0:00:02 > 0:00:03You'd never guess it from these surroundings,
0:00:03 > 0:00:06but our location is a ten-minute drive from the centre of Wolverhampton.
0:00:06 > 0:00:11At first glance it looks Tudor but, in fact, it's a Victorian house
0:00:11 > 0:00:15designed deliberately to look like a medieval manor house.
0:00:15 > 0:00:17And there are more surprises inside.
0:00:17 > 0:00:20Welcome to the Antiques Roadshow from Wightwick Manor.
0:00:20 > 0:00:21BELL CHIMES
0:00:23 > 0:00:25BIRD TWEETING
0:01:00 > 0:01:04We think of stately homes as belonging to the landed gentry -
0:01:04 > 0:01:06well, not this one.
0:01:06 > 0:01:09This was built in 1887 by Theodore Mander,
0:01:09 > 0:01:14the owner of a thriving Wolverhampton paint and varnish business.
0:01:14 > 0:01:16But he wasn't your typical self-satisfied,
0:01:16 > 0:01:19self-made Dickensian factory owner,
0:01:19 > 0:01:21he was a loving father,
0:01:21 > 0:01:24a man who cared deeply about the welfare of his workers
0:01:24 > 0:01:26and about the finer things in life -
0:01:26 > 0:01:28like poetry, literature and the arts.
0:01:34 > 0:01:37When Oscar Wilde visited Wolverhampton,
0:01:37 > 0:01:38as part of his world tour,
0:01:38 > 0:01:42he was talking about the virtues of "The House Beautiful" -
0:01:42 > 0:01:45part of his mission to teach the middle classes about good taste.
0:01:45 > 0:01:48Now, Theodore was listening to that lecture
0:01:48 > 0:01:50and returned home inspired,
0:01:50 > 0:01:52determined to implement Wilde's ideas.
0:01:52 > 0:01:55So, with his beloved wife Flora by his side,
0:01:55 > 0:01:58he set about creating the perfect family home
0:01:58 > 0:02:00in the best possible taste.
0:02:03 > 0:02:06Fabrics and furnishings by William Morris,
0:02:06 > 0:02:08tiles by William De Morgan
0:02:08 > 0:02:12and stained glass by one of the foremost Victorian makers, Charles Kemp.
0:02:12 > 0:02:16It's full of the most exquisite work from the Arts and Crafts movement...
0:02:18 > 0:02:22..but being an industrialist, he also embraced new technology
0:02:22 > 0:02:24and insisted on having all the latest mod cons installed,
0:02:24 > 0:02:28like central heating and electricity.
0:02:31 > 0:02:34In 1900, tragedy struck.
0:02:34 > 0:02:38Aged just 47 and shortly after becoming mayor of Wolverhampton,
0:02:38 > 0:02:41Theodore Mander became seriously ill.
0:02:41 > 0:02:45And at a time where there was only a rudimentary understanding of infection,
0:02:45 > 0:02:48many Victorians opted to be operated on in their own homes
0:02:48 > 0:02:53and Theodore Mander was operated on for an abscess of the liver
0:02:53 > 0:02:55on this kitchen table.
0:02:55 > 0:02:57Sadly, he didn't survive.
0:02:59 > 0:03:03But luckily for us, Theodore Mander's house remains.
0:03:03 > 0:03:05Now looked after by the National Trust,
0:03:05 > 0:03:08Wightwick Manor is a shining example of Victorian taste
0:03:08 > 0:03:13and the perfect place for our experts to meet the residents of Wolverhampton.
0:03:18 > 0:03:23'Gold, sapphires, diamonds - blazing in the sun, here.'
0:03:23 > 0:03:27A history from holy Russia, how does it come to Wightwick Manor?
0:03:27 > 0:03:32It belongs to my dad's family, who was Czech,
0:03:32 > 0:03:35and, well, it's got a nice little story behind it.
0:03:35 > 0:03:39It was given to my great-great-grandad,
0:03:39 > 0:03:45who was a gamekeeper in Moravia at the time.
