0:00:02 > 0:00:04Today we've come to a corner of West Sussex which is crammed
0:00:04 > 0:00:09with great houses - Arundel Castle, Uppark, Petworth, Goodwood.
0:00:09 > 0:00:13But you know, aristocratic grandeur isn't everything.
0:00:13 > 0:00:17This simple 17th-century cottage was originally built on wasteland
0:00:17 > 0:00:21and would have belonged to a poor, landless labourer.
0:00:21 > 0:00:24Once they were commonplace, now it's a rarity.
0:00:24 > 0:00:27But it's just one of a collection of buildings that make up
0:00:27 > 0:00:30the beautiful Weald and Downland Open Air Museum.
0:00:30 > 0:00:34And we've returned with the Antiques Roadshow for a second visit.
0:01:26 > 0:01:30All too often it's the ordinary things from the past
0:01:30 > 0:01:32that get discarded or thrown away,
0:01:32 > 0:01:34and not just the small things either.
0:01:34 > 0:01:37Here at the Weald and Downland Museum near Chichester
0:01:37 > 0:01:39is a collection of buildings
0:01:39 > 0:01:40that were almost destroyed
0:01:40 > 0:01:44until they were dismantled and brought here piece by piece.
0:01:44 > 0:01:48And just like some of the smaller or more humble objects
0:01:48 > 0:01:49that we see on the Roadshow,
0:01:49 > 0:01:53each of these simple buildings has a story to tell.
0:01:57 > 0:02:01As this 15th-century building was dismantled and brought here,
0:02:01 > 0:02:03it began to reveal secrets about itself.
0:02:03 > 0:02:08Once the more modern additions of a floor and walls had been stripped away,
0:02:08 > 0:02:14soot on the beams up there revealed that there must have once been an open hearth here,
0:02:14 > 0:02:18with the smoke going straight up to the ceiling.
0:02:20 > 0:02:23And above that central hall, where the bedroom is,
0:02:23 > 0:02:26the beams reveal more about how life was once lived here.
0:02:26 > 0:02:31This groove next to the window shows that there must once have been...
0:02:31 > 0:02:33a shutter.
0:02:37 > 0:02:40And I couldn't resist showing you this...
0:02:40 > 0:02:42Tada! A loo.
0:02:42 > 0:02:47And you would place your bottom on the hole - rather draughty -
0:02:47 > 0:02:51and then what fell to the ground below would be mixed with the ashes from the fire
0:02:51 > 0:02:57and spread as fertiliser on the land. You see - nothing was wasted.
0:02:57 > 0:03:02These more ordinary homes reveal so much about the way our forbears lived,
0:03:02 > 0:03:05what they valued and what they believed.
0:03:07 > 0:03:10A fitting backdrop for our specialists
0:03:10 > 0:03:14as they greet the visitors to the Weald and Downland Open Air Museum.
0:03:17 > 0:03:19So are you all sisters, or not?
0:03:19 > 0:03:20- We are.- Yes.- We're sisters.
0:03:20 > 0:03:22And which of you owns the clock?
0:03:22 > 0:03:23I own the clock.
0:03:23 > 0:03:30I inherited the clock 20 years ago from my grandmother. She...
0:03:30 > 0:03:32And do you like it?
0:03:32 > 0:03:34Um, can I be honest?
0:03:34 > 0:03:35Yes. Of course.
0:03:35 > 0:03:40To my shame, I didn't really like it.
0:03:40 > 0:03:42So what did you do with it, if you hated it so much?
0:03:42 > 0:03:47I decided not to have it in my '70s bungalow
0:03:47 > 0:03:50and kept it in my garage, to keep the door open.
0:03:51 > 0:03:54HE LAUGHS
0:03:54 > 0:03:58It's a very heavy doorstop. It must have been a massive door.
0:03:58 > 0:04:01It was, yes!
0:04:01 > 0:04:06And it clearly isn't there any more, so what happened since then?
0:04:06 > 0:04:10Well, I appreciated that it was a bit too good to be a doorstop
0:04:10 > 0:04:14and I decided to give it to my sister, Jacqui,
0:04:14 > 0:04:17to take care of for the last few years.
0:04:17 > 0:04:19And do you love it or hate it?
0:04:19 > 0:04:23- Well, I wouldn't say hate, but not far off.- Don't tell Mum!
0:04:23 > 0:04:29So hang on, ladies, none of you love it at all, do you? It's a real shame.
0:04:29 > 0:04:31Do you not think it's a thing of beauty?
0:04:31 > 0:04:35I decided to look into it a little more, and as soon as I looked
0:04:35 > 0:04:38into it a little more, I started to appreciate it more.
0:04:38 > 0:04:40Did you come up with any date from your research?
0:04:40 > 0:04:42Or shall I tell you all about it?
0:04:42 > 0:04:47Well, I know it's French Empire, but I don't quite know what that meant.
0:04:47 > 0:04:52You're absolutely right, it is French Empire through and through.
0:04:52 > 0:04:56Dating from the early part of the 19th century.
0:04:56 > 0:05:01Now, the casting is after a design
0:05:01 > 0:05:05by a French sculptor called Claude Michallon.
0:05:05 > 0:05:11He actually died in 1799, but this particular theme -
0:05:11 > 0:05:16which is a very romantic theme - was very popular throughout the latter years
0:05:16 > 0:05:21of the 18th century and particularly the early years of the 19th century.
0:05:21 > 0:05:23Wonderful quality.
0:05:23 > 0:05:24Bronze?
0:05:24 > 0:05:26Oh, it's all bronze.
0:05:26 > 0:05:29Ormolu literally means gilt bronze,
0:05:29 > 0:05:32and the figures themselves are solid bronze.
0:05:32 > 0:05:37The patination's not brilliant - it could do with quite a decent restoration, to be honest,
0:05:37 > 0:05:41but the figures are beautifully cast.
0:05:41 > 0:05:48The wonderful casting around the dial bezel is lovely, and running down here...
0:05:48 > 0:05:52I mean, just look at the casting of this frieze along the base.
0:05:52 > 0:05:55The feet... we've got little rams' masks
0:05:55 > 0:05:59and claw feet, everything you'd want.
0:05:59 > 0:06:02So none of you really love it, and I actually find that rather sad.
0:06:02 > 0:06:05So I hope that when I quote you a figure,
0:06:05 > 0:06:09- it might become even more appealing. - OK.
0:06:09 > 0:06:13Well, it's going to make...
0:06:13 > 0:06:16£9,000 to £12,000 at auction.
0:06:16 > 0:06:17Wow!
0:06:17 > 0:06:19Wow!
0:06:19 > 0:06:23And in cracking good condition, in retail condition,
0:06:23 > 0:06:26you're not going to buy it for less than £20,000.
0:06:26 > 0:06:28No way!
0:06:28 > 0:06:31- Wow.- So from garage doorstop to 20,000 -
0:06:31 > 0:06:34it's sort of a useful climb, isn't it?
0:06:34 > 0:06:38Yes, my friend, Neil, used to lean his skateboard up against it,
0:06:38 > 0:06:41- so we shall stop doing things like that.- Stop him doing that.
0:06:43 > 0:06:46When I see pen and ink drawings like this,
0:06:46 > 0:06:48with cats with mad staring eyes out at me,
0:06:48 > 0:06:53it always means one thing - the wonderful Louis Wain.
0:06:53 > 0:06:56And I see at the bottom of this drawing,
0:06:56 > 0:06:58we've got... Is it "The Harrogate Cure"?
0:06:58 > 0:07:00That's right, yes, exactly.
0:07:00 > 0:07:03And what has the Harrogate Cure got to do with this?
0:07:03 > 0:07:07Because my wife's aunt
0:07:07 > 0:07:11was a physiotherapist in Harrogate,
0:07:11 > 0:07:13at the baths,
0:07:13 > 0:07:17and she - in the end - was allowed to take this away
0:07:17 > 0:07:20when they closed the medical side of the baths down.
0:07:20 > 0:07:23And so did Louis Wain go up there to take the cure, do we think?
0:07:23 > 0:07:26Oh, yes, almost certainly he did, and these are caricatures
0:07:26 > 0:07:31of the people that he would have seen at the time.
0:07:31 > 0:07:34And poor Louis Wain needed to take the cure quite often.
0:07:34 > 0:07:35Oh, he did, yes.
0:07:35 > 0:07:37The poor man went slightly mad at the end,
0:07:37 > 0:07:40- although he was cared for. - Absolutely, yes.
0:07:40 > 0:07:41- And he is the most wonderful artist. - Yes.
0:07:41 > 0:07:45There are many, many fakes of these. And I always say to people who say,
0:07:45 > 0:07:47"How do you know a right one from a wrong one?"
0:07:47 > 0:07:49I say, "Just look at the eyes - if they're mad
0:07:49 > 0:07:52"and they're staring out at you, they're right."
0:07:52 > 0:07:55I see that the violin's been repainted.
0:07:55 > 0:07:59Yes. Obviously, somebody told him that he'd got it the wrong way round.
0:07:59 > 0:08:02Well, it's a wonderful palm court orchestra, isn't it?
0:08:02 > 0:08:04Yes, absolutely, from Harrogate.
0:08:04 > 0:08:08- You've brought this, but you've also brought this one.- Yes.
0:08:08 > 0:08:10Does this belong to the same aunt, or not?
0:08:10 > 0:08:12No, it's an entirely separate person.
0:08:12 > 0:08:15This was a person we affectionately called "Auntie Doddles"...
0:08:15 > 0:08:17Yes.
0:08:17 > 0:08:20- ..whose real name was Winifred Dodd.- Aha.
