0:00:03 > 0:00:06This week, we've come to the beautiful Dorset coast.
0:00:06 > 0:00:09Here, near the famous beauty spot of Lulworth Cove,
0:00:09 > 0:00:13stands Lulworth Castle, set in glorious secluded grounds.
0:00:13 > 0:00:16Just the place to relax.
0:00:16 > 0:00:19Enjoy the peace and quiet...
0:00:19 > 0:00:21ARTILLERY FIRE
0:00:21 > 0:00:22Or maybe not!
0:00:22 > 0:00:25This week, the Antiques Roadshow comes to you from a castle
0:00:25 > 0:00:27with a very unusual back garden.
0:00:27 > 0:00:28ARTILLERY FIRE
0:00:28 > 0:00:30BELL RINGS
0:01:08 > 0:01:14Since 1916, part of Lulworth Castle's huge estate has been
0:01:14 > 0:01:17a firing range... with the odd tank here and there.
0:01:21 > 0:01:26Back then, when tanks first arrived in the quiet lanes of Dorset,
0:01:26 > 0:01:30they were so new and so secret, they were known as "hush-hushes"
0:01:30 > 0:01:33and the residents had to pull their blinds down
0:01:33 > 0:01:35and stay in the back room as they passed by.
0:01:38 > 0:01:40These days, tanks aren't quite so hush-hush.
0:01:40 > 0:01:44I've come to Bovington,
0:01:46 > 0:01:49It's filled with historic tanks, spanning the decades,
0:01:49 > 0:01:53including the first-ever tank, Little Willie.
0:01:55 > 0:01:57And guess who gets to drive this one?
0:01:57 > 0:02:00A 432 armoured personnel carrier.
0:02:00 > 0:02:02I've got some illustrious predecessors.
0:02:02 > 0:02:05King George V was in a tank here in 1928,
0:02:05 > 0:02:09Princes William and Harry learned here, and then, who could forget?
0:02:09 > 0:02:13That Iron Lady, Margaret Thatcher, in a headscarf and goggles.
0:02:13 > 0:02:15Well, I was tempted but I can't find those.
0:02:15 > 0:02:19Instead, I've been given this rather natty helmet.
0:02:19 > 0:02:21Off we go!
0:02:24 > 0:02:27Of course they won't let me loose in this thing alone.
0:02:27 > 0:02:29Instructor Roy Avery will be keeping a close eye on me.
0:02:29 > 0:02:32The faster you go, the lighter it becomes.
0:02:32 > 0:02:34I wasn't thinking of going too fast.
0:02:34 > 0:02:37Well, I don't know, you might get carried away!
0:02:37 > 0:02:39ENGINE GRINDS AND ROARS
0:02:47 > 0:02:51'You'd think something weighing 15 tonnes would be slow and lumbering,
0:02:51 > 0:02:56'but with a top speed of 32mph, this is really pretty nippy.'
0:02:56 > 0:02:58Shall I go straight ahead? Yeah.
0:03:00 > 0:03:05'I'll tell you what. Perched at the front, it feels a lot faster.'
0:03:08 > 0:03:11'I think I could rather get to like riding in tanks,
0:03:11 > 0:03:12'and despite all the noise,
0:03:12 > 0:03:16'perhaps Lulworth has reason to love them, too?'
0:03:17 > 0:03:21It seems that the big guns and the tanks are doing some good,
0:03:21 > 0:03:26protecting the heathland, acting as a big, noisy nature reserve.
0:03:26 > 0:03:29In fact, this is a World Heritage Site.
0:03:29 > 0:03:33The only one that also doubles as a firing range.
0:03:33 > 0:03:46Since today's venue, the castle, is just over there,
0:03:46 > 0:03:51is a company called Whitanco, and it's your family company.
0:03:51 > 0:03:52It is indeed.
0:03:52 > 0:03:56My grandfather and grandmother both died
0:03:56 > 0:03:58when my father was five years old,
0:03:58 > 0:04:03and I was shown this catalogue when I was a child.
0:04:03 > 0:04:06And you said, "Great, where's the company!?"
0:04:06 > 0:04:11That's true. But, of course, at the time, it was just a catalogue
0:04:11 > 0:04:14of some old toys, and I was more into toys of the time.
0:04:14 > 0:04:17This came out of, basically, the attic, you know,
0:04:17 > 0:04:20and from there I've been trying to research the company
0:04:20 > 0:04:22and find the toys. Brilliant!
0:04:22 > 0:04:24So when did all this start?
0:04:24 > 0:04:27This started in 1997.
0:04:27 > 0:04:29Quite late, I have to say. Very late!
0:04:29 > 0:04:32As far as the toy market is concerned. Very late.
0:04:32 > 0:04:35You know, the market was pretty well developed by that point.
0:04:35 > 0:04:37That's right, unfortunately.
0:04:37 > 0:04:41So, I can't believe that there are any huge bargains to be had,
0:04:41 > 0:04:44but let's just talk about Whitanco which is, as we can see
0:04:44 > 0:04:47on their 1921 catalogue,
0:04:47 > 0:04:59it's a shortened form of the company name, Whiteley, Tansley and Company.
0:04:59 > 0:05:03because let's put it into context.
0:05:03 > 0:05:08Before the First World War, most tin plate toys were coming from Germany.
0:05:08 > 0:05:11That's right. And after the First World War,
0:05:11 > 0:05:15the British were not very keen on buying German-produced goods,
0:05:15 > 0:05:19and so Whitanco had really
0:05:19 > 0:05:22a very fertile ground to exploit.
0:05:23 > 0:05:26But looking at the actual quality of the products,
0:05:26 > 0:05:28one has to say that it's a bit mixed.
0:05:28 > 0:05:33On the one hand, you have this big limousine down here,
0:05:33 > 0:05:39which would rival any of the really expensive
0:05:39 > 0:05:42and desirable toys made from...
0:05:42 > 0:05:46really the 1910 period upwards, in Germany.
0:05:46 > 0:05:50I mean, it's a fabulous limousine. Yeah.
0:05:50 > 0:06:00And then you get to something like the spinning top, which obviously...
0:06:00 > 0:06:06One of the objects here that is most arresting, perhaps, is the tank.
0:06:06 > 0:06:17Here we are in Dorset. Just up the road there is Bovington Tank Museum.
0:06:17 > 0:06:27that we're looking at a tank. Does it work? It does, it does.
0:06:27 > 0:06:30so it's something that people would be familiar with.
0:06:30 > 0:06:33Let's see if it works after all these years.
0:06:39 > 0:06:42OK. You're safe!
0:06:42 > 0:06:44So, as far as value's concerned,
0:06:44 > 0:06:46this won't be a great discovery moment for you
0:06:46 > 0:06:51because you've been buying them over the last 13 years.