0:03:45 > 0:03:51And, at the turn-of-the-century, a descendant of the Tsar's family,
0:03:51 > 0:03:57Nikolas Nikolayevich Romanov, came into the area
0:03:57 > 0:04:00and my great-great-grandad organised a big hunt for him.
0:04:00 > 0:04:05And, to show his appreciation, he gave my great-great-granddad this.
0:04:05 > 0:04:06Isn't that marvellous?
0:04:06 > 0:04:09Well, in a funny way, we have to take ourselves back
0:04:09 > 0:04:13to what was a feudal dynasty in a country that was so enormous
0:04:13 > 0:04:15that when the sun was coming up on one side,
0:04:15 > 0:04:19it was going down on the other. And it was presided over
0:04:19 > 0:04:22by a dynasty called the Romanovs, who had an incalculable fortune
0:04:22 > 0:04:26and, of course, it led to the Russian Revolution.
0:04:26 > 0:04:31And these imperial gifts were not unusual in THEIR lives,
0:04:31 > 0:04:33they gave them here, there and everywhere.
0:04:33 > 0:04:35When the Tsar of Russia came to Sandringham,
0:04:35 > 0:04:38he gave the man at Wolferton station, who opened the train door,
0:04:38 > 0:04:42a stick pin such as this. But it doesn't diminish it in any way.
0:04:42 > 0:04:45This is a jewel and your ancestor would have worn it with great pride,
0:04:45 > 0:04:47a huge distinction,
0:04:47 > 0:04:50because these people had a, sort of, almost godlike hold over Russia
0:04:50 > 0:04:56and Nikolay Nikolayevich was actually the grandson of Nicholas I of Russia.
0:04:56 > 0:04:59So, his dissent was absolutely perfect
0:04:59 > 0:05:01and this would be one part of a gift.
0:05:01 > 0:05:03And, I had a little look at it earlier,
0:05:03 > 0:05:05and I wanted to attribute this
0:05:05 > 0:05:08to the greatest of all the court jewellers, Faberge,
0:05:08 > 0:05:09but, unfortunately, I can't.
0:05:09 > 0:05:13I think the fitted case is untypical of Faberge
0:05:13 > 0:05:16but it's certainly made by one of his prime competitors,
0:05:16 > 0:05:19perhaps Bolin, Khlebnikov,
0:05:19 > 0:05:23and its magic is all the same, without a shadow of doubt.
0:05:23 > 0:05:27After the Revolution the White Russians had no Tsar,
0:05:27 > 0:05:28their Tsar had been murdered
0:05:28 > 0:05:31and a large proportion of the family had been murdered.
0:05:31 > 0:05:35And so they had to elect somebody who had survived the Revolution
0:05:35 > 0:05:39and Nikolay Nikolayevich was actually accepted as the last Tsar of Russia,
0:05:39 > 0:05:42even though the Romanov dynasty had passed.
0:05:42 > 0:05:45So, you do, in a sense, have, by default,
0:05:45 > 0:05:48a stick pin from the Tsar of Russia, which is very exciting stuff indeed.
0:05:48 > 0:05:51- That's a good thing to know, isn't it?- It is.
0:05:51 > 0:05:54But, anyway, here we see it, cabochon sapphires, very soft cut,
0:05:54 > 0:05:59pure gold colour and diamonds with this strange,
0:05:59 > 0:06:01almost like a portcullis, design below.
0:06:01 > 0:06:04But, of course, this is his conjoined initials in Cyrillic.
0:06:04 > 0:06:07The two ends, which are like "HH" conjoined together -
0:06:07 > 0:06:09for Nikolai Nikolayevich.
0:06:09 > 0:06:12And so it's a stunning souvenir of an imperial dynasty
0:06:12 > 0:06:14that ended in catastrophe for the Romanovs
0:06:14 > 0:06:17- and so it's powerful stuff, isn't it?- It is, yes.
0:06:17 > 0:06:20And how are we going to measure that power, do you think?
0:06:20 > 0:06:25- It's hard.- I've no idea. I honestly didn't even think it was much at all.