0:08:20 > 0:08:25And she was a fairly important person in the Savage Club.
0:08:25 > 0:08:28- Which, as we know, the Savage Club - wonderful sketching club.- Absolutely.
0:08:28 > 0:08:33EH Shepard was a member of the Savage Club.
0:08:33 > 0:08:37Well, I think this is...fabuloso, absolutely amazing.
0:08:37 > 0:08:40We've got Ernest Howard Shepard,
0:08:40 > 0:08:45who is the famous artist that illustrated Winnie The Pooh.
0:08:45 > 0:08:49In here, we've got Pooh, we've got Piglet, we've got Moley,
0:08:49 > 0:08:55we've got Badger and we've got Ratty playing Cowboys and Indians -
0:08:55 > 0:08:59- or mostly Indians here.- Yes! - And absolutely charming,
0:08:59 > 0:09:03- and he would have probably done this for her, at the Savage Club. - Almost certainly.
0:09:03 > 0:09:05- On one of the evenings.- Yes.
0:09:05 > 0:09:07Well, I think it's fantastic.
0:09:07 > 0:09:09We have these two wonderful drawings from two different artists.
0:09:09 > 0:09:14And the first one here - this Louis Wain -
0:09:14 > 0:09:16it's a very large drawing by him.
0:09:16 > 0:09:20It's not coloured, which will affect the value, but it is wonderful,
0:09:20 > 0:09:25and I think that, at auction, would make certainly £4,000 to £6,000.
0:09:25 > 0:09:28Good heavens! That's astonishing!
0:09:28 > 0:09:31But we come to Auntie Doddles' picture.
0:09:31 > 0:09:35Very kind of her to let that come into your family and come down to you.
0:09:35 > 0:09:39It is 1966, so it's painted after the original books were illustrated by Shepard,
0:09:39 > 0:09:42which is the '20s and '30s, but that would make the minimum -
0:09:42 > 0:09:44and I mean the minimum -
0:09:44 > 0:09:47of £6,000 to £9,000.
0:09:48 > 0:09:51Quite unbelievable. Quite astonishing.
0:09:54 > 0:09:57So what we've got here is a Spirit of Ecstasy which is a car mascot
0:09:57 > 0:10:00that turns up reasonably regularly on the Antiques Roadshow.
0:10:00 > 0:10:02Obviously, it comes off a Rolls-Royce, it's by a man called
0:10:02 > 0:10:06Charles Sykes, but is it this Rolls-Royce that it comes off?
0:10:06 > 0:10:08That one, yes, that vehicle there, yes.
0:10:08 > 0:10:13It's a rather smart-looking car, but it's not just a regular car, is it?
0:10:13 > 0:10:16No, it's an ambulance.
0:10:16 > 0:10:21It was built specifically as an ambulance for carrying patients.
0:10:21 > 0:10:23Really? And whose was it?
0:10:23 > 0:10:27Well, my mother and father, it was their company,
0:10:27 > 0:10:31and they started it on the advice of the Chief Constable of Blackpool.
0:10:31 > 0:10:35Because the ambulance service, in those days -
0:10:35 > 0:10:381927 - was run by the police and fire brigade,
0:10:38 > 0:10:42and there were lots of requests for ambulance transport
0:10:42 > 0:10:46for people taken sick in Blackpool on their holidays,
0:10:46 > 0:10:49to go to all parts of the United Kingdom.
0:10:49 > 0:10:52So this was a sort of very up-market service, by the looks of it.
0:10:52 > 0:10:56I mean, what luxury. I mean, look at this!
0:10:56 > 0:11:01- Here she is opened up, and you've got a silk eiderdown. - That's right, yes, yes.
0:11:01 > 0:11:05And so this was in the '20s, and what happened in the Second War - did they carry on running this...?
0:11:05 > 0:11:08They carried on running right through the war, yes.
0:11:08 > 0:11:12And then after the war, it has a rather strange transformation.
0:11:12 > 0:11:14What happened here?
0:11:14 > 0:11:17Well, the thing was, the NHS started,
0:11:17 > 0:11:19and these vehicles had to carry more patients,
0:11:19 > 0:11:23so they had another body put on it
0:11:23 > 0:11:30so it could conform to the... not exactly regulations but the standards of the day.
0:11:30 > 0:11:35And that was how it was until the business finished in 1958.
0:11:35 > 0:11:38- And did you ever drive it? - I did drive it, yes, but...
0:11:38 > 0:11:43Really? I bet there weren't many other young men who learned to drive on a Rolls-Royce then.
0:11:43 > 0:11:45No, I don't think there were!
0:11:45 > 0:11:48Well, but we have to value it. I'd love to value the car,
0:11:48 > 0:11:50- but of course that's now gone. - No, that's gone, yes.
0:11:50 > 0:11:54Yes. These mascots turn up, you know, fairly regularly on the market.
0:11:54 > 0:11:58It's worth about £1,500, maybe a little bit more.
0:11:58 > 0:11:59Yeah.
0:11:59 > 0:12:03You know, it's not an unusual piece, but it's a lovely thing,
0:12:03 > 0:12:05but a great story.
0:12:05 > 0:12:06- Thank you so much.- Yeah, thank you.
0:12:09 > 0:12:15So, a photograph of King Edward VII, his favourite and most famous racehorse, Persimmon,
0:12:15 > 0:12:19- a pair of cufflinks and a letter. - Yes.- Tell me about it all.
0:12:19 > 0:12:22My husband's grandfather rode Persimmon
0:12:22 > 0:12:25and he won the Derby for Edward VII
0:12:25 > 0:12:31and he also rode for Lillie Langtry, and she was so delighted,
0:12:31 > 0:12:34she gave him the cufflinks and wrote the letter.
0:12:34 > 0:12:36Fantastic. And that's very succinctly put,
0:12:36 > 0:12:39but of course the story's much, much wider,
0:12:39 > 0:12:41- because it illustrates Edwardian society, doesn't it?- Yes.
0:12:41 > 0:12:45And the King's victory at the Derby in 1909 with Persimmon
0:12:45 > 0:12:48was something that he felt enormously keenly,
0:12:48 > 0:12:52because there was no question of flattery or advancement,
0:12:52 > 0:12:55it was simply his horsemanship that took a young foal
0:12:55 > 0:13:00and chose it and had it trained and had it ridden, raced at the Derby,
0:13:00 > 0:13:06and it won a neck over Leopold de Rothschild's horse who was called St Frusquin,
0:13:06 > 0:13:10- and this is the centre of Edwardian society, isn't it?- Yes.
0:13:10 > 0:13:15Terribly, terribly exciting. It's a very rich society and also, owing to Edward VII,
0:13:15 > 0:13:17a very democratic one,
0:13:17 > 0:13:20- because Edward VII liked fascinating, rich, colourful people.- Yes.
0:13:20 > 0:13:24- And he was also rather keen on young ladies, wasn't he?- Yes.
0:13:24 > 0:13:29And so, in a sense, what you've brought before us today exemplifies all of that.
0:13:29 > 0:13:33We see the King here, not capable of riding a horse at all, because he's rather corpulent -
0:13:33 > 0:13:36he also liked food as well and cigars.
0:13:36 > 0:13:42And it was a massive victory for the most important person, arguably, in the world.
0:13:42 > 0:13:46So here we see something intimately associated with him, and intimately associated,
0:13:46 > 0:13:50- because there's a letter from Lillie Langtry, isn't there? - There is.
0:13:50 > 0:13:52Her initials, LL - Lillie Langtry.
0:13:52 > 0:13:56And..."Dear Mr Watts, I hope you will accept these links as a souvenir
0:13:56 > 0:13:59"of the first time you steered Milford to victory.
0:13:59 > 0:14:04"I hope that you will ride him many times and that it will always be thus.
0:14:04 > 0:14:07"With kindest regards, yours sincerely, Lillie Langtry."
0:14:07 > 0:14:11The Jersey Lillie, the great friend of King Edward VII,
0:14:11 > 0:14:15and this comes not only from the King's heart vicariously
0:14:15 > 0:14:18but also from her heart and her monogram here.
0:14:18 > 0:14:22But here we see she wants to give links to him, to commemorate that,
0:14:22 > 0:14:27and they're made of enamelled gold and set with diamonds.
0:14:27 > 0:14:30- They're the racing colours too. - Oh, how... That's marvellous.
0:14:30 > 0:14:34But on the outside in facsimile of her handwriting,
0:14:34 > 0:14:38it says "J Watts..." - Jack Watts - "..from Lillie Langtry".
0:14:38 > 0:14:40- Magical stuff, isn't it? - It's a lovely souvenir.
0:14:40 > 0:14:47Lovely souvenir and one of the most extraordinary of pieces to turn up on the show here
0:14:47 > 0:14:51and very, very touching for a million different reasons, which I've just tried to articulate.
0:14:51 > 0:14:57And what is fascinating is that the memory of this is very far from faded away -
0:14:57 > 0:15:00people really know about racing, they know about Persimmon
0:15:00 > 0:15:03and they know about cufflinks,
0:15:03 > 0:15:06and so we need to try to understand what these might be worth.
0:15:06 > 0:15:12And with the wind in the right direction and the right horses on the turf and the right bets being placed,
0:15:12 > 0:15:14maybe...
0:15:14 > 0:15:17maybe £12,000 to £15,000.
0:15:17 > 0:15:20Really? Oh... Oh!
0:15:22 > 0:15:25Thank you very much!
0:15:27 > 0:15:31Now, this is what I call a decent-sized goblet.
0:15:31 > 0:15:33I wouldn't mind having a glass or two of wine
0:15:33 > 0:15:36out of this from time to time. Do you use it?