0:06:51 > 0:06:54So, I think that the values vary
0:06:54 > 0:06:58between perhaps ?800 to ?1,000 for the limo,
0:06:58 > 0:07:02down to under ?100, for instance, for the spinning top.
0:07:02 > 0:07:05Within that range, we've got other things
0:07:05 > 0:07:08at ?300, ?200 and so on,
0:07:08 > 0:07:11so is it like getting the family back together again?
0:07:11 > 0:07:16Every part I find is a bit like finding part of my grandfather, you know, who died in 1923.
0:07:16 > 0:07:19Well, good luck with it. Thank you.
0:07:20 > 0:07:23I'm looking at a piece of paper here
0:07:23 > 0:07:26which is headed with the word "abdication".
0:07:26 > 0:07:28Now, that takes us straight into
0:07:28 > 0:07:31very exciting contemporary history.
0:07:31 > 0:07:35I don't know what it is about the Duke and Duchess of Windsor.
0:07:35 > 0:07:38They are just so much part of our imagination.
0:07:38 > 0:07:40There are films, there are books,
0:07:40 > 0:07:44there've been wonderful sales of the Duchess' jewels.
0:07:44 > 0:07:48It's something that we all grab onto as part of our history,
0:07:48 > 0:07:52even though it's actually a terrible story, when you look at it.
0:07:52 > 0:07:56This seems to be an abdication statement, but why have you got it?
0:07:56 > 0:08:01I have got it because my great uncle was the Naval Secretary at the time
0:08:01 > 0:08:03and he was obviously sent this.
0:08:03 > 0:08:07So what we're looking at here, is not that famous broadcast
0:08:07 > 0:08:10where he said, "I can't live without the woman I love". No.
0:08:10 > 0:08:12But this is almost more important,
0:08:12 > 0:08:14as this is the formal statement of abdication
0:08:14 > 0:08:18which he then signed, a crucial piece of history.
0:08:18 > 0:08:21If we look at the back, there's a circulation list
0:08:21 > 0:08:25and they're all very, very important naval officers, First Sea Lord,
0:08:25 > 0:08:27the First Lord of the Admiralty.
0:08:27 > 0:08:32It was obviously very, very restricted access. Is that him? Yes.
0:08:32 > 0:08:33Naval Secretary. Yes.
0:08:33 > 0:08:37He must have been a very senior and distinguished naval officer
0:08:37 > 0:08:39to be part of this process.
0:08:39 > 0:08:43I think I'm going to read the first sentence because it really says it all.
0:08:43 > 0:08:46"After long and anxious consideration,
0:08:46 > 0:08:48"I have determined to renounce the Throne
0:08:48 > 0:08:51"to which I succeeded on the death of my father,
0:08:51 > 0:08:55"and I am now communicating this, my final and irrevocable decision".
0:08:55 > 0:08:58This had never happened in history before.
0:08:58 > 0:09:01This is the moment all our lives changed, really.
0:09:01 > 0:09:05Obviously, there's been a whole film about it, which we've all enjoyed.
0:09:05 > 0:09:08So you always had it? Yes. It's been in the sort of family papers?
0:09:08 > 0:09:10Yes, it's been in a drawer, and I just...
0:09:10 > 0:09:14But you brought it today. Yes. I thought it'd be interesting.
0:09:14 > 0:09:17It's more than interesting, it's very valuable.
0:09:17 > 0:09:20I can see a collector being very excited by this -
0:09:20 > 0:09:22a rare chance to get something
0:09:22 > 0:09:25which was the instrument of changing history.
0:09:25 > 0:09:29I'm going to say it's going to be between ?500 and ?1,000. Gosh!
0:09:29 > 0:09:32And why not? It's a great family treasure. Yes.
0:09:32 > 0:09:35And a great national treasure. Thank you very much.
0:09:38 > 0:09:41Because we're surrounded here with loads and loads of sheep,
0:09:41 > 0:09:43wonderful landscape beyond, too,
0:09:43 > 0:09:50Lulworth must be the perfect setting to see a really lovely Victorian landscape
0:09:50 > 0:09:52by Charles Jones, depicting sheep.
0:09:52 > 0:09:56You can see lower right that there's a monogram and it's dated 1888.
0:09:56 > 0:09:59And he was known as "Sheep Jones",
0:09:59 > 0:10:02the artist Sheep Jones from the Victorian period.
0:10:02 > 0:10:04And that's all he painted.
0:10:04 > 0:10:06Occasionally the odd cow, but mostly sheep.
0:10:06 > 0:10:10And I thought we might just go and see whether we think,
0:10:10 > 0:10:14make our own judgments, whether Mr Jones WAS a great sheep painter.
0:10:14 > 0:10:16Excellent.
0:10:20 > 0:10:26These have to be the largest pair of knickers I've ever seen, I think!
0:10:26 > 0:10:28I've never tried them on, I can tell you.
0:10:28 > 0:10:30I'm extremely glad you haven't!
0:10:30 > 0:10:34My sister has been holding on to them all these years, all wrapped away.
0:10:34 > 0:10:39So, because of this great insignia here, we can tell they were actually
0:10:39 > 0:10:44owned, and presumably worn, by Queen Victoria. Correct.
0:10:44 > 0:10:49And, seemingly, when she was a young girl, she had a 20-inch waist.
0:10:49 > 0:10:50Nine children later...
0:10:50 > 0:10:54Yes. That's halfway there.
0:10:54 > 0:10:58I think she's 50-something. So where did you get these?
0:10:58 > 0:11:05My sister's husband had a second-hand shop back in the '60s.
0:11:05 > 0:11:07And he inherited it from his father.
0:11:07 > 0:11:11They were cleaning the shop up and painting bits,
0:11:11 > 0:11:14and they were using this pile of rag out at the back.
0:11:14 > 0:11:17And here it was... And my mother spotted these.
0:11:17 > 0:11:20The Queen's knickers. The Queen's knickers.
0:11:20 > 0:11:23You've done a bit of research on that. I have.
0:11:23 > 0:11:29Some went about two years ago and I think they fetched getting on for 3,000, ?4,000.
0:11:29 > 0:11:31I can't remember the exact figure. Gosh!
0:11:31 > 0:11:35There's a lot of interest in Queen Victoria, royal memorabilia... Yes.
0:11:35 > 0:11:37There's a tremendous upsurge of interest now.
0:11:37 > 0:11:40And, of course, the Americans are fascinated, the Japanese. Yes.
0:11:40 > 0:11:45Unfortunately, I don't think these would fetch that now. Right.