0:06:25 > 0:06:28No, well, I think it's much! I think it really is much!
0:06:28 > 0:06:32I think it's worth... £4,500-5,000.
0:06:32 > 0:06:36- Wow.- Oh, my God.- Fantastic.
0:06:36 > 0:06:37Brilliant.
0:06:38 > 0:06:41- I'm shocked.- It's been sent over from France for today
0:06:41 > 0:06:44so I think the relatives in France are going to be very happy as well.
0:06:44 > 0:06:46- Well, maybe you'll say it never arrived! - THEY ALL LAUGH
0:06:49 > 0:06:53Well, this plate has really got me scratching my head.
0:06:53 > 0:06:58- It's a fascinating thing. It's Dutch Delft.- Really?!
0:06:58 > 0:07:00Now, that's news to me because someone said it was English, so...
0:07:00 > 0:07:03It's definitely Dutch, it's Delft, in other words,
0:07:03 > 0:07:05it's a tin glazed earthenware.
0:07:05 > 0:07:09- It's got a white glaze on it, so it looks blue-and-white.- Yes.
0:07:09 > 0:07:13And it's painted in a really wonderful and spirited way
0:07:13 > 0:07:18with a naval engagement, a battle scene.
0:07:18 > 0:07:19What do you know about it?
0:07:19 > 0:07:21It belonged to my godmother and she actually,
0:07:21 > 0:07:25sort of, had a birthday cake for my father's 80th birthday,
0:07:25 > 0:07:28which she presented it on the plate
0:07:28 > 0:07:32- and after we'd eaten the cake she gave me the plate.- How sweet.
0:07:32 > 0:07:34So, that's how we got it, actually.
0:07:34 > 0:07:36Well, let's have a closer look at that painting.
0:07:36 > 0:07:39I mean, the detail is incredible.
0:07:39 > 0:07:43I've noticed in the foreground, in front of the battle scene,
0:07:43 > 0:07:46what appears to be a little whaling boat,
0:07:46 > 0:07:51because the figures on the boat have harpooned a very unfortunate
0:07:51 > 0:07:55whale here and the whale is spouting water at the top there.
0:07:55 > 0:07:58A whaling scene in front of a great battle?!
0:07:58 > 0:08:02And all these funny little figures around the outside.
0:08:02 > 0:08:06The scene itself reminds me of the famous Dutch artist Van De Velde.
0:08:06 > 0:08:10- Yes, I've heard of him. - The Battle of Solebay,
0:08:10 > 0:08:13which took place off the coast of Southwold in 1672.
0:08:13 > 0:08:15But they didn't have whales in there.
0:08:15 > 0:08:18Well, the thing was, the Battle of Solebay was
0:08:18 > 0:08:23part of a war between the Dutch and the English, essentially over trade.
0:08:23 > 0:08:26So I think perhaps this isn't a fine work of art,
0:08:26 > 0:08:30it's actually a humble piece of painted pottery,
0:08:30 > 0:08:31so we can't take it too literally.
0:08:31 > 0:08:35But actually what you've got is a battle and you've got, I think,
0:08:35 > 0:08:40a bit of symbolism in the whaling because it's a battle over trade.
0:08:40 > 0:08:44- It's a battle over the fruits of the sea.- I never thought of that.
0:08:44 > 0:08:46It's giving us a message here.
0:08:46 > 0:08:48The things that supply what we have in the border
0:08:48 > 0:08:53because in the border, we have a very handsome well-dressed
0:08:53 > 0:08:56gentleman, dressed in the fashions of the late 17th century.
0:08:56 > 0:08:59I think that's when this plate was made.
0:08:59 > 0:09:03And we've got a lady at the bottom who may have some relation to him.
0:09:03 > 0:09:06He certainly seems to be giving her a look downwards and
0:09:06 > 0:09:11when you look closely, perhaps you can see why he's giving her a look!
0:09:11 > 0:09:15- Yes, I can!- So, you know, this is the pleasures of the flesh,
0:09:15 > 0:09:17the pleasures of leisure.