0:15:36 > 0:15:41No. No, it's been in a box for the last 80 years, I believe.
0:15:41 > 0:15:45That's a crime! Where's it been before that?
0:15:45 > 0:15:47Who knows - I wasn't around then.
0:15:47 > 0:15:49Go on, tell me...tell me the story.
0:15:49 > 0:15:53Grandfather went to the Colonies in about 1927,
0:15:53 > 0:15:56to go and grow tobacco,
0:15:56 > 0:16:01and that was put into a box, and that's about all I know of it.
0:16:01 > 0:16:05It came out once... once every couple of years
0:16:05 > 0:16:10and was put back in the box, and I know nothing about it.
0:16:10 > 0:16:13Well, I can help you on that score. So this is a well-travelled goblet?
0:16:13 > 0:16:15To the Colonies and back.
0:16:15 > 0:16:17Which colony?
0:16:17 > 0:16:21- Southern Rhodesia it was then, and now it's Zimbabwe.- OK.
0:16:21 > 0:16:25Well, you say it went out there in the '20s,
0:16:25 > 0:16:29but it was made at a date that's actually quite easy to work out
0:16:29 > 0:16:32and quite easy to be very specific about,
0:16:32 > 0:16:35because in there, there's a silver coin,
0:16:35 > 0:16:39and it says on it 1787,
0:16:39 > 0:16:42and I bet you, a penny to a pound,
0:16:42 > 0:16:47that that is exactly the year it was made.
0:16:47 > 0:16:49That's news.
0:16:49 > 0:16:54It's quite interesting, because this is known as a lemon-squeezer-footed goblet,
0:16:54 > 0:16:58and the reason it's called a lemon-squeezer-footed goblet
0:16:58 > 0:17:02is so obvious that it's barely worth, you know, explaining why.
0:17:02 > 0:17:06But there it is, this is a moulded feature,
0:17:06 > 0:17:10always, almost invariably, always on a square foot...
0:17:10 > 0:17:13It's designed just like a modern lemon squeezer in reverse,
0:17:13 > 0:17:18and the idea is that it would take light in and shimmer,
0:17:18 > 0:17:22candlelit - 1787, candlelight.
0:17:22 > 0:17:26And so it's a really stonking thing, this.
0:17:26 > 0:17:28I mean, I really like it a lot,
0:17:28 > 0:17:30and there's been some discussion about when -
0:17:30 > 0:17:35inevitably amongst glass nutters - when was the earliest lemon squeezer.
0:17:35 > 0:17:40Probably 15 years before this, but even so, isn't that a beauty?
0:17:40 > 0:17:42It is.
0:17:42 > 0:17:46Well, I reckon, all things considered, little chippy,
0:17:46 > 0:17:49so it's a bit off, but then they're always chipped.
0:17:49 > 0:17:52But it's a lovely historic thing with that great coin.
0:17:52 > 0:17:57Three, four... £300 or £400, I should think.
0:17:57 > 0:17:59Is it? Right.
0:17:59 > 0:18:03So I've given you the good news. Now I'm going to give you an order.
0:18:03 > 0:18:05Please, please, use it once in a while.
0:18:05 > 0:18:07All right.
0:18:10 > 0:18:15It was given to me by the daughter of an old friend of mine
0:18:15 > 0:18:20who died three years ago, and I've had it ever since.
0:18:20 > 0:18:23And what have you discovered about it in the meantime?
0:18:23 > 0:18:27Well, I haven't actually done anything at all, apart from...
0:18:27 > 0:18:29I thought it was Japanese,
0:18:29 > 0:18:32because these waves were very similar
0:18:32 > 0:18:36to the waves in a Japanese woodcut picture.
0:18:36 > 0:18:38- Yes, the famous... - 18th-century one.
0:18:38 > 0:18:40The famous Hokusai breaking waves and Mount Fuji.
0:18:40 > 0:18:43Yes, yes, yeah.
0:18:43 > 0:18:46You're absolutely right. This is a very, very typical way of rendering waves.
0:18:46 > 0:18:51It's almost like a hand comes off the top of the spume, and these little flecks.
0:18:51 > 0:18:55In this case, you've got a ground of silver
0:18:55 > 0:19:00and then the whole design has been worked in repousse - in other words, from the inside,
0:19:00 > 0:19:03pushing it out to the design that's been scratched on the surface.
0:19:03 > 0:19:07And then to give you that extra dramatic effect,
0:19:07 > 0:19:12you've got the spume - these little flecks of water -
0:19:12 > 0:19:15and the effect is absolutely amazing.
0:19:15 > 0:19:16But what is even more amazing,
0:19:16 > 0:19:21or what you would least expect to find in the ocean,
0:19:21 > 0:19:23- is a tiger.- Yeah.
0:19:23 > 0:19:27And rather a spectacular tiger, if you look really closely at it.
0:19:27 > 0:19:29Yes, it's got jewelled eyes.
0:19:29 > 0:19:33He's got jewelled eyes. That looks like some sort of mother-of-pearl or shell.
0:19:33 > 0:19:37And his stripes, against this coppery fur,
0:19:37 > 0:19:40beautifully fur incised...
0:19:40 > 0:19:45Look at that, the little flecks of gold
0:19:45 > 0:19:50and then a little bit of wave, and there, his hindquarters, and then his tail coming up here.
0:19:50 > 0:19:51Yeah.
0:19:51 > 0:19:55And as we rotate it, we see the mark of the maker -
0:19:55 > 0:19:59sadly, I don't recognise that maker's mark.
0:19:59 > 0:20:02We can - I'm afraid - not tell you who that is at the moment.
0:20:02 > 0:20:05Looking round, we have a whole family of tigers!
0:20:05 > 0:20:07Here we have Daddy tiger with the thick-set eyebrows,
0:20:07 > 0:20:09and is that a baby?
0:20:09 > 0:20:13A gold tiger with bronze stripes.
0:20:13 > 0:20:14And gold teeth.
0:20:14 > 0:20:20Fantastic detail, and then above it all... Where there's a tiger,
0:20:20 > 0:20:22there's going to be a dragon.
0:20:22 > 0:20:26There is the dragon, and sadly we've only got one of his whiskers.
0:20:26 > 0:20:28Yes, I know and I know where the other one went.
0:20:28 > 0:20:30Where did it go?
0:20:30 > 0:20:33Well, I found it and I didn't know what it was,
0:20:33 > 0:20:38and it was while my friend was still alive, and I put it into a box.
0:20:38 > 0:20:41I thought it was a piece off of a brooch or something.
0:20:41 > 0:20:44- Yeah.- It looked like that, but since then I've realised
0:20:44 > 0:20:47that that's what it was, but of course I haven't got it.
0:20:47 > 0:20:51- And you don't know where the box is? - No.- What a shame. It must turn up.
0:20:51 > 0:20:55And the whole thing is presented on this lacquered stand.
0:20:55 > 0:20:57- It wasn't of course originally fitted for electricity.- No.
0:20:57 > 0:21:02I suspect it was originally a lamp base for an oil lamp.
0:21:02 > 0:21:05It dates to the very end of the 19th century,
0:21:05 > 0:21:11or maybe the early 20th century, and it is absolutely spectacular.
0:21:11 > 0:21:16It shows you what Japanese metalworkers could do, and, well...
0:21:16 > 0:21:20I think that's one of the best pieces of Japanese metalwork
0:21:20 > 0:21:23I have ever seen on the Antiques Roadshow.
0:21:23 > 0:21:25It is absolutely spectacular.
0:21:25 > 0:21:28- Would you buy one of these, if you saw it in a shop?- I would.
0:21:28 > 0:21:32- Are you sure?- Yes, cos I mean I've always loved it.
0:21:32 > 0:21:35Are you in the habit of spending £5,000 on lamps?
0:21:35 > 0:21:36No, I'm not.
0:21:36 > 0:21:38LAUGHTER
0:21:38 > 0:21:43Well, no, I'm afraid I couldn't afford that.
0:21:43 > 0:21:46- Well, that's... - It's a great thing.
0:21:46 > 0:21:49It is, I just love it.
0:21:50 > 0:21:53You've brought me in a collection of letters
0:21:53 > 0:21:55from a distant ancestor of yours.
0:21:55 > 0:21:58Can you just tell me a bit about who he was
0:21:58 > 0:22:01and why these letters are of interest?
0:22:01 > 0:22:05- His name was William Hodges. - Right, OK.
0:22:05 > 0:22:07And in 1798-99,
0:22:07 > 0:22:11he was convicted of stealing a box of haberdashery
0:22:11 > 0:22:13from a shop in Covent Garden.
0:22:13 > 0:22:14Right.
0:22:14 > 0:22:20He was chased out of the shop by the shopkeeper's wife,
0:22:20 > 0:22:23so they are quite convinced that he had the box.
0:22:23 > 0:22:29He was then convicted of stealing
0:22:29 > 0:22:35- and he was sentenced to death. He was 16, 17 at the time.- Yes.
0:22:35 > 0:22:40His life sentence was commuted to transportation,
0:22:40 > 0:22:46and so it was in about 1800 that he was transported to Australia.
0:22:46 > 0:22:48Australia, OK.
0:22:48 > 0:22:50And these are letters that he's written...
0:22:50 > 0:22:54- There's a couple written to his brother.- Yes.
0:22:54 > 0:22:59Just after he's been convicted and on board one of the prison ships,
0:22:59 > 0:23:03or on board one of the ships, as it's about to go out to Australia.
0:23:03 > 0:23:07- Yes, and this was in Portsmouth, in Langstone Harbour.- Right, OK.