0:11:45 > 0:11:48The thing about it is, she had a tremendous number of pairs of these
0:11:48 > 0:11:51and for all the different houses she had,
0:11:51 > 0:11:53so there are quite a lot of them around
0:11:53 > 0:11:56and I would say, really, now,
0:11:56 > 0:11:59probably ?500 to ?600.
0:11:59 > 0:12:01Right. OK. But still... OK.
0:12:01 > 0:12:04For a pair of knickers. Exactly! LAUGHTER
0:12:04 > 0:12:07Probably worth saving, then.
0:12:10 > 0:12:14If we imagine Charles Jones standing here with his easel
0:12:14 > 0:12:18in 1888, painting this lovely landscape with the sheep beyond.
0:12:18 > 0:12:22I think comparing this picture with the present beautiful landscape,
0:12:22 > 0:12:26he was pretty good and I now can see why he had his reputation
0:12:26 > 0:12:27as Sheep Jones.
0:12:27 > 0:12:30You get all the light and wonderful texture,
0:12:30 > 0:12:34but also the landscape's good. Tell me, where did it come from?
0:12:34 > 0:12:38It came from my mother. She was a housekeeper at Keele University,
0:12:38 > 0:12:40at the Provost's Lodge,
0:12:40 > 0:12:44and the Provost there was a man called Sir George Barnes,
0:12:44 > 0:12:46who, unfortunately, died of a long illness,
0:12:46 > 0:12:48which my mother looked after him,
0:12:48 > 0:12:53and the family were so grateful, they bequeathed her this picture,
0:12:53 > 0:12:55and since then it's been in our family.
0:12:55 > 0:12:57But we greatly admire it.
0:12:57 > 0:13:01It's something to be wondered at, isn't it, really? Yeah.
0:13:01 > 0:13:05The features are unbelievable.
0:13:05 > 0:13:06That's a lovely bit of history.
0:13:06 > 0:13:10It's always good to know a good bit of history on a painting.
0:13:10 > 0:13:12Of course, he was a very good painter.
0:13:12 > 0:13:15He exhibited at the Royal Academy.
0:13:15 > 0:13:20Your picture is painted quite late in his career, '88.
0:13:20 > 0:13:24But I have seen earlier pictures, from the '60s - 1860s, 1870s -
0:13:24 > 0:13:26which are much, much tighter in quality.
0:13:26 > 0:13:29And I think it's from the '60s he got his reputation
0:13:29 > 0:13:32for being one of the great animal painters of his time. Yes.
0:13:32 > 0:13:36Anyway, this is still a very good picture by Charles Jones,
0:13:36 > 0:13:38Sheep Jones. Brilliant, yes.
0:13:38 > 0:13:42And this is worth ?3,000 to ?5,000. Wow!
0:13:42 > 0:13:44Thank you.
0:13:44 > 0:13:46Don't know...
0:13:46 > 0:13:51Well, there we are. It's an insurance job for me, isn't it? Thank you.
0:13:56 > 0:13:58What a gorgeous carriage clock.
0:13:58 > 0:14:00How did you get it?
0:14:00 > 0:14:03It's been in the family for quite a few years.
0:14:03 > 0:14:06My mother had it for many years and she got that, we think,
0:14:06 > 0:14:09from her grandmother,
0:14:09 > 0:14:12who was born somewhere in the middle of the 19th century.
0:14:12 > 0:14:14What sort of date do you think the clock might be?
0:14:14 > 0:14:18Well, somewhere... 1870s on, I would've thought.
0:14:18 > 0:14:21But I don't... Where you put more accurately than that.
0:14:21 > 0:14:25Well, I think that's fairly useful. It's a little bit later than that.
0:14:25 > 0:14:29I'd happily say 1875 to 1880 for that clock.
0:14:29 > 0:14:31Maybe just a little bit later.
0:14:31 > 0:14:34The joy is that on the inside of the box here,
0:14:34 > 0:14:40we've got the signature of Jean Badollet and Company.
0:14:40 > 0:14:43Jean actually died in the 1850s,
0:14:43 > 0:14:47but there were a series of Badollets up until the 1920s
0:14:47 > 0:14:53and they had an uninterrupted line of clock and watch makers for three centuries, as a family.
0:14:53 > 0:14:55So these are great, great people.
0:14:55 > 0:15:01Now, the very best carriage clocks are always signed. Ah.
0:15:01 > 0:15:05This is particularly lovely because we have a full signature,
0:15:05 > 0:15:08very unusually, on the side of this plate.
0:15:08 > 0:15:11Do you see, on the edge of that plate? Oh, I see, yes.
0:15:11 > 0:15:13Now, that is a sign of great quality. Ah.
0:15:13 > 0:15:16The movement itself,
0:15:16 > 0:15:19in all honesty, is going to be French. And the platform,
0:15:19 > 0:15:22that's the bit on top, the rectangular silvered bit,
0:15:22 > 0:15:25will almost certainly be made in Switzerland.
0:15:25 > 0:15:28So it would've been finished by Badollet
0:15:28 > 0:15:30in their Geneva manufacturing.
0:15:30 > 0:15:35We have a top-of-the-range case, beautifully engraved with flowers.
0:15:37 > 0:15:40The porcelain dial is lovely.
0:15:40 > 0:15:45We've got this little cherub within the dial centre.
0:15:45 > 0:15:47Do you have it working? No.
0:15:47 > 0:15:49It used to work about 15 years ago or so,
0:15:49 > 0:15:52but it's gradually got slower and slower,
0:15:52 > 0:15:53and finally it's ground to a halt.
0:15:53 > 0:15:57It really is worthwhile having it cleaned and overhauled.
0:15:57 > 0:16:01With that case and that clock - it's a jolly good thing -
0:16:01 > 0:16:06I think, ooh, happily ?3,500.
0:16:06 > 0:16:09Not bad at all! Thank you very much for that.
0:16:09 > 0:16:13So, again, worth spending a little bit of money having it cleaned.
0:16:13 > 0:16:14I definitely shall. Great.
0:16:25 > 0:16:29Now, what qualifies our experts to be called such, you might wonder.
0:16:29 > 0:16:33Well, one thing, among many, is their ability to spot subtle
0:16:33 > 0:16:37differences that can make a huge financial impact on the object.
0:16:37 > 0:16:39Like this teapot, for example.
0:16:39 > 0:16:42We've got three teapots here.
0:16:42 > 0:16:47They all look pretty similar to me, but one of them is worth about ?200,
0:16:47 > 0:16:48one about ?2,000,
0:16:48 > 0:16:53and one is much rarer, is worth about ?20,000.
0:16:53 > 0:16:57Fergus Gambon has set me, you, and our visitors, a challenge,
0:16:57 > 0:16:59to see if we can tell the difference.
0:16:59 > 0:17:02I'll have to do some homework but let's see if our visitors can help.