0:09:17 > 0:09:21You have two figures from the Commedia dell'arte, the Italian
0:09:21 > 0:09:25comedy series, so this might be representing the arts, so it's
0:09:25 > 0:09:31a fascinating and extraordinarily rare late 17th century plate.
0:09:33 > 0:09:37I think a realistic saleroom estimate for this dish is
0:09:37 > 0:09:41going to be in the region of 3-5,000.
0:09:41 > 0:09:43Good gosh!
0:09:43 > 0:09:47Woo! That's... That's a bit shaky!
0:09:47 > 0:09:50Thank you very much anyway.
0:09:52 > 0:09:56Who's this handsome guy with the Queen in the photograph here?
0:09:56 > 0:09:58That's my late husband.
0:09:58 > 0:10:04He was the Queen's personal footman from 1954 until 1962.
0:10:04 > 0:10:07- A good long stint.- Yes.- And in this photograph, who is he with?
0:10:07 > 0:10:12That's Peter with one of his friends, who is Ernie Bennett,
0:10:12 > 0:10:14known to the family as Benny.
0:10:14 > 0:10:17- He was the Page of the Backstairs. - Right.
0:10:17 > 0:10:19And what are we looking at here?
0:10:19 > 0:10:25Well, these are things that came via Benny and also Bobo MacDonald,
0:10:25 > 0:10:26the Queen's dresser.
0:10:26 > 0:10:29The plates, I'm led to believe,
0:10:29 > 0:10:32were given by the King of Denmark to the Queen.
0:10:32 > 0:10:35And she passed them on to her dresser,
0:10:35 > 0:10:39who then passed them on to Benny, who then, because they've got
0:10:39 > 0:10:44little men on them and I had three little boys, passed them on to me.
0:10:44 > 0:10:49And I used them and I've broken some, but I do still have this one.
0:10:49 > 0:10:52- What about this?- Well, again, more or less the same route.
0:10:52 > 0:10:59- These are Prince Charles' rompers, which were passed to me.- Wonderful.
0:10:59 > 0:11:04For my three sons, but I put my sons in them
0:11:04 > 0:11:06and they looked a bit ridiculous!
0:11:06 > 0:11:09So I just kept them.
0:11:09 > 0:11:15These are so typical of the '50s and late '40s with the smocking.
0:11:15 > 0:11:19- They're very difficult things to value.- I'm sure.
0:11:19 > 0:11:22The royal connection has been proved through the way it
0:11:22 > 0:11:24arrived in your hands.
0:11:24 > 0:11:28I'm sure it's one or two hundred pounds of someone's money
0:11:28 > 0:11:31- to buy such a thing. - I won't part with them.
0:11:31 > 0:11:35Now, you say this plate was a gift from...
0:11:35 > 0:11:39I'm led to believe it was a gift from the Danish royal family
0:11:39 > 0:11:42to Queen Elizabeth, the Queen Mother,
0:11:42 > 0:11:45to give to Princess Elizabeth when she was a little girl because the
0:11:45 > 0:11:50other plates that go with it have all got the little goblins on them.
0:11:50 > 0:11:54- They're all hand-painted.- They're very worried by that smiling boot.
0:11:54 > 0:12:01- They are.- And of course, on the back, it's got the name of Larsen,
0:12:01 > 0:12:03who would have painted the scenes.
0:12:03 > 0:12:08The three wave marks of the Royal Copenhagen factory.
0:12:08 > 0:12:13Collectors go for Copenhagen. They like things made for children.
0:12:13 > 0:12:18And they often pay more for childhood memories than
0:12:18 > 0:12:21they would for a grown-up service painted with flowers.
0:12:21 > 0:12:25- Yes.- Because of that,
0:12:25 > 0:12:29I think you're looking at £3-400 for this single dish.
0:12:29 > 0:12:33Gosh! That's amazing! But I don't intend to part with them.
0:12:33 > 0:12:36I hope my children will treasure them as much as I have.