0:23:07 > 0:23:12On a ship called La Forteyn. And he was then...
0:23:12 > 0:23:14wrote to his brother from the ship,
0:23:14 > 0:23:18the hulk ship where people were kept for quite some considerable time
0:23:18 > 0:23:19before they were transported.
0:23:19 > 0:23:23In this particular letter... he's quite a practical man, isn't he?
0:23:23 > 0:23:27- He seems to be.- He's asking for a list of things to sort of see him
0:23:27 > 0:23:28through the sea voyage.
0:23:28 > 0:23:32"If you will be so good as to send me
0:23:32 > 0:23:35"a few necessaries to take with me, such as a pound of tobacco,
0:23:35 > 0:23:38"a piece of bacon, some tea and sugar
0:23:38 > 0:23:43"and a few herbs, such as garlic and mint,
0:23:43 > 0:23:46"and some onions and a pocket knife
0:23:46 > 0:23:48"and the silk handkerchief."
0:23:48 > 0:23:51- He then went out to Australia. - Yes.
0:23:51 > 0:23:54And what happened to him then?
0:23:54 > 0:23:58Well, um, presumably, he began to earn a living
0:23:58 > 0:24:03and, as he became more important within the town,
0:24:03 > 0:24:06he then applied for an absolute pardon
0:24:06 > 0:24:08- from the Governor at the time. - And that was given to him?
0:24:08 > 0:24:10It was eventually.
0:24:10 > 0:24:15In 1821, he was... Having sent a petition to Governor Macquarie...
0:24:15 > 0:24:18- Right. - ..he was then granted his pardon.
0:24:18 > 0:24:21- And this is the petition here... - This is the petition.
0:24:21 > 0:24:25..where he writes to Macquarie, as you say, asking for complete pardon.
0:24:25 > 0:24:28William Hodges.
0:24:28 > 0:24:31- And it's granted.- It is.
0:24:31 > 0:24:35- And he then makes good his life, doesn't he?- He does.
0:24:35 > 0:24:38He sort of makes recompense for his past crime,
0:24:38 > 0:24:41which he has sort of admitted to and confessed to and...
0:24:41 > 0:24:45- in some of the letters or one of the letters.- And calls it his "folly".
0:24:45 > 0:24:49And calls it his folly, absolutely. And we've got a little newspaper cutting here
0:24:49 > 0:24:53- from the Sidney Gazette, 1838.- Eight.
0:24:53 > 0:24:56Where it records his death -
0:24:56 > 0:24:59"William Hodges of King Street, Sydney,
0:24:59 > 0:25:04"aged 55, and 35 years a resident in the colony.
0:25:04 > 0:25:07"Many years a respectable licensed victualler of this town."
0:25:07 > 0:25:10- It's a lovely little archive you've got here.- Yes.
0:25:10 > 0:25:15It's a first-hand account of his... of the transportation.
0:25:15 > 0:25:19Particularly in Australia, there's a big market
0:25:19 > 0:25:22for these details of families that went out to Australia,
0:25:22 > 0:25:26settled, and the information that he gives.
0:25:26 > 0:25:28If an archive like this came up onto the market,
0:25:28 > 0:25:32I think you're easily looking at something between £5,000 and £7,000.
0:25:32 > 0:25:35- Really?- Yes, it's a very important little collection of stuff.
0:25:35 > 0:25:38Gosh, that really is amazing.
0:25:38 > 0:25:41Considering we've had it in the family for 300 years,
0:25:41 > 0:25:44- I guess it's not going anywhere. - Brilliant, thank you so much.
0:25:44 > 0:25:46Thank you.
0:25:47 > 0:25:50A painting has been brought along to the Roadshow today that I feel
0:25:50 > 0:25:52I have a bit of a connection with.
0:25:52 > 0:25:55It's... Well, the signature on it is Hans van Meegeren.
0:25:55 > 0:25:58I made a programme about Hans van Meegeren with one of our specialists, Philip Mould -
0:25:58 > 0:26:00it was called Fake Or Fortune.
0:26:00 > 0:26:03I don't know if you saw it, but it was all about van Meegeren,
0:26:03 > 0:26:09who was a Dutch master faker in the run up to, and during, the Second World War
0:26:09 > 0:26:15and he managed to convince the most august and learned art institutions in Holland
0:26:15 > 0:26:18that the Vermeers he sold them - the great master Vermeer -
0:26:18 > 0:26:21that those paintings were genuine.
0:26:21 > 0:26:23In fact, they weren't Vermeer's, he had done them,
0:26:23 > 0:26:26and it was an absolute scandal when it was found out,
0:26:26 > 0:26:28so to see one of his paintings brought along today...
0:26:28 > 0:26:30I can hardly believe it!
0:26:30 > 0:26:33Ian, hello, thank you so much for letting us see this.
0:26:33 > 0:26:35Dendy, Hans van Meegeren.
0:26:35 > 0:26:37I mean, I know him as someone who faked Vermeers -
0:26:37 > 0:26:40- this doesn't look like one. - No, it looks like a Kees van Dongen,
0:26:40 > 0:26:42like an Impressionist picture.
0:26:42 > 0:26:44I mean, you know, when he was discovered
0:26:44 > 0:26:47to be the great faker just after the war,
0:26:47 > 0:26:50cos Hermann Goering had one in his collection - the famous Nazi -
0:26:50 > 0:26:52and they found this,
0:26:52 > 0:26:55they went back to the dealer that Goering bought it from
0:26:55 > 0:26:58and found out that the dealer had bought it from van Meegeren,
0:26:58 > 0:27:01and then van Meegeren owned up to faking all these pictures.
0:27:01 > 0:27:03He became very, very famous,
0:27:03 > 0:27:06and his works were making quite a lot of money.
0:27:06 > 0:27:10He made a lot of money from his fakes before the war, and after the war,
0:27:10 > 0:27:13people were collecting him because he was an infamous person.
0:27:13 > 0:27:15So, Ian, where did you get this from?
0:27:15 > 0:27:18It was left to me by two friends, a husband and wife,
0:27:18 > 0:27:22who died a couple of years ago, and it was left me in the will.
0:27:22 > 0:27:23Do you know where they got it from?
0:27:23 > 0:27:26She was actually an antique and art dealer during the 1950s.
0:27:26 > 0:27:27Yeah.
0:27:27 > 0:27:31And I think they acquired it sometime in the '80s from an auction.
0:27:31 > 0:27:34So you've brought in this picture
0:27:34 > 0:27:37that is not like a Hans van Meegeren that I have seen before.
0:27:37 > 0:27:41It's Impressionist, it's not like his own pictures,
0:27:41 > 0:27:45which were quite classical, the things he was painting before the war, before he started faking.
0:27:45 > 0:27:51And I look at this and I think this is somebody faking Hans van Meegeren.
0:27:51 > 0:27:53So the faker has been faked.
0:27:53 > 0:27:55So what have we got, in terms of value?
0:27:55 > 0:27:58The van Meegeren that is not a van Meegeren, the fake of a fake.
0:27:58 > 0:28:02I'd probably put on it, for decorative purposes,
0:28:02 > 0:28:04about £200 to £300.
0:28:04 > 0:28:06I don't think we've made your day, have we, Ian?
0:28:06 > 0:28:07I like the painting, so...
0:28:07 > 0:28:12Well, very interesting to have something like that in your house with that name on.
0:28:14 > 0:28:18So these two objects have just met. Seems like a happy meeting.
0:28:18 > 0:28:20Yes.
0:28:20 > 0:28:23And what I will say to you both, before we get started,
0:28:23 > 0:28:27is that they come from the same stable.
0:28:28 > 0:28:30So...
0:28:30 > 0:28:32you're the owner of the bear.
0:28:32 > 0:28:37The bear has been in my family probably since new.
0:28:37 > 0:28:39Right.
0:28:39 > 0:28:41I remember it only on special occasions,
0:28:41 > 0:28:44but most of its life, I think it's been locked up in a drawer.
0:28:44 > 0:28:48So he's having a good outing today. And what about yours?
0:28:48 > 0:28:51Well, mine's a mystery, because love at first sight.
0:28:51 > 0:28:53I met him at an auction, and he was a must-have.
0:28:53 > 0:28:59Well, the firm of manufacture is in fact a Parisian firm
0:28:59 > 0:29:02called Roullet et Descamps
0:29:02 > 0:29:04in the Marais district of Paris.
0:29:04 > 0:29:07And they were established in 1866 and interestingly,
0:29:07 > 0:29:13they ceased production in 1995, so really quite modern.
0:29:13 > 0:29:14Oh.
0:29:14 > 0:29:19And they were in their time - and continued to be - the best,
0:29:19 > 0:29:23the most well-known and produced wonderful automata.
0:29:23 > 0:29:28Both of them are made of rabbit skin,
0:29:28 > 0:29:33so your rabbit skin has been dyed brown, beautifully brown bear,
0:29:33 > 0:29:40and here we have a lovely white rabbit encased in a lettuce.
0:29:40 > 0:29:42And yours dates from about 1900,
0:29:42 > 0:29:45and yours is a second best.
0:29:45 > 0:29:46Yes. Ah.
0:29:46 > 0:29:48At 1930.
0:29:49 > 0:29:52They were very popular, and I have to say
0:29:52 > 0:29:55it wasn't uncommon that they were kept for high days and holidays.
0:29:55 > 0:29:58They were the sort of thing that were brought out
0:29:58 > 0:30:01after a special event to entertain the children
0:30:01 > 0:30:04when they were getting a bit out of hand.
0:30:04 > 0:30:06But I think, personally, they were adults' toys.