0:17:06 > 0:17:08Do you know anything about teapots?
0:17:08 > 0:17:09No.
0:17:09 > 0:17:12But you like drinking tea? Absolutely.
0:17:12 > 0:17:13Well, that's a start.
0:17:13 > 0:17:14Best.
0:17:23 > 0:17:25Best, yes. OK.
0:17:25 > 0:17:26Better.
0:17:28 > 0:17:29Better, I'll move it for you.
0:17:29 > 0:17:31Basic.
0:17:31 > 0:17:33And why do you think that's the best?
0:17:33 > 0:17:36Er, because of this detail here on the lid.
0:17:39 > 0:17:42Why do you think this is the cheaper one?
0:17:42 > 0:17:44I think it looks transfer printed.
0:17:46 > 0:17:47This one just looks like
0:17:47 > 0:17:50a bit of a cheap copy that someone's made at home really.
0:17:50 > 0:17:54Someone's knocked up? Yeah.
0:17:54 > 0:18:04I'll look really stupid then, won't I?
0:18:04 > 0:18:07Do you know, you have made me a very happy man.
0:18:07 > 0:18:24Oh, I'm glad of that.
0:18:24 > 0:18:26Some are, and some aren't.
0:18:26 > 0:18:29They were in a sense presentation,
0:18:29 > 0:18:33so, yes, at the time of Baptism and particularly, for example,
0:18:33 > 0:18:39with these Apostle spoons, there you can see, we've got St Peter.
0:18:39 > 0:18:41The key a very obvious feature for him there.
0:18:41 > 0:18:44But it's a Barnstaple spoon,
0:18:44 > 0:18:47and some of the best spoons in the 16th and 17th century were actually
0:18:47 > 0:18:52made in Barnstaple, there were some really top spoon makers there.
0:18:52 > 0:18:55The thinking is that if you were going to be called Peter...
0:18:55 > 0:18:57You'd have one made. With St Peter on the top,
0:18:57 > 0:19:01you know, being born with a silver spoon in your mouth. True.
0:19:01 > 0:19:04So at the christening side, baptismal side, you'd get that.
0:19:04 > 0:19:07But then of course you can also get
0:19:07 > 0:19:10what's known actually as a Puritan spoon.
0:19:10 > 0:19:14It wasn't known as a Puritan spoon in the 17th century
0:19:14 > 0:19:20when it was made, but here we've actually got a marriage.
0:19:20 > 0:19:22Ah yes, yes.
0:19:22 > 0:19:25And we can go to other end of life as well.
0:19:25 > 0:19:29And here we've got two absolutely fascinating ones,
0:19:29 > 0:19:32they're a pair of spoons and the inscription that we've
0:19:32 > 0:19:37got here "Martha Pope" and "Memoria 1629".
0:19:37 > 0:19:41Oh, right. It was quite usual at the time of a funeral for there to be
0:19:41 > 0:19:47funeral gifts and spoons were particularly used in this way.
0:19:48 > 0:19:50That's exciting, but this one...
0:19:50 > 0:19:55What we've got on the top here is this figure of a lion.
0:19:55 > 0:19:57Ah, right.
0:19:57 > 0:19:59It's so beautifully modelled,
0:19:59 > 0:20:02can you see how you actually can see behind the legs?
0:20:02 > 0:20:03Good heavens.
0:20:03 > 0:20:06So many of them were just a sort of blob of metal.
0:20:06 > 0:20:10And this one was actually made by Robert Wade,
0:20:10 > 0:20:15and he was working in Bridgwater and in Taunton as well.
0:20:15 > 0:20:17And that again is 17th century.
0:20:17 > 0:20:21I should have listened to my husband when he told me about them.
0:20:21 > 0:20:23So he was actually the collector?
0:20:23 > 0:20:26Oh, yes, as a small boy he used to bicycle round the countryside.
0:20:26 > 0:20:31Gosh. Where do we start with value?
0:20:31 > 0:20:33A spoon like this,
0:20:33 > 0:20:36I would think today...
0:20:36 > 0:20:39we're looking at about ?6,000.
0:20:39 > 0:20:41Good gosh, yes.
0:20:41 > 0:20:44I knew it was valuable, but nothing like that, I must say. Right.
0:20:44 > 0:20:52This one, I have to say Puritans are really quite rare, ?2,000 to ?3,000.
0:20:52 > 0:20:54Yes.
0:20:54 > 0:21:00And the Robert Wade spoon, very desirable, ?3,000 to ?4,000.
0:21:00 > 0:21:03Ooh... Getting rather frightened!
0:21:03 > 0:21:05It adds up...
0:21:05 > 0:21:09These, this pair, they've got to be ?5,000, ?6,000 for the pair.
0:21:11 > 0:21:15Well, they're going straight in the bank again. Right.
0:21:15 > 0:21:20I mean, overall, we're probably looking in excess of ?30,000...
0:21:20 > 0:21:22maybe ?40,000.
0:21:22 > 0:21:24Gosh, yes, that's quite something, isn't it?
0:21:24 > 0:21:27I knew they were good, but not that good.
0:21:33 > 0:21:38Well, no doubt the castle holds a secret or two, but I gather your desk does also?
0:21:38 > 0:21:41It's got lots of secret drawers, yes.
0:21:41 > 0:21:43Are you going to show me? I'll try.
0:21:43 > 0:21:45Have you ever counted them?
0:21:45 > 0:21:47I haven't, no, but it's lots.
0:21:47 > 0:21:50And where does it come from? It belonged to my grandmother.
0:21:50 > 0:21:54We think she got it as part of a payment of a bill.
0:21:54 > 0:21:56Shall we have a go? Yes, if you're up for it.
0:21:56 > 0:21:57Well, I can see a pin here.
0:21:57 > 0:22:01Yes. And it normally starts with a nail or a pin, doesn't it?
0:22:01 > 0:22:03Yes, yes. That's right, that's right.
0:22:03 > 0:22:07That's right, there's one at the back of there.
0:22:07 > 0:22:10OK, well, that's stained beech. Oh, is it?
0:22:10 > 0:22:13That doesn't look quite as old as some of the rest of it.
0:22:14 > 0:22:18That's more 19th-century, bit of pine and a bit of oak together.
0:22:18 > 0:22:20And these are all little drawers here.
0:22:20 > 0:22:24Shall we lift that whole section out?
0:22:24 > 0:22:27Demolishing your desk! No, it's fine.
0:22:27 > 0:22:29Just goes on and on, doesn't it? Yeah.
0:22:29 > 0:22:31And so you know it goes back to the 1940s.
0:22:31 > 0:22:34Yeah, way before that. It was old then.
0:22:34 > 0:22:36Yes, and what's your idea of its date?
0:22:36 > 0:22:391890, something like that?
