can see, it's worn out.
0:39:38 > 0:39:42This is very difficult to touch because it's very loose,
0:39:42 > 0:39:45but what I've done is, I've taken the little screws out of here.
0:39:45 > 0:39:48OK, right. To reveal the core, to look inside it.
0:39:48 > 0:39:50Right.
0:39:50 > 0:39:54Now we move on to the interesting feature of this.
0:39:54 > 0:39:58Now remember the man who owned it in the first place before your great uncle. Yes, the gentleman.
0:39:58 > 0:40:00Now, do you see that mark there? Yes.
0:40:00 > 0:40:03That little stamp there, platinum. Definitely.
0:40:03 > 0:40:08Now, look at the combination here of the yellow gold
0:40:08 > 0:40:11against the platinum. Yes.
0:40:11 > 0:40:12Now, that's a bit classy.
0:40:12 > 0:40:17You can see that here there's a tiny little individual number
0:40:17 > 0:40:20that's been stamped onto the case at the back. Right.
0:40:20 > 0:40:23So we're moving things up a stage, this is numbered. OK.
0:40:23 > 0:40:26Platinum and 18 carat gold.
0:40:26 > 0:40:27Oh.
0:40:27 > 0:40:29And the little mark there is French.
0:40:29 > 0:40:34The reason that I wanted to unscrew the screws from the side of the case
0:40:34 > 0:40:38was to have a look at the movement.
0:40:38 > 0:40:43Now, you're going to be disappointed. Not signed. Oh, right.
0:40:43 > 0:40:49But the movement is by something called the European Watch and Clock Company Ltd.
0:40:49 > 0:40:53So that throws up a very interesting conjecture,
0:40:53 > 0:40:56because if it's by the European Watch and Clock Company,
0:40:56 > 0:41:00they were people who used to make their movements
0:41:00 > 0:41:02for a very significant company.
0:41:02 > 0:41:04Right.
0:41:05 > 0:41:07Shall we move on to values?
0:41:07 > 0:41:12I'm scared now. This is stored in the garage.
0:41:12 > 0:41:17It ain't going to be stored in the garage any more, that's for sure.
0:41:17 > 0:41:22It's been 30 years in our garage. Right. I'm scared.
0:41:22 > 0:41:24Right. OK, ready?
0:41:24 > 0:41:25OK. I don't know.
0:41:25 > 0:41:30This is going to be...in its existing state ?1,000 to ?1,500.
0:41:30 > 0:41:33OK. That's very good.
0:41:33 > 0:41:35Right. This one here, I love that sapphire,
0:41:35 > 0:41:39it's got a real glow of blue to it.
0:41:39 > 0:41:45?1,500 to ?2,000, I suppose, something like that.
0:41:45 > 0:41:48Now, do you remember I told you about the European Watch Company?
0:41:48 > 0:41:53Yes. They used to make movements for a company called Cartier.
0:41:53 > 0:41:55Oh, no. I don't...
0:41:55 > 0:41:58I don't...!
0:41:58 > 0:42:02Are you ready? No, I'm not!
0:42:02 > 0:42:03Are you ready?
0:42:03 > 0:42:05We'll be all right.
0:42:05 > 0:42:07?5,000.
0:42:07 > 0:42:08Oh!
0:42:09 > 0:42:12Worth getting fixed, really.
0:42:12 > 0:42:15Can we have them fixed?
0:42:16 > 0:42:20What needs to happen with that, it needs to be restored,
0:42:20 > 0:42:24it also needs to go to Cartier
0:42:24 > 0:42:29so that they can state categorically that it is their watch.
0:42:29 > 0:42:32Subject to their confirmation, that it is Cartier,
0:42:32 > 0:42:36all the factors in place, so what are we talking about here?
0:42:36 > 0:42:38Between the one, two, three pieces here...
0:42:38 > 0:42:42oh, I don't know, ?7,500 to ?10,000.
0:42:42 > 0:42:45Thank you very much, John. Thank you.
0:42:45 > 0:42:49Thank you very much. You're a treasure.
0:42:53 > 0:42:58What a great result for those two ladies. That was just fantastic.
0:42:58 > 0:43:01And all I can say is, ?7,500 to ?10,000,
0:43:01 > 0:43:04that must have been one heck of a bar bill!
0:43:04 > 0:43:06From Castle Coole in County Fermanagh,
0:43:06 > 0:43:10from all of us here, until next time, bye-bye.