0:30:06 > 0:30:08MAN LAUGHS
0:30:08 > 0:30:13They're both wind-up, but this one has a little secret in store,
0:30:13 > 0:30:17because, if we turn it round, in the back here...
0:30:17 > 0:30:19is a flap.
0:30:19 > 0:30:22I never knew that!
0:30:22 > 0:30:27And into that, you put a battery, so it was clockwork
0:30:27 > 0:30:29and battery-driven,
0:30:29 > 0:30:33and this had light-bulb eyes that lit up...
0:30:33 > 0:30:36- The hussy! - LAUGHTER
0:30:38 > 0:30:42So, very collectable, highly desirable,
0:30:42 > 0:30:47and I suppose we should talk about values.
0:30:47 > 0:30:52So yours is the oldest, but actually, interestingly,
0:30:52 > 0:30:54- it is the less valuable of the two... - Aw...
0:30:54 > 0:30:58- ..and is worth between £400 and £600. - Oh.
0:30:58 > 0:31:01Yours, being the younger of the two,
0:31:01 > 0:31:06is slightly more sophisticated with its light-up eyes,
0:31:06 > 0:31:08its movement, but also it's musical,
0:31:08 > 0:31:11and for that reason, it's worth a little bit more
0:31:11 > 0:31:14at £800 to £1,200.
0:31:14 > 0:31:16Wow.
0:31:16 > 0:31:20And now I think we should see them doing their thing.
0:31:20 > 0:31:22Over to you.
0:31:22 > 0:31:25- Gentleman first, or both together? - I think together -
0:31:25 > 0:31:28- if you can get them going together, that would be great.- I'll have a word,
0:31:28 > 0:31:30cos she starts... Come on, then, off you go.
0:31:30 > 0:31:33There's something about animals that move
0:31:33 > 0:31:36and have their own personality,
0:31:36 > 0:31:40- and how well they've got on together this afternoon!- They have!
0:31:56 > 0:32:01This table, and the chairs and sideboard, were bought by my grandmother in the early 1930s
0:32:01 > 0:32:06and have been in use by our family every day ever since.
0:32:06 > 0:32:09- Fantastic. I mean that's the sort of thing I love to hear.- Yes.
0:32:09 > 0:32:13Many a sort of lovely Sunday roast. Since 1936?
0:32:13 > 0:32:18- Well, or sooner, cos I have a photograph of her using it in 1936. - Oh, really?
0:32:18 > 0:32:20So she'd obviously bought it prior to then.
0:32:20 > 0:32:23Absolutely marvellous, and there it is in its home as well,
0:32:23 > 0:32:26and you have another photograph there too.
0:32:26 > 0:32:28- This is the house it was bought for. - Fantastic.
0:32:28 > 0:32:31For me, looking at this photograph and seeing this table,
0:32:31 > 0:32:34they match absolutely perfectly.
0:32:34 > 0:32:35This table, in its own way,
0:32:35 > 0:32:38is a middle-class dream of the 1930s family.
0:32:38 > 0:32:41What you're looking at is a bit of everything put together.
0:32:41 > 0:32:44It's middle class, it's middle way,
0:32:44 > 0:32:47so you've got a little bit of the prevalent style of the day, Art Deco,
0:32:47 > 0:32:49in these very straight lines,
0:32:49 > 0:32:51nice geometric lines and strong, stepped feel.
0:32:51 > 0:32:56- And then also, you've got a little bit of Arts and Crafts style in it too.- Yes.
0:32:56 > 0:33:00- Even with these little fantastically accentuated dovetail joints here. - Yes.
0:33:00 > 0:33:04Implying it's handmade, but it's not.
0:33:04 > 0:33:06This was a typical piece you would buy in a department store.
0:33:06 > 0:33:09- Right, yes.- So it's a mass-produced piece of furniture.- Yes.
0:33:09 > 0:33:12In its own way, it sort of foresees the mass-produced utility furniture
0:33:12 > 0:33:16- of just after the war.- Yes. - Of course this was made just before the war,
0:33:16 > 0:33:21- and that is absolutely typical of a good, solid, middle-class home.- Yes.
0:33:21 > 0:33:24And this, with its fantastic rose garden, I notice here,
0:33:24 > 0:33:26a gentleman posing in it, it's sort of Metro-land.
0:33:26 > 0:33:29- Have you come across that term before?- Yes, yes I have yes.
0:33:29 > 0:33:31So you would have your job in the city
0:33:31 > 0:33:34and you would catch the tube - part of the new tube networks -
0:33:34 > 0:33:38out to your house, and it was your own sort of slice of the English rural idyll.
0:33:38 > 0:33:39You had your garden,
0:33:39 > 0:33:44- a very nice sort of mock Tudor house here with these beams along the top. - Yes, yes.
0:33:44 > 0:33:46And they're still around. I mean, wonderful build quality,
0:33:46 > 0:33:50they're still around today. So when they bought the table, presumably this came with it?
0:33:50 > 0:33:53I assume it was a set and bought at the same time.
0:33:53 > 0:33:56Well, if you look at the lines here, these stepped lines,
0:33:56 > 0:34:00you've got exactly that sort of geometric step line on here too.
0:34:00 > 0:34:04Individually, the values are not great.
0:34:04 > 0:34:08They're sturdy, solid pieces, they were made to last,
0:34:08 > 0:34:10and a lot of them exist today.
0:34:10 > 0:34:13And as a result, for the cabinet here,
0:34:13 > 0:34:15it would struggle to make £100 at auction.
0:34:15 > 0:34:20- Sure.- And the table, again £100 to £150 perhaps with a set of chairs,
0:34:20 > 0:34:24but again, they'd both struggle to sell at auction on occasion.
0:34:24 > 0:34:28But for me, that's part of their appeal - they're good, solid pieces.
0:34:28 > 0:34:30Where else - or what else -
0:34:30 > 0:34:34can you get for £100 to £150 in solid wood like this?
0:34:34 > 0:34:37- And the chairs are extremely comfortable.- Well, that's good.
0:34:37 > 0:34:40- Long Sunday roasts, that's precisely what you need to relax and sit back on.- Yes.
0:34:43 > 0:34:45I hope this lives by your front door.
0:34:45 > 0:34:47It does live by my front door.
0:34:47 > 0:34:50- Have you ever had to use it? - No, thank God!
0:34:50 > 0:34:54Well, we won't go into the rights and wrongs of defending the home.
0:34:54 > 0:34:57- But this is what it was for.- Yes.
0:34:57 > 0:35:02It was for protecting an individual, and this is the individual.
0:35:02 > 0:35:06It's like a truncheon, but it's not a truncheon, that's more official.
0:35:06 > 0:35:09It's a night stick. It would have been used by a night watchman
0:35:09 > 0:35:13as a personal reassurance, if not defence.
0:35:13 > 0:35:14Do you know how old it is?
0:35:14 > 0:35:16I would have said it was 1700s.
0:35:16 > 0:35:19- I think it's right at the end of the 1700s.- Right at the end.
0:35:19 > 0:35:23I think...if we said 1800, we wouldn't be far out.
0:35:23 > 0:35:25It certainly pre-dates the founding
0:35:25 > 0:35:28of the police force by Robert Peel, Sir Robert Peel,
0:35:28 > 0:35:31in the 1830s, 1840s.
0:35:31 > 0:35:36And it was certainly carved by the individual that used it,
0:35:36 > 0:35:39and he was probably the village beadle,
0:35:39 > 0:35:44he was probably a night watchman at a big house, something like that.
0:35:44 > 0:35:48- Somebody who was out at night... We've got his lantern there.- Yes.
0:35:48 > 0:35:52Beautifully represented. The details are gorgeous, aren't they?
0:35:52 > 0:35:56- They're lovely.- We've pointed out the lantern already...
0:35:56 > 0:36:00the buttons on his coat, and what's he holding here?
0:36:00 > 0:36:02It looks like a sword.
0:36:02 > 0:36:03It does, doesn't it?
0:36:03 > 0:36:08Now, whether a night watchman in a house would have had a sword,
0:36:08 > 0:36:10I don't know. It's the most charming thing.
0:36:10 > 0:36:13It comes into a category of item called Folk Art,
0:36:13 > 0:36:16highly collectable, really desirable.
0:36:16 > 0:36:18What's it worth?
0:36:19 > 0:36:23It's worth the contents of your house in defence, but in real terms,
0:36:23 > 0:36:26it's worth - in round figures - I'm going to say as much as £1,000.
0:36:26 > 0:36:28How much?!
0:36:28 > 0:36:29It's certainly worth £600 or £800,
0:36:29 > 0:36:32and I know a lot of people would give more.
0:36:32 > 0:36:34It's a wonderful, wonderful, desirable thing.
0:36:34 > 0:36:38Thank you for telling me that. I don't think I'll leave it right by the front door any longer.
0:36:38 > 0:36:39No, don't. No, no!
0:36:42 > 0:36:46It's not often I get kind of emotionally screwed up
0:36:46 > 0:36:50about an object, but I think this is fantastic.
0:36:50 > 0:36:55Really fantastic. Where did you get it from?
0:36:55 > 0:36:59My wife got it at a jumble sale in the early '70s,
0:36:59 > 0:37:02that's as far as I know.
0:37:02 > 0:37:07It was made by a factory in Europe called Meissen, in Germany.
0:37:07 > 0:37:11Augustus the Strong, the Elector of Saxony
0:37:11 > 0:37:13and King of Poland,
0:37:13 > 0:37:14was a china maniac
0:37:14 > 0:37:18and he wanted to build a palace, which he would stuff
0:37:18 > 0:37:21with porcelain from all round the world.