0:22:39 > 0:22:40Yes, that's right. Oh, is it?
0:22:40 > 0:22:43Almost any date you said, could have been right.
0:22:43 > 0:22:46It could? Ah!
0:22:46 > 0:22:50Looking at the back, the back is all early 20th century, there are
0:22:50 > 0:22:54some stunning bits of timber here which date from the 17th century.
0:22:54 > 0:22:58This all looks like George III oak side table,
0:22:58 > 0:23:02but actually it doesn't quite fit. Can you see the legs overhang? Yeah.
0:23:02 > 0:23:04The base is actually too wide for the top. Yes.
0:23:04 > 0:23:07And then sort of, to try to piece it together,
0:23:07 > 0:23:09and there's a very nice lock in there,
0:23:09 > 0:23:13but then this escutcheon is a bit of early 20th-century fretwork.
0:23:13 > 0:23:18Oh, is it? So almost any date you care to mention. A mixture, yeah.
0:23:18 > 0:23:21What's it worth? ?150 maybe ?200.
0:23:21 > 0:23:25SHE LAUGHS But you won't find another one for that!
0:23:25 > 0:23:29I'm absolutely certain I will never see another piece of furniture just like this.
0:23:29 > 0:23:33No. The only thing now is, we've got to put it all back together again.
0:23:33 > 0:23:36I hope you know where everything goes. After you!
0:23:36 > 0:23:40Well, I know where this one goes. Yeah, that's in.
0:23:53 > 0:23:56Earlier on, our ceramics specialist, Fergus Gambon,
0:23:56 > 0:23:59set us a little challenge, to try and work out
0:23:59 > 0:24:05which of these three teapots is basic - worth about ?200,
0:24:05 > 0:24:09better - worth about ?2,000, and the best - worth about ?20,000.
0:24:09 > 0:24:12Now, they're all English, all 18th-century and, to me,
0:24:12 > 0:24:16they look pretty similar. We all struggled a bit with this, actually.
0:24:16 > 0:24:18Fergus, this was quite hard.
0:24:18 > 0:24:23I didn't quite know where to begin, actually. Are we looking for marks?
0:24:23 > 0:24:26I think marks are what we are not looking for. Oh, OK.
0:24:26 > 0:24:30Marks would be easy, if it was all marks, the thing would be easy.
0:24:30 > 0:24:33Most, or a lot of, 18th-century English porcelain
0:24:33 > 0:24:34is completely unmarked,
0:24:34 > 0:24:38or sometimes, there's a mark of an entirely different factory,
0:24:38 > 0:24:40so the way we do it, is not look at the marks.
0:24:40 > 0:24:42We look at the marks last.
0:24:42 > 0:24:46We look at the paste and the glaze, and the shape and the decoration.
0:24:46 > 0:24:50Now, some of these are in better nick than others. Yes.
0:24:50 > 0:24:53That one's got a whopping great crack there.
0:24:53 > 0:24:56And then a crack inside as well.
0:24:56 > 0:24:59Yes, yes. Does that affect the value?
0:24:59 > 0:25:02Generally, damage makes a big difference, it really does.
0:25:02 > 0:25:05A damaged item is worth less than half of the perfect one.
0:25:05 > 0:25:08It depends what kind of objects you're looking at.
0:25:08 > 0:25:11If it's something, perhaps there's only one or two in the world,
0:25:11 > 0:25:15if it's damaged, it doesn't matter, because you won't get another.
0:25:15 > 0:25:18A crack in a teapot is a pretty fundamental problem.
0:25:18 > 0:25:20It makes it unusable, doesn't it?
0:25:20 > 0:25:23But, a crack in a teapot actually indicates
0:25:23 > 0:25:27how well the teapot's made, because when you make a cup of tea,
0:25:27 > 0:25:31you pour boiling water into the pot, and not all porcelains are the same.
0:25:31 > 0:25:35A good porcelain teapot won't crack. We're very used to teapots
0:25:35 > 0:25:37that don't crack, but in the 18th century,
0:25:37 > 0:25:40many teapots that people paid good money for, they took them home,
0:25:40 > 0:25:44they poured boiling water in, and they cracked, just like this.
0:25:44 > 0:25:50And it's often a circular crack like that which is a heat-shock crack.
0:25:50 > 0:25:53So, seeing a teapot cracked in that way,
0:25:53 > 0:25:55that was made in the 18th century, isn't that unusual.
0:25:55 > 0:25:59They were really struggling. I'm now thinking I've made the wrong choice,
0:25:59 > 0:26:01given what you've just said.
0:26:01 > 0:26:05I decided that this, in consultation with our visitors here... Right.
0:26:05 > 0:26:09..was basic, because it just didn't look very detailed. Right.
0:26:09 > 0:26:11I was very torn between these two.
0:26:11 > 0:26:15Because this looked finer, the paintwork on it. Yeah.
0:26:15 > 0:26:19The detail was just so beautiful, and the colour of it's so beautiful.
0:26:19 > 0:26:22But it's got this whopping great crack. Quite a long crack.
0:26:22 > 0:26:23So I put that as better. Yes.
0:26:23 > 0:26:26Even though I don't like it as much, I put this as best
0:26:26 > 0:26:29because it has this lovely detail on the top. Right.
0:26:29 > 0:26:30And hasn't got a crack.
0:26:30 > 0:26:32No, OK.
0:26:32 > 0:26:34You've got it all wrong. Oh!
0:26:37 > 0:26:39Which you love, of course!
0:26:39 > 0:26:42Not one of them is right. Oh, no, not one!
0:26:42 > 0:26:45No. So if we start at the bottom,
0:26:45 > 0:26:47the basic is that.
0:26:47 > 0:26:50Why? Which is the, as you say, the kind of best-looking one.
0:26:50 > 0:26:54Yes, right. Well, it's Worcester, it isn't cracked.
0:26:54 > 0:26:57Worcester porcelain was warranted to stand the heat.
0:26:57 > 0:26:58So that's a good thing.
0:26:58 > 0:27:02That's a good thing. But lots of teapots were sold because of that.
0:27:02 > 0:27:04Everyone wanted them. They sold lots of them.
0:27:04 > 0:27:08And this is printed, not painted, and it's also quite late.
0:27:08 > 0:27:13It's about 1780-1785, and by that date, much of the interest has gone
0:27:13 > 0:27:16for 18th-century English porcelain collectors.
0:27:16 > 0:27:18OK, I'm liking you less now, Fergus. Sorry!
0:27:18 > 0:27:22I'm sorry, I'll carry on! And then the better one is this one.
0:27:22 > 0:27:28Oh! And it's also Worcester, but it's a bit earlier than the basic,
0:27:28 > 0:27:36it's about 1758 to 1760.