0:12:36 > 0:12:40- Cos it's a link to their father. - I'm delighted to hear you say that.
0:12:42 > 0:12:46When a jewellery box comes to my table and it has initials on the
0:12:46 > 0:12:50front, it's usually because there's something very special inside.
0:12:50 > 0:12:52And I wasn't wrong. But who are the initials?
0:12:52 > 0:12:55Adame Holland, who is the lady in the photograph,
0:12:55 > 0:12:58who was my mum's great-great-grandmother.
0:12:58 > 0:13:04I'm now going to open the box to reveal this beautiful bracelet.
0:13:04 > 0:13:08Absolutely stunning. So tell me, what is the story behind this?
0:13:08 > 0:13:12Basically, all that was passed down the family was that she had
0:13:12 > 0:13:17- a lover at one point, who decided to take her to Paris.- As lovers do!
0:13:17 > 0:13:21- Exactly! And it was made especially for her.- Was it?
0:13:21 > 0:13:25- But that's all I know. - How romantic is that!
0:13:25 > 0:13:28It is just really, really quite fabulous.
0:13:28 > 0:13:32This dates from about 1890. When did she go to Paris?
0:13:32 > 0:13:36- We don't know at all. - So possibly during this time.
0:13:36 > 0:13:40Well, this is sort of inspired by sort of 18th century designs,
0:13:40 > 0:13:42the French designs of that period.
0:13:42 > 0:13:46But it is just absolutely gorgeous, the way that you've got this
0:13:46 > 0:13:51basket overflowing with these beautiful flowers and butterflies,
0:13:51 > 0:13:57- fuchsias, forget-me-nots... It really is a lover's basket.- Yes.
0:13:57 > 0:14:03- But I love this detail at the back. Has it been worn and loved?- It has.
0:14:03 > 0:14:07It's worn infrequently by my mum, she does like to wear it.
0:14:07 > 0:14:11You've kept it very, very well. I'm going to open the clasp here
0:14:11 > 0:14:16because on the clasp is the tell-tale signs of the French
0:14:16 > 0:14:19eagle's head, made in France and in Paris.
0:14:19 > 0:14:23But what I love about this and in fact, because I love
0:14:23 > 0:14:28quality of craftsmanship and that's what this bracelet oozes, is that
0:14:28 > 0:14:30when you actually fit it together,
0:14:30 > 0:14:34I want you to listen to the sound of the clasp.
0:14:34 > 0:14:37- Yes.- Solid as a rock.
0:14:37 > 0:14:41In fact, you don't need this safety chain cos it's not going to
0:14:41 > 0:14:45go anywhere. And that sound, after 1890,
0:14:45 > 0:14:48to still have that quality of clasp which so many people
0:14:48 > 0:14:52and so many jewellers forget, that clasps are so important,
0:14:52 > 0:14:58I just think it's absolutely fabulous. Um...the price...
0:14:58 > 0:15:02Well, because of the craftsmanship, because it's so stunning and because
0:15:02 > 0:15:06it's in such good condition, I would say it would be in excess of £2,500.
0:15:06 > 0:15:10Oh, wow! That's great.
0:15:10 > 0:15:14- So continue wearing it and loving it.- Definitely. Thank you.
0:15:17 > 0:15:19At first glance,
0:15:19 > 0:15:23the objects on this table look like slightly peculiar bedfellows.
0:15:23 > 0:15:26Can you tell me how they're connected and connected to you?
0:15:26 > 0:15:30Right, they're connected because in the 1970s,
0:15:30 > 0:15:34my mother went to a house sale and of all the items that were there,
0:15:34 > 0:15:38- my mother bought these three items. - Wonderful.
0:15:38 > 0:15:40And over the years, my mother's often asked the children,
0:15:40 > 0:15:43the grandchildren, if they'd like anything
0:15:43 > 0:15:46and I plumped for these two vases.
0:15:46 > 0:15:52When my sister, who chose this item, knew I was coming today,
0:15:52 > 0:15:56she says, "Well, take the blue lady for me because I know nothing about it."