0:37:21 > 0:37:26And then he decided he wanted his own factory
0:37:26 > 0:37:30and he got a young alchemist called Johann Bottger
0:37:30 > 0:37:35to research it, and Bottger discovered the secret of porcelain in 1708,
0:37:35 > 0:37:40and that was the foundation of the Meissen factory.
0:37:40 > 0:37:43And this is a relatively early piece of Meissen.
0:37:43 > 0:37:45The decoration on it...
0:37:45 > 0:37:51Here we've got... I think these are lilies, aren't they?
0:37:51 > 0:37:54With a ladybird.
0:37:54 > 0:37:57This is called Holzschnitt Blumen.
0:37:57 > 0:38:00- Yeah.- And these designs have been taken
0:38:00 > 0:38:06from wood-engraved illustrated books of the period
0:38:06 > 0:38:08and indeed of the 17th century.
0:38:08 > 0:38:12Absolutely fabulous painting!
0:38:14 > 0:38:17And quirks!
0:38:17 > 0:38:19We've got a winged fly on here,
0:38:19 > 0:38:23which has been painted over a flaw in the porcelain,
0:38:23 > 0:38:27a big winged insect here,
0:38:27 > 0:38:31and to cover up a whole lot of flaws,
0:38:31 > 0:38:32a caterpillar,
0:38:32 > 0:38:36which is brilliant. And here we've got, I think, bluebells, haven't we?
0:38:36 > 0:38:38Yeah.
0:38:38 > 0:38:41They are just so beautifully painted.
0:38:42 > 0:38:46On the bottom, we've got the crossed swords of Meissen.
0:38:46 > 0:38:48I've never seen that shape before
0:38:48 > 0:38:52and I've never seen that shape illustrated anywhere before.
0:38:52 > 0:38:55I think it is very, very rare.
0:38:55 > 0:38:58I think if you put that into an auction sale today,
0:38:58 > 0:39:01it would make close on £1,000.
0:39:03 > 0:39:04God.
0:39:04 > 0:39:08- It's all right for 6p. - Even with the broken handle?
0:39:08 > 0:39:10- Yes.- God.
0:39:10 > 0:39:12Where are you going to find another one?
0:39:12 > 0:39:16If you're a Meissen collector, that's the one you've got to buy.
0:39:16 > 0:39:18You can't go out and buy one without a cracked handle.
0:39:18 > 0:39:20So it's no good in the dishwasher, then?
0:39:21 > 0:39:22Not a good idea.
0:39:22 > 0:39:24Not a good idea. Right.
0:39:26 > 0:39:29We've always had this. I've had this on our piano at home.
0:39:29 > 0:39:32My family, my father's side, where I got this from...
0:39:32 > 0:39:36his father had worked as an engineer in Russia,
0:39:36 > 0:39:39looking at oil at the beginning of the 20th century,
0:39:39 > 0:39:42and then I inherited this, but I know very little about it.
0:39:42 > 0:39:45So it's been in the family for well over 100 years.
0:39:45 > 0:39:47I would imagine so, yes.
0:39:47 > 0:39:50- Well, I know it's Russian.- Yes.
0:39:50 > 0:39:53I can't really read Cyrillic, but I do know that it's by Lanceray,
0:39:53 > 0:39:58- because I know that instinctively having seen this signature before. - Right.
0:39:58 > 0:40:04I mean, it's got a date here - 1878 - and Lanceray exhibited in the...
0:40:04 > 0:40:06Is that a 3 or 8?
0:40:06 > 0:40:09Er, I won't argue about it - 3 or 8.
0:40:09 > 0:40:12- He was exhibiting at all the great exhibitions.- Ah, right.- Lanceray.
0:40:12 > 0:40:16- Although he's clearly Russian, he was very well-known in France.- Right.
0:40:16 > 0:40:23But his bronzes were edited in - or cast in - France,
0:40:23 > 0:40:27- probably the best quality ones. Poland as well.- Aha.
0:40:27 > 0:40:30But possibly the most sought-after ones are the Russian foundries,
0:40:30 > 0:40:34cos they instinctively tend to be the first foundries.
0:40:34 > 0:40:37- And that's...Chopin, and that is the foundry...- Oh, right.
0:40:37 > 0:40:41- ..in Russia, I don't know exactly where.- No.
0:40:41 > 0:40:43But it's such a wonderful subject, isn't it?
0:40:43 > 0:40:46It's so typical of the Russian Steppes.
0:40:46 > 0:40:51You've got this...three horses, which is quite an expensive set-up, really,
0:40:51 > 0:40:54a three-horse rig, with this... Well, we call these troikas,
0:40:54 > 0:40:56but there's a ravani or something, is the name, I don't know.
0:40:56 > 0:40:59I don't know. I've only heard of troika, yeah.
0:40:59 > 0:41:03But it's certainly being pulled in the troika sense, you know,
0:41:03 > 0:41:06but it's most extraordinary with this... I can't...
0:41:06 > 0:41:09Well, there are two men with a little baby.
0:41:09 > 0:41:13- That's right. The father, I think. - The father, and that's the driver, so are they fleeing from someone?
0:41:13 > 0:41:15- I don't know.- What is going on?
0:41:15 > 0:41:18I've always looked at it and I've loved to look at it,
0:41:18 > 0:41:20but I know nothing about it. I wish I did.
0:41:20 > 0:41:25Well, it's a very good sculpture in very nice condition.
0:41:25 > 0:41:27Mm-hm.
0:41:27 > 0:41:31And there are lots of fakes of Lanceray's work,
0:41:31 > 0:41:34but usually the smaller simpler figures.
0:41:34 > 0:41:38When you get to these three horses, it's more complicated,
0:41:38 > 0:41:39so this is not a fake.
0:41:39 > 0:41:42Thank heaven for that, thank you, right.
0:41:42 > 0:41:45It's a lovely colour, a mixture of black and browny colours,
0:41:45 > 0:41:49there's a lovely - just here - this super dog here crouching down.
0:41:49 > 0:41:52You wonder whether he's an attack dog or part of the actual team, I don't know,
0:41:52 > 0:41:55but you can see the rubbing on there where it's all just...
0:41:55 > 0:41:58I would assume he's attacking them, because they're looking upset.
0:41:58 > 0:42:02These are wolves, aren't they? Yes, that's quite... So it's very dramatic and wonderful.
0:42:02 > 0:42:04- You can imagine the cold. - Yeah, absolutely.
0:42:04 > 0:42:06And the vast openness of the Russian Steppes.
0:42:06 > 0:42:09The market has been a little fickle recently.
0:42:09 > 0:42:12The Russian market, two or three years ago,
0:42:12 > 0:42:14- was really quite strong.- Right.
0:42:14 > 0:42:17It's backed off a bit and is very, very erratic.
0:42:17 > 0:42:21If you had to go and replace it at a reasonable shop where you could expect to buy this sort of thing...
0:42:21 > 0:42:24- and they're quite difficult to find...- Yeah.
0:42:24 > 0:42:27..what sort of figure would you put on it?
0:42:27 > 0:42:30And I think I'd put a figure of £10,000 on it.
0:42:30 > 0:42:32Right, OK, thank you very much, it's just what...
0:42:32 > 0:42:34exactly what I wanted to know.
0:42:34 > 0:42:36- Thank you, a nice, round figure. - Absolutely, yes.
0:42:36 > 0:42:40They've come down through the family,
0:42:40 > 0:42:42but not through the direct line of the family,
0:42:42 > 0:42:45through a step-grandmother, who was an heiress,
0:42:45 > 0:42:49and way back in 1705,
0:42:49 > 0:42:52her ancestor married...
0:42:52 > 0:42:56a Dutch heiress,
0:42:56 > 0:42:59and this was part of her dowry, I believe.
0:42:59 > 0:43:03That's a fantastic record to have them back from what, the time of Queen Anne.
0:43:03 > 0:43:06Well, that's what I guess they should be.
0:43:06 > 0:43:10I thought they were either garniture of little value,
0:43:10 > 0:43:14- or they were really old. - Well, so you think they're Queen Anne period?
0:43:14 > 0:43:16They could be, yes.
0:43:16 > 0:43:17Well, you're wrong.
0:43:17 > 0:43:19Oh, right.
0:43:19 > 0:43:20They're 100 years older than that.
0:43:20 > 0:43:22- What?- These date from the time
0:43:22 > 0:43:25- of Shakespeare.- Goodness.
0:43:25 > 0:43:27These date from round about 1600
0:43:27 > 0:43:30when the Emperor Wanli was on the throne in China.
0:43:30 > 0:43:34That was the time when the Portuguese and the Dutch were in China
0:43:34 > 0:43:37- bringing things back.- Yes. - And when these came back to Europe,
0:43:37 > 0:43:40these would have been massively luxurious items.
0:43:40 > 0:43:45Chinese blue and white porcelain - we didn't make porcelain in Europe - well, Meissen started in what, 1710.
0:43:45 > 0:43:47Over 100 years before Meissen started, these were made.
0:43:47 > 0:43:50- When these arrived, they were the best.- Right.
0:43:50 > 0:43:52In Europe. But it's funny about that,
0:43:52 > 0:43:55cos if you look at them, there's a bit of a...
0:43:55 > 0:43:58- Yes, there's a very bad... - Yeah, down here.- ..mark.
0:43:58 > 0:44:00There's a bit of crack in them.
0:44:00 > 0:44:03That crack has appeared because they've been made in several parts.
0:44:03 > 0:44:07- Goodness.- It's been made... The bottom bit's been made as one section,
0:44:07 > 0:44:10and then the top bit has been luted on, and it's been joined round there,
0:44:10 > 0:44:13and it didn't quite work when they were being fired.