0:27:36 > 0:27:39I mean, for porcelain collectors this is a wonderful design,
0:27:39 > 0:27:48a hand-painted dragon, after Chinese porcelain.
0:27:48 > 0:27:50as opposed to ?200 for the basic.
0:27:50 > 0:27:54Yes, good. And so this one is the best?
0:27:54 > 0:27:57This one is the best. With the big crack and damage?
0:27:57 > 0:27:59The big crack, well, because it's early,
0:27:59 > 0:28:02really early on in the history of English porcelain.
0:28:02 > 0:28:07That little teapot was made between 1746 and 1748.
0:28:07 > 0:28:09How can you be so precise?
0:28:09 > 0:28:12The factory was in production for a very short period of time.
0:28:12 > 0:28:14Which factory was that?
0:28:14 > 0:28:17Limehouse in the East End of London in what is now Narrow Street,
0:28:17 > 0:28:21and there were a very, very, very small number of them,
0:28:21 > 0:28:25and the fact that it's cracked is a negative point,
0:28:25 > 0:28:38but there isn't another.
0:28:38 > 0:28:42So it's really all a question of the noughts.
0:28:42 > 0:28:47?2,000,
0:28:47 > 0:28:48Gosh!
0:28:48 > 0:28:54For a totally unmarked teapot.
0:28:54 > 0:28:58So, basic, better and best and all I'll say in my defence
0:28:58 > 0:29:03is I did always really like this one, Fergus.
0:29:03 > 0:29:11you've got some idea what to look for, if you didn't already.
0:29:11 > 0:29:14look on our website and you can see the locations we'll be coming to.
0:29:14 > 0:29:18The address is:
0:29:26 > 0:29:29We're in Montmartre in the 1890s,
0:29:29 > 0:29:32absolutely my favourite time
0:29:32 > 0:29:35in any city in the world, 1890s Paris.
0:29:35 > 0:29:39And this is by Theophile-Alexandre Steinlen, you can see that.
0:29:39 > 0:29:42He was a Swiss, and he knew Toulouse-Lautrec,
0:29:42 > 0:29:46he knew Alphonse Mucha, and they were pretty well involved
0:29:46 > 0:29:50in the same business, in that they were designing posters.
0:29:50 > 0:29:54And particularly, what Steinlen did, was design posters
0:29:54 > 0:29:58for Le Chat Noir, an exhibiting venue and music hall
0:29:58 > 0:30:03in Montmartre. And of course, his great love was cats.
0:30:03 > 0:30:10Steinlen's own house was a meeting house for all the Parisian cats.
0:30:10 > 0:30:18Lift a cushion and there was another one.
0:30:18 > 0:30:21Um, I got it in a garage sale about a year ago.
0:30:21 > 0:30:31That great source for great art.
0:30:31 > 0:30:34and I loved the composition of it.
0:30:34 > 0:30:37I love the colours of the tortoiseshell cat,
0:30:37 > 0:30:41and it looked French, because when I looked at it,
0:30:41 > 0:30:44I thought of Toulouse-Lautrec, immediately.
0:30:44 > 0:30:48Immediately, I thought of his posters and his other engravings
0:30:48 > 0:30:51and things like that, and that's what actually...
0:30:51 > 0:30:55But did you know anything about it? I didn't know the name, no.
0:30:55 > 0:30:56But I could see that it was...
0:30:56 > 0:30:59Is it a silk screen, is it, or something like that?
0:30:59 > 0:31:02Yes, it's a kind of screen print and it's on silk actually,
0:31:02 > 0:31:04it's the boldest, most powerful image
0:31:04 > 0:31:06of the most cat-like cats you've ever seen. Yes.
0:31:06 > 0:31:16And it really does have a simplicity that punches home, doesn't it?
0:31:16 > 0:31:20Did you bargain to get it down that low? Definitely, yes.
0:31:20 > 0:31:23Haggled? I haggled. Yeah, yeah. From ?30!
0:31:23 > 0:31:27From 30? So he was a hard bargainer himself, wasn't he?
0:31:27 > 0:31:30Oh, I'm dreadful when I get going, actually.
0:31:30 > 0:31:34Well, it's probably worth about ?2,500, actually so... Right!
0:31:34 > 0:31:36So you did pretty well. I did, didn't I?
0:31:36 > 0:31:38Yes. Yeah, you really did.
0:31:38 > 0:31:40There's a collector's market for these things,
0:31:40 > 0:31:43and it is just such a good one. Yeah.
0:31:43 > 0:31:45Very sought after. Good.
0:31:48 > 0:31:51I'm holding here, one of the great singles from The Beatles,
0:31:51 > 0:31:54from their very earliest days, "Please Please Me"
0:31:54 > 0:31:56released in January 1963.
0:31:56 > 0:32:00But, do you know, somebody has defaced it and put "FT" on it.
0:32:00 > 0:32:02Who is FT? That was me.
0:32:02 > 0:32:04Ah, useless!
0:32:04 > 0:32:06That was my name before I was married.
0:32:06 > 0:32:10And you were a Liverpool girl? I can hear the accent. I am, yes.
0:32:10 > 0:32:12And did you ever go and see The Beatles?
0:32:12 > 0:32:15I went every lunch hour with a group of friends
0:32:15 > 0:32:20because I worked round the corner from where the original Cavern was.
0:32:20 > 0:32:24How amazing! And we used to go every lunch hour to see them,
0:32:24 > 0:32:27before they were really, really famous. Yes, yes.
0:32:27 > 0:32:30We must have been one of the first groupies. Amazing!
0:32:30 > 0:32:34Because we followed them round Liverpool, everywhere they went. Fantastic!
0:32:34 > 0:32:38And it got to the stage that, when they saw us, they used to say, "Hello, girls, how are you?"
0:32:38 > 0:32:40Oh, fantastic! But, you know,
0:32:40 > 0:32:44the problem is, that not only has it been defaced on this side,
0:32:44 > 0:32:48but you turn it over, blow me down, it's been defaced on the other side!
0:32:48 > 0:32:51Yeah, well.... But actually, this is a bit better, isn't it?
0:32:51 > 0:32:54Because on the other side, it's been defaced
0:32:54 > 0:32:56by the people you'd like to have it defaced by,
0:32:56 > 0:32:58which is all the boys in the band,
0:32:58 > 0:33:02and, in fact, Paul McCartney has signed it twice. He has.
0:33:02 > 0:33:04Did you have to pay him with a kiss?
0:33:04 > 0:33:09No, I didn't, but I was really very appreciative that he did that.
0:33:09 > 0:33:12He was your favourite, was he? He was my favourite.
0:33:12 > 0:33:18Does this bring back wonderful memories for you, in your heyday?