0:15:56 > 0:16:00I've got to ask the question, what made you pick these?
0:16:00 > 0:16:02Well, I think it was the paintings more than anything.
0:16:02 > 0:16:07Well, they are lovely. And, you know, they are attractive, they're very well painted.
0:16:07 > 0:16:10Sadly, though, they are so heavily damaged.
0:16:10 > 0:16:15I mean, they are restored from top to bottom. Bits of them missing.
0:16:15 > 0:16:19In essence what they once were, were French porcelain,
0:16:19 > 0:16:2219th century, more than likely Paris.
0:16:22 > 0:16:25But sadly now, they are sort of beyond the pale.
0:16:25 > 0:16:29I have to say, I'd be with your sister because the thing that really draws me on the table
0:16:29 > 0:16:33is the butterfly girl. As your sister calls her, the blue lady.
0:16:33 > 0:16:39Partly because, while these are spectacular if very damaged, she's special.
0:16:39 > 0:16:43She's actually designed by a gentleman called Josef Lorenzl.
0:16:43 > 0:16:45And if we just spin her round,
0:16:45 > 0:16:48there's a little signature just at the back there.
0:16:48 > 0:16:54And she was made between 1930, '32 and 1935,
0:16:54 > 0:16:58at the factory of Goldscheider in Vienna in Austria,
0:16:58 > 0:17:04who at the time were really one of the best makers of art deco figurines that there were.
0:17:04 > 0:17:07They attracted the greatest names to come and work for them,
0:17:07 > 0:17:12including Josef Lorenzl. I love her. She epitomises that period.
0:17:12 > 0:17:15The little sort of coquettish pose, slightly showing her legs,
0:17:15 > 0:17:19a little bit risque, the butterfly wings skirt.
0:17:19 > 0:17:23I sort of understand why your sister went there and made that choice.
0:17:23 > 0:17:28These are probably only going to fetch at best £100, if you're lucky.
0:17:28 > 0:17:31And that's for the quality and the decorative value of the panels.
0:17:31 > 0:17:35So you've come away with £100. Your sister, however,
0:17:35 > 0:17:39has come away with somewhere more in the region of 2000-2,500.
0:17:45 > 0:17:48- She chose well, my sister! - She chose well.
0:17:48 > 0:17:52But then at the end of the day, your mum did a pretty good job in the first place.
0:17:52 > 0:17:55- Yeah, she always had a good eye. - They're beautiful things.
0:17:55 > 0:17:59- £2,500?- £2,000-2,500. - Flipping heck.
0:17:59 > 0:18:02Coming up through Stourbridge today,
0:18:02 > 0:18:06I reflected on, here I am driving through what was
0:18:06 > 0:18:10the centre of the British glass universe for 150 years.
0:18:10 > 0:18:13And just seeing it gone, which is so sad.
0:18:13 > 0:18:17I knew that I'd get some spectacular piece of Stourbridge come in.
0:18:17 > 0:18:21And you've done it. So tell me about your connection with this?
0:18:21 > 0:18:27Well really, that, with ourselves, it was in payment of a bad debt.
0:18:27 > 0:18:31- OK. What was the value of the debt? - I think it was £400, if I remember.
0:18:31 > 0:18:34- And how long ago? - About '88, '89.
0:18:34 > 0:18:39OK, this is from 1981, it's the marriage of Charles and Di.
0:18:39 > 0:18:41And it's made by Stewart. It's signed on the bottom.
0:18:41 > 0:18:45And, for me, it epitomises what happened in Stourbridge.
0:18:45 > 0:18:49I mean, this is a fabulous piece of glass-making.
0:18:49 > 0:18:55Its quality is absolutely out of this world. All hand cut.
0:18:55 > 0:18:59Everything on here, it was made by hand, it was cut by hand,
0:18:59 > 0:19:03by holding this against abrasive wheels, repeatedly.
0:19:03 > 0:19:06And it's hand polished too, all through the process.
0:19:06 > 0:19:10Enormously complex, high-end skills.
0:19:10 > 0:19:13And you got quite a bargain relative to its value.