0:44:13 > 0:44:18Because they were export things, there was nowhere near the quality or care put into them
0:44:18 > 0:44:21as were goods made in China for the Imperial household.
0:44:21 > 0:44:24They're terrifically old. I mean, they're really...
0:44:24 > 0:44:30- I mean, it's quite exciting to have something which was made when Shakespeare was around.- Yes.
0:44:30 > 0:44:33If these were made in the Chinese taste,
0:44:33 > 0:44:35- they would be very, very much more valuable.- Right.
0:44:35 > 0:44:39This shape is not a Chinese shape, it's a European shape -
0:44:39 > 0:44:42it's not going to get the modern Chinese excited.
0:44:42 > 0:44:44Even so, they're 400 years old,
0:44:44 > 0:44:47this one is in excellent condition.
0:44:47 > 0:44:49In auction today, they're going to be...
0:44:49 > 0:44:51They're easily going to be £2,000.
0:44:53 > 0:44:55That's amazing.
0:44:55 > 0:44:59So, does he come in peace or does he come in war?
0:44:59 > 0:45:02It's quite a subject, isn't it?
0:45:02 > 0:45:05Because this Red Indian, he looks very much in the wrong place,
0:45:05 > 0:45:07he's sitting in a chapel, I think,
0:45:07 > 0:45:08a Quaker chapel.
0:45:08 > 0:45:09Tell me about it.
0:45:09 > 0:45:13Well, my father bought this in about 1937 as a gift
0:45:13 > 0:45:17to his father-in-law to be, and as a young child,
0:45:17 > 0:45:19I always remembered it hanging on the wall,
0:45:19 > 0:45:20and then after he died,
0:45:20 > 0:45:24it was then left through my mother, to me,
0:45:24 > 0:45:26and I've had it ever since.
0:45:26 > 0:45:29- Oh, well done. - Now, I know it's an English artist,
0:45:29 > 0:45:31it's obviously an American scene,
0:45:31 > 0:45:35but I'm absolutely intrigued to know what the subject matter is,
0:45:35 > 0:45:37because it seems to me to be a historical event,
0:45:37 > 0:45:39and whilst I've done some research,
0:45:39 > 0:45:42I haven't actually managed to find out anything about it.
0:45:42 > 0:45:45Well, it was exhibited - we can tell from the label on the back -
0:45:45 > 0:45:48in the Royal Academy in 1885,
0:45:48 > 0:45:50so we know that the costume is earlier than that -
0:45:50 > 0:45:53this fellow's wearing a tricorn hat, isn't he?
0:45:53 > 0:45:57So it must be a scene from the wars in the 19th century
0:45:57 > 0:46:00between the Indians and the settlers,
0:46:00 > 0:46:04in the expansion through to the west of America.
0:46:04 > 0:46:10But a historical incident? I'm not so sure.
0:46:10 > 0:46:13It comes with a quotation from the Bible, from Isaiah.
0:46:13 > 0:46:17It says, "In quietness and confidence shall be your strength."
0:46:17 > 0:46:22Now, I think the clue to the meaning of this picture is in that quotation.
0:46:22 > 0:46:24Yes.
0:46:24 > 0:46:26Because, obviously, you know,
0:46:26 > 0:46:29these people are very worried about the Indian
0:46:29 > 0:46:33being in their presence, but they are being quiet and strong, aren't they?
0:46:33 > 0:46:36It's interesting that Victorians always seek - or sometimes seek -
0:46:36 > 0:46:39to teach us things, they're didactic, and I think that's what's going on here.
0:46:39 > 0:46:41- We're being given a message.- Right.
0:46:41 > 0:46:45So that's one thing. I think that's what the artist's intention was.
0:46:45 > 0:46:50But who is giving the advice? Is it the European
0:46:50 > 0:46:53or is it the Indian?
0:46:53 > 0:46:56Because the Indian seems to be at peace.
0:46:56 > 0:46:58He's got blood on his tomahawk..
0:46:58 > 0:47:01Yes, he has, yes.
0:47:01 > 0:47:04Which is a sort of rather funny way of showing being at peace,
0:47:04 > 0:47:08but he is, after all, being invited into a chapel by the Quakers,
0:47:08 > 0:47:13and I think the idea is that, if you are quiet and strong,
0:47:13 > 0:47:16and you do not either try to make alliances or try to make wars -
0:47:16 > 0:47:20more to the point - with your neighbours, then you will get along.
0:47:20 > 0:47:22That's the advice.
0:47:22 > 0:47:25I think that's the whole purpose of the picture, of this picture.
0:47:25 > 0:47:28I like the Indian - the Native American -
0:47:28 > 0:47:32because I'm not sure that he belongs to any particular tribe.
0:47:32 > 0:47:35He looks more like one of those cigar advertisement figures,
0:47:35 > 0:47:37don't you think?
0:47:37 > 0:47:41- I'm pretty sure that the artist, whose name was Bayes... - Alfred Walter Bayes.
0:47:41 > 0:47:44..Alfred Walter Bayes ever went to America.
0:47:44 > 0:47:46I don't think he did, I'm sure he didn't,
0:47:46 > 0:47:49so he only had a sort of generic understanding
0:47:49 > 0:47:51- of what a Native American Indian would look like at all.- Yes.
0:47:51 > 0:47:55And I think that's what he's painted here. Anyway, let's cut to the chase.
0:47:55 > 0:47:58It's got to be worth something.
0:47:58 > 0:48:01And I wondered what it might be worth.
0:48:01 > 0:48:03I think we've got the meaning now, I think I've explained it.
0:48:03 > 0:48:06The question is - how much?
0:48:06 > 0:48:10I think it's a slightly difficult subject for modern audiences,
0:48:10 > 0:48:11- is what I was trying to get to.- Yes.
0:48:11 > 0:48:13And as a result,
0:48:13 > 0:48:17- I think that I'm only going to put £4,000 to £6,000 on it.- Right.
0:48:17 > 0:48:21Which... I'd like to do more, but... And it's a very interesting picture,
0:48:21 > 0:48:25- in terms of the way we all think now, and it's very nicely painted.- Yes.
0:48:25 > 0:48:28- And well observed. Thank you. - Thank you very much, thank you.
0:48:29 > 0:48:32Waxed jackets are very much all the rage at the moment,
0:48:32 > 0:48:35but the style is not normally like this.
0:48:35 > 0:48:39It's very fashionable, but it's very 19th-century fashionable.
0:48:39 > 0:48:41Indeed, yes, yes.
0:48:41 > 0:48:45It's called a Sussex round frock, not a smock,
0:48:45 > 0:48:49and it belonged to my great-grandfather -
0:48:49 > 0:48:52and my nephew's great-great-grandfather -
0:48:52 > 0:48:55who was a Sussex shepherd on the South Downs,
0:48:55 > 0:48:59so this is appropriate for the Weald and Downland Museum,
0:48:59 > 0:49:01and it's weather-proof.
0:49:01 > 0:49:03I mean, it's the ultimate in weather-proofing,
0:49:03 > 0:49:07because he would have gone out on the Sussex Downs in all weathers.
0:49:07 > 0:49:09- Absolutely. - To...to help with lambing.
0:49:09 > 0:49:14You know, the smock would have kept him warm,
0:49:14 > 0:49:16- but also it's got this pocket at the side, so...- Yes.
0:49:16 > 0:49:18For the newborn lambs.
0:49:18 > 0:49:20Two pockets, yes.
0:49:20 > 0:49:22It's a lovely snug fit, a comfortable thing
0:49:22 > 0:49:24and practical, that's the thing with it,
0:49:24 > 0:49:26it really is a practical working garment.
0:49:26 > 0:49:30And, yeah, the pockets in the side stretch all the way round,
0:49:30 > 0:49:33so you can keep a lamb in your back and keep it warm.
0:49:33 > 0:49:37So who...who was your great-great- grandfather, and great-grandfather?
0:49:37 > 0:49:40His name was Robert Strudwick, and he was born, we think,
0:49:40 > 0:49:43about 1837, there or thereabouts,
0:49:43 > 0:49:47and always lived and worked in Sussex
0:49:47 > 0:49:52and on the Downs, basically. Married a Sussex girl, and here we are.
0:49:52 > 0:49:55I can see you're holding a photograph of him here,
0:49:55 > 0:49:59and that's incredibly evocative seeing it first on the mannikin
0:49:59 > 0:50:01and then looking at the photograph,
0:50:01 > 0:50:03it brings it alive.
0:50:03 > 0:50:05And the thing that strikes me most, I think,
0:50:05 > 0:50:08- is the fact that it's very much hand-made.- Yes.
0:50:08 > 0:50:12And you see variations, these amazing variations,
0:50:12 > 0:50:15so you get gathering on this sleeve here and then...
0:50:15 > 0:50:18- And pleating on this one.- And pleating on that one there.- Yes, yes.
0:50:18 > 0:50:23So it's sort of almost like the style evolved as it was being made.
0:50:23 > 0:50:28I suspect he would have had just this one garment that would have run him through,
0:50:28 > 0:50:31and it's testament to the quality of, you know,
0:50:31 > 0:50:34waxed material that, you know, it did last.
0:50:34 > 0:50:38I mean, there's not a single bit of damage on this whatsoever.
0:50:38 > 0:50:40I'd say, if that was to come up for sale at an auction,
0:50:40 > 0:50:44a specialist vintage costume sale, which is probably where it would go,
0:50:44 > 0:50:47it would fetch at least £600.
0:50:47 > 0:50:49And it's not going anywhere.