0:33:18 > 0:33:21Stomping down the Cavern. Stomping down the Cavern, yes.
0:33:21 > 0:33:23It's worth something. Is it? Yes.
0:33:23 > 0:33:28Never really thought about it, it was just, it's a much-travelled...
0:33:28 > 0:33:32I've travelled all over the world, lived all over the world,
0:33:32 > 0:33:35and that's always come with me, no matter where I went,
0:33:35 > 0:33:38and I always made sure I knew where it was. Good job.
0:33:38 > 0:33:40Yes, we just thought, well...
0:33:40 > 0:33:46Recently, an early signed album fetched over ?10,000.
0:33:48 > 0:33:54So I think your single could probably make around ?3,000.
0:33:54 > 0:33:57I thought it was worth about ?500!
0:33:57 > 0:34:02You've got something which is what everybody else wants. Right.
0:34:02 > 0:34:05Good job you wrote your initials on it.
0:34:05 > 0:34:07Yes, but they can't have it, it's mine!
0:34:07 > 0:34:10Thanks very much indeed. Thank you.
0:34:13 > 0:34:18So what do you do with a pot like this?
0:34:18 > 0:34:21My mother believed it was a punch bowl.
0:34:21 > 0:34:23She doesn't really know much about it,
0:34:23 > 0:34:26she can remember it as a little girl. Yes.
0:34:26 > 0:34:31It's not a punch bowl, it's actually called a posset pot. Oh, right.
0:34:31 > 0:34:35A posset was a most extraordinary drink with curdled milk
0:34:35 > 0:34:38and wine and stuff in it, horrible stuff.
0:34:38 > 0:34:40And you sucked it out of this spout.
0:34:40 > 0:34:44The spout is for sucking this dreadful drink out! Lovely.
0:34:44 > 0:34:48Supposed to make you better or well. But that's what it's for.
0:34:48 > 0:34:53And the date of it is going to be somewhere around about 1680-1690.
0:34:53 > 0:34:57It's very old, then. Very, very old, very old, yes.
0:34:57 > 0:35:01The difficulty with these posset pots of that period,
0:35:01 > 0:35:05with this style of decoration, is whether they're English or Dutch.
0:35:05 > 0:35:07There's always arguments about this.
0:35:07 > 0:35:10The style of figures look a little bit Dutch,
0:35:10 > 0:35:13but I'm convinced they're English. Oh, right.
0:35:13 > 0:35:16And the trees are painted in a very traditionally English way.
0:35:16 > 0:35:21These are sponge trees, rather like children at school
0:35:21 > 0:35:24drop a sponge in colour... Yes. ..and then dab it.
0:35:24 > 0:35:26Dab it, yes. So these are all dabbed-on trees.
0:35:26 > 0:35:28Wonderful way of making a tree.
0:35:28 > 0:35:33And I think the whole thing is an English pot.
0:35:33 > 0:35:36It's had a hard life. A very hard life, very hard life!
0:35:36 > 0:35:41It's in a body called Delftware, tin-glazed pottery,
0:35:41 > 0:35:46so underneath this tin glaze lies a brown earthenware body
0:35:46 > 0:35:49which makes it look a bit like porcelain.
0:35:49 > 0:35:52The idea was make it look posher than it was.
0:35:52 > 0:35:55And then you painted it with these gorgeous paintings.
0:35:55 > 0:35:59I think very primitive, but wonderfully exciting painting.
0:35:59 > 0:36:02Unfortunately it has been considerably damaged.
0:36:02 > 0:36:06There are rivets on it. There are, yes, it's held together with rivets.
0:36:06 > 0:36:08These rivets hold cracks together.
0:36:08 > 0:36:12A wonderful process of repairing pots in the days before good glues,
0:36:12 > 0:36:18you had to rivet. Drilled tiny holes and pulled a little metal rivet,
0:36:18 > 0:36:21into the crack, and then you clamped it together,
0:36:21 > 0:36:24and it stayed like that for evermore.
0:36:24 > 0:36:27I mean, those rivets are probably 18th century.
0:36:27 > 0:36:30A safety pin for crockery then, really. I know! Absolutely wonderful.
0:36:30 > 0:36:35If it had been perfect without cracks and chips and damage,
0:36:35 > 0:36:40I suppose I would have to put it to around about ?3,000-?4,000. Mm-hm.
0:36:40 > 0:36:44But it has been a sad wreck. I know.
0:36:44 > 0:36:47But still, as a wreck, I think it's still worth
0:36:47 > 0:36:51about ?800 to ?1,000. Right, thank you. That's very nice.
0:36:51 > 0:36:55Which is jolly nice. Thank you. Yes, for something that's as old as it is,
0:36:55 > 0:36:56it's done very well. Yes.
0:36:59 > 0:37:03Sometimes our visitors have a little bit of a wait to see our experts.
0:37:03 > 0:37:05There's quite a queue here.
0:37:05 > 0:37:07You walk along and see some fascinating things...
0:37:07 > 0:37:10CHILD SINGS ..or hear some fascinating things.
0:37:10 > 0:37:14Hello, chappie! Connor, Connor, say hello.
0:37:14 > 0:37:17Hello! I can hear you all the way back there.
0:37:17 > 0:37:19I should imagine so. What's this?
0:37:19 > 0:37:22It's a blackjack,
0:37:22 > 0:37:27it's a tankard, I think, that was made from Oliver Cromwell's war horse.
0:37:27 > 0:37:31Made from Oliver Cromwell's war horse! How amazing.
0:37:31 > 0:37:32And you've got the provenance
0:37:32 > 0:37:36so you know that it was from Cromwell's horse? Yeah, yeah.
0:37:36 > 0:37:38Our experts will love to see it. Yes, yes.
0:37:38 > 0:37:41And enjoy the singing as well! Yeah, lovely, yes. Great.
0:37:41 > 0:37:44CONNOR SINGS HAPPILY Thank you.
0:37:47 > 0:37:52Do you normally have these on your sideboard filled with something sustaining? No.
0:37:52 > 0:37:55We have them on our sideboard without anything in them.
0:37:55 > 0:37:59Well, that's probably why they're not stained! THEY LAUGH
0:38:00 > 0:38:02Do you know where they come from?
0:38:02 > 0:38:08Well, I inherited them from a doctor who worked for the China Inland Mission.
0:38:08 > 0:38:11He was a neighbour and a good friend. That's fantastic.
0:38:11 > 0:38:15I don't really know more about them than that, which is why I'm here!
0:38:15 > 0:38:18Do you like them? I love them.
0:38:18 > 0:38:22What we've got is quite thinly blown glass.
0:38:22 > 0:38:24These are very light in weight,
0:38:24 > 0:38:26much lighter than I might have expected
0:38:26 > 0:38:33for glass of this date, which is about 1865-75. Mm-hm.
0:38:34 > 0:38:39Let's start at the back on this one, and one has a wreath of thistles
0:38:39 > 0:38:43and immediately you think "Scotland". Yeah.
0:38:43 > 0:38:46And turn it round, and indeed
0:38:46 > 0:38:50we've got Scots of one sort or another,
0:38:50 > 0:38:55led by a woman, beating the bejesus out of each other.
0:38:55 > 0:38:59They've killed this man, or she's killed this man.
0:38:59 > 0:39:01I don't know what this scene is.
0:39:01 > 0:39:06It may be from Walter Scott's novels, Sir Walter Scott.
0:39:06 > 0:39:11It would not be difficult to find out. Why Scotland?
0:39:11 > 0:39:12Because of Balmoral.
0:39:12 > 0:39:17Albert had gone up there, built Balmoral to a great castle,
0:39:17 > 0:39:20loved by him and Queen Victoria.
0:39:20 > 0:39:24So all things Scottish had suddenly become de rigueur, really.
0:39:24 > 0:39:29And I'm sure that's what this is a reflection of.
0:39:29 > 0:39:31The other one... Slightly odd.
0:39:32 > 0:39:35We have on the back...
0:39:35 > 0:39:39a spider spinning a web with ivy leaves.
0:39:39 > 0:39:45Mm-hm. Now, the ivy, of course, is poisonous.
0:39:45 > 0:39:48So we've got two symbols,
0:39:48 > 0:39:50maybe death-related.
0:39:50 > 0:39:55And here we've got a figure of either night,
0:39:55 > 0:39:58or possibly Death,
0:39:58 > 0:40:00taking the soul away,
0:40:00 > 0:40:05which I find rather curious subject matter to have on a decanter.
0:40:05 > 0:40:07Where were they made?
0:40:07 > 0:40:10They could be Scottish,
0:40:10 > 0:40:13they could be Ford of Edinburgh,
0:40:13 > 0:40:16but I think they were probably made in Stourbridge,
0:40:16 > 0:40:20which is just outside Birmingham, by Stevens and Williams. Yes.
0:40:20 > 0:40:23They were wonderful quality glass engravers.
0:40:23 > 0:40:26They're not a pair, so let's look at them separately.
0:40:26 > 0:40:29This one I think would probably make
0:40:29 > 0:40:33around ?1,500 to ?1,800. Really?
0:40:33 > 0:40:37And that one, probably a bit more, ?1,800 to ?2,500.
0:40:37 > 0:40:40They're really very nice objects.
0:40:40 > 0:40:43Keep them out of the way of the grandchildren.
0:40:43 > 0:40:48Or my cat, which wrote off a ?1,000 teapot the day before yesterday.
0:40:48 > 0:40:50Ohhhh! Yes.
0:40:50 > 0:40:53It's still alive, but only just! LAUGHTER
0:40:57 > 0:41:00At school, the one person we all learned about was Oliver Cromwell.
0:41:00 > 0:41:03You ask anyone, that's who they learned about.
0:41:03 > 0:41:05It's unusual and unbelievably exciting
0:41:05 > 0:41:09to have Cromwell's name round the top of this jug.
0:41:09 > 0:41:10I mean, tell me about it.
0:41:10 > 0:41:13Well, from what I understand,
0:41:13 > 0:41:15it was deposited into my family's bank,
0:41:15 > 0:41:19which is Hoare Bank in Fleet Street, in London,
0:41:19 > 0:41:22and from there the last person I know to have it
0:41:22 > 0:41:25was my grandad's father, which is a Wilfred Hoare.
0:41:25 > 0:41:29When he passed away, he left it to my grandfather
0:41:29 > 0:41:31and he left that to my father,
0:41:31 > 0:41:35so that's actually come from the Hoare Bank in Fleet Street in London.
0:41:35 > 0:41:37Jacks like this, as they're called,
0:41:37 > 0:41:40presumably you know what they're for. Yeah, ale jugs.
0:41:40 > 0:41:42Exactly, and they would have been made
0:41:42 > 0:41:46as one of a set of ten or 15, or something like that.
0:41:46 > 0:41:50But to have his name, Cromwell's name,
0:41:50 > 0:41:54Lord Protector of England, Scotland and Ireland...
0:41:54 > 0:41:57and he actually became Lord Protector in 1653. Right.
0:41:57 > 0:42:00So it's possibly made for the party of that event. Mm.
0:42:00 > 0:42:03Great, you've also got his crest.
0:42:03 > 0:42:05I mean, is it something you like?
0:42:05 > 0:42:06Yeah, I quite like it, yeah.
0:42:06 > 0:42:08And the construction being leather.
0:42:08 > 0:42:10Yeah, from what I understand,
0:42:10 > 0:42:14it was actually made from the war horse that Cromwell used to ride,
0:42:14 > 0:42:16so when the horse died,
0:42:16 > 0:42:23they had this jug made.
0:42:23 > 0:42:28Um... The great thing about this is obviously,
0:42:28 > 0:42:30Cromwell, one of the most controversial political
0:42:30 > 0:42:33and military figures in English history.
0:42:33 > 0:42:36I mean, really, defeated the Royalists during the Civil War,
0:42:36 > 0:42:39turning England to a republican state for a short time.
0:42:39 > 0:42:44It's got everything you need. And as a jug,
0:42:44 > 0:42:47or a jack, I mean, it's an exciting thing.
0:42:47 > 0:42:50And really, it would have a good value.
0:42:50 > 0:42:54?3,000, ?5,000, something like that.
0:42:54 > 0:42:57Mm-hm. Yeah. But with this connection,
0:42:57 > 0:43:02with Cromwell, I would have thought
0:43:02 > 0:43:05Yeah. CROWD GASP
0:43:05 > 0:43:09Good beer money. I'll have to fill that up with beer then, I think!
0:43:09 > 0:43:13Exactly! Well, it's the most exciting thing I've seen in years.
0:43:13 > 0:43:20Imagine what historic moments that beer jack could have witnessed.
0:43:21 > 0:43:24I started the programme driving a tank,
0:43:24 > 0:43:26and I thought it couldn't get much better than that.
0:43:26 > 0:43:30But now I've moved up in the world, I'm in an armoured car.
0:43:30 > 0:43:34And not just any armoured car, a Rolls Royce armoured car!
0:43:34 > 0:43:38From Lulworth Castle and the whole Antiques Roadshow team,
0:43:38 > 0:43:40until next time, bye-bye.
0:44:21 > 0:44:24The knives are sharpened and the heat is on. It can only mean one thing.
0:44:24 > 0:44:26I've never, ever seen that!
0:44:26 > 0:44:29Britain's best chefs are back in town.