0:51:07 > 0:51:10You never know what's going to turn up at the Roadshow.
0:51:10 > 0:51:13Look at this - someone brought it in, said it belonged to their mother.
0:51:13 > 0:51:15Hold it in your hand...
0:51:16 > 0:51:18LAUGHTER
0:51:19 > 0:51:23I don't know what it is - a little seal, perhaps.
0:51:23 > 0:51:27There it goes. You know what they say -
0:51:27 > 0:51:29warm hands...
0:51:29 > 0:51:31No, that's not true at all.
0:51:32 > 0:51:34Do you know, I think this enamel panel
0:51:34 > 0:51:39- is certainly the most beautiful thing I've seen all day.- Oh.
0:51:39 > 0:51:40What can you tell me about it?
0:51:40 > 0:51:43Well, it belonged to my father-in-law,
0:51:43 > 0:51:49and he was in London during the war and... lunch-time, going for a stroll,
0:51:49 > 0:51:54and a dust cart went past, and on the top was this picture,
0:51:54 > 0:51:58so he ran the length of...it may have been Regent Street, I don't know...
0:51:58 > 0:52:02and stopped the dust cart and collected this, and it's been in the family ever since.
0:52:02 > 0:52:06- And do you like it?- I love it, we all love it.- It is a fantastic thing, isn't it?
0:52:06 > 0:52:09- What do you know about it? - We know nothing other than it came off a dust cart.
0:52:09 > 0:52:11- Well, it's a good start. - So, there you go.
0:52:11 > 0:52:13I think I can tell you a bit more.
0:52:13 > 0:52:16It's enamel on copper, which is a very complex process
0:52:16 > 0:52:21involving powdered glass, put in a kiln, fired many times with different colours
0:52:21 > 0:52:24to build up the image on the copper.
0:52:24 > 0:52:28There's no boundaries, it's a very, very tricky process.
0:52:28 > 0:52:31It's a very old process, it goes back to the medieval period.
0:52:31 > 0:52:35It was greatly revived in Britain at the very end of the 19th century.
0:52:35 > 0:52:38Arthur Gaskin and others at Birmingham School of Art.
0:52:38 > 0:52:42But the prime artist was somebody called Alexander Fisher,
0:52:42 > 0:52:44who wrote a book about how to do it,
0:52:44 > 0:52:50and many of the subjects have this lovely sort of almost Pre-Raphaelite look.
0:52:50 > 0:52:52- What do you think's going on here? - Well, I don't know.
0:52:52 > 0:52:56- Don't know?! - She's obviously giving him something, a flower.
0:52:56 > 0:53:00- I think she has flowers, she's giving him.- Well, she's picked a flower from the bush.
0:53:00 > 0:53:02I think this could be wisteria, I don't know.
0:53:02 > 0:53:05Well, I don't know the subject, but it could be Dante and Beatrice.
0:53:05 > 0:53:07- Yes, could be. - Meeting on the bridge you see.
0:53:07 > 0:53:12They've picked some legendary historical subject, which was very commonplace,
0:53:12 > 0:53:15but of course she's a completely sort of Pre-Raphaelite lady.
0:53:15 > 0:53:16Oh, absolutely.
0:53:16 > 0:53:19And so it has... full of that wonderful sort of...
0:53:19 > 0:53:23late-Victorian arts and crafts atmosphere, beautiful colours.
0:53:23 > 0:53:28Now, the secret of it is that down here in this little tiny corner, there is a name.
0:53:28 > 0:53:32Now, I can't read that, and the only way to do it is to actually take the back off,
0:53:32 > 0:53:36which we're not going to do now, cos it's very complex and must be done professionally.
0:53:36 > 0:53:39It's also got this very nice frame - OK, there are bits missing,
0:53:39 > 0:53:42but it's had a chequered past.
0:53:42 > 0:53:45So we're looking at a date of about 1890-1900.
0:53:45 > 0:53:47I'd like it to be by Alexander Fisher,
0:53:47 > 0:53:52but he did train lots of people - particularly ladies - to do this.
0:53:52 > 0:53:56Now, if it's by one of his lady assistants,
0:53:56 > 0:54:00it's still going to be £2,000.
0:54:00 > 0:54:02Good heavens.
0:54:02 > 0:54:05If it's by Alexander Fisher - and I'm not saying it is,
0:54:05 > 0:54:07but if we can put a big name to it -
0:54:07 > 0:54:10it could be £8,000, £10,000.
0:54:10 > 0:54:12Would be lovely, wouldn't it?
0:54:12 > 0:54:14So it was a good day when he saw the dust cart.
0:54:14 > 0:54:18- It was a good day when he chased the dust cart!- Yes.
0:54:20 > 0:54:24Of all the things that I see on the Antiques Roadshow, I have to say
0:54:24 > 0:54:27that tin-plate toys are my number one favourite,
0:54:27 > 0:54:30so this is a real treat for me,
0:54:30 > 0:54:32because it is a good-sized, chunky,
0:54:32 > 0:54:35tin-plate toy car,
0:54:35 > 0:54:37and much too old for you to have played with,
0:54:37 > 0:54:40though I guess you did play with it, because how could you not?
0:54:40 > 0:54:43Is it a purchase, it is a family thing or...?
0:54:43 > 0:54:47- It's a family thing, yes.- Right. - So it goes quite far back, yes.
0:54:47 > 0:54:50All right, well, let's try and work out how far back it goes,
0:54:50 > 0:54:52because we're very lucky to have... On the top here,
0:54:52 > 0:54:55I don't know if you've noticed, there's a little lozenge
0:54:55 > 0:54:58which is a trademark, which tells us about who made it.
0:54:58 > 0:55:03And looking closely, it says... it has the initials GBN
0:55:03 > 0:55:07in there, which are for Ignaz and Adolf Bing,
0:55:07 > 0:55:10known as Gebruder Bing - GB -
0:55:10 > 0:55:12and the N is for Nuremberg, which is where they were based.
0:55:12 > 0:55:19These are really an indication of the kind of quality toys
0:55:19 > 0:55:23that this particular manufacturer was making.
0:55:23 > 0:55:25Now, I don't know how many generations it goes back,
0:55:25 > 0:55:27but let me tell you when I think it was made,
0:55:27 > 0:55:31which was sometime between 1905 and 1910.
0:55:31 > 0:55:38I suppose the extraordinary fact about this company is that,
0:55:38 > 0:55:42in that time - let's say 1912, pick a date -
0:55:42 > 0:55:45their catalogue of wares, and these were just toys,
0:55:45 > 0:55:47ran to 500 pages.
0:55:47 > 0:55:52They had over 2,500 people in their workforce.
0:55:52 > 0:55:58They sold to every country, including Saudi Arabia, Argentina,
0:55:58 > 0:56:00every country throughout Europe,
0:56:00 > 0:56:04and they did that without really sacrificing quality,
0:56:04 > 0:56:07so these were master toymakers.
0:56:07 > 0:56:09What do you like about it?
0:56:09 > 0:56:12I've told you what I like about it - you must like something.
0:56:12 > 0:56:15I like the little man inside. I think he's quite sweet, really,
0:56:15 > 0:56:18the way he's sort of perched in his seat,
0:56:18 > 0:56:20and the fact that it goes as well, the fact it works,
0:56:20 > 0:56:22I think that's quite special,
0:56:22 > 0:56:25to have something so old that still works as a toy, fundamentally.
0:56:25 > 0:56:27God, dare I take the handbrake off?
0:56:27 > 0:56:29- Give it a try.- I'll catch you!
0:56:29 > 0:56:32OK, let's just give it whizz.
0:56:36 > 0:56:38OK, now I'm not going to risk it.
0:56:38 > 0:56:41- OK, we can see it works, it has the key.- The wheels go round.
0:56:41 > 0:56:43Exactly.
0:56:43 > 0:56:45I agree with you. I love the little man in there.
0:56:45 > 0:56:48Very often, they came with little figures.
0:56:48 > 0:56:53This is one in not brilliant condition, but it's lovely that it's there.
0:56:53 > 0:56:55They're very easy to restore.
0:56:55 > 0:56:58I suppose we ought to... to think about value, really.
0:56:58 > 0:57:01To go out now and sell a car like this,
0:57:01 > 0:57:06I know that the market in America is red, red hot,
0:57:06 > 0:57:09there have been a series of sales out there
0:57:09 > 0:57:15which have set new benchmarks for toy vehicles and toys of this period
0:57:15 > 0:57:19across the board, and I would put this at between £10,000 and £12,000.
0:57:19 > 0:57:21Wow!
0:57:21 > 0:57:24That's quite impressive.
0:57:26 > 0:57:28Oh, wow! >
0:57:28 > 0:57:29Wow!
0:57:29 > 0:57:34It's a great survivor, in any case, and a real treasure,
0:57:34 > 0:57:37- so thank you very much for bringing it.- Thank you.
0:57:37 > 0:57:42We've so much enjoyed our day here at the Weald and Downland Open Air Museum.
0:57:42 > 0:57:46I can hardly believe it, but it's the end of the series.
0:57:46 > 0:57:49We've spent the last six months criss-crossing the country,
0:57:49 > 0:57:52seeing amazing things in the most beautiful locations,
0:57:52 > 0:57:53and now it's come to an end.
0:57:53 > 0:57:56But if you'd like to come to some of our next locations
0:57:56 > 0:57:59for the next series, why don't you have a look at our website...?
0:58:01 > 0:58:05And who knows, next time, we could be seeing you.
0:58:05 > 0:58:07Bye-bye!
0:58:17 > 0:58:19Subtitles by Red Bee Media Ltd