0:19:13 > 0:19:17When this was made, I think these were going for about £500 to £600.
0:19:17 > 0:19:20And today, if you put this into auction,
0:19:20 > 0:19:22do you know how fashionable cut crystal is?
0:19:22 > 0:19:25I'll tell you, on a scale of things people do not want,
0:19:25 > 0:19:30it starts with rabies, then the Black Death, and then cut crystal!
0:19:30 > 0:19:32So you wouldn't get 50 quid for it today.
0:19:32 > 0:19:36And yet you look at this fabulous, fabulous thing,
0:19:36 > 0:19:39what a shame. And there it is, ruins and blocks of flats now.
0:19:39 > 0:19:42- Gone.- It's all gone. - What a shame.
0:19:42 > 0:19:45- It is still a nice piece, though. - It's a lovely piece of glass.
0:19:45 > 0:19:48I haven't chosen it because I don't like it.
0:19:56 > 0:20:00We see a huge variety of bronzes here at the Antiques Roadshow.
0:20:00 > 0:20:03And today's Basic, Better, Best challenge is going to see if,
0:20:03 > 0:20:06after all these years, we know what we're talking about.
0:20:06 > 0:20:09We've got three bronzes, brought along by our specialist, Paul Viney.
0:20:09 > 0:20:16The basic one is worth £50. The better, £500, and the best, £5,000.
0:20:16 > 0:20:18I don't know which is which, but why don't you mull it over at home
0:20:18 > 0:20:22and in the meantime I'll ask our visitors what they think.
0:20:26 > 0:20:30- So off we go.- Hi, Fiona.- Hi. - Nice meeting you.- Nice meeting you.
0:20:31 > 0:20:38Three bronze statues here. So which do you think is which?
0:20:38 > 0:20:40- Is there a prize afterwards as well? - There's no prize
0:20:40 > 0:20:43and you certainly don't get to take one of them home!
0:20:43 > 0:20:45The little girl with the muff is the best.
0:20:45 > 0:20:50- Is that just cos you like her the best?- Well, really, yes, cos I don't know much about it!
0:20:52 > 0:20:55I think this is a fine figure of a man
0:20:55 > 0:20:57and I think that's a nice one as well.
0:21:00 > 0:21:03And why do you think this is the best?
0:21:03 > 0:21:06It's bigger and the material looks more golder.
0:21:06 > 0:21:10I've not much to go on there.
0:21:10 > 0:21:12I think that one is £50.
0:21:12 > 0:21:16- Now why do you relegate this charming little figure? - She looks rather sad.
0:21:16 > 0:21:18She's looking really sad!
0:21:24 > 0:21:25Now, I trained as a carpenter,
0:21:25 > 0:21:27so when I see a miniature piece of furniture,
0:21:27 > 0:21:29it sets my pulse racing because
0:21:29 > 0:21:31the quality is excellent. What do you know about it?
0:21:31 > 0:21:34All that I really know is that was made by my mum's cousin
0:21:34 > 0:21:39in the 1920s in the Histon area of Cambridge.
0:21:39 > 0:21:40And that's all that I really do know.
0:21:40 > 0:21:45And then he moved on from there to be cabinet-maker and woodworker
0:21:45 > 0:21:50up at Durham Cathedral. I know nothing more than that, really.
0:21:50 > 0:21:54This is an apprentice piece.
0:21:54 > 0:21:58So you would make this to really show your skill as a woodworker
0:21:58 > 0:22:01and a joiner and as a carpenter. Everything is exact.
0:22:01 > 0:22:05The rails, the platform, and this lovely turned banister column,
0:22:05 > 0:22:09showing that he could actually turn as well as doing moulding.
0:22:09 > 0:22:11And so he made this as an apprentice
0:22:11 > 0:22:14to then get his job at Durham Cathedral.
0:22:14 > 0:22:16He was obviously desperate to get the job
0:22:16 > 0:22:20because when you look at the quality of it, in lovely figured mahogany,
0:22:20 > 0:22:23I mean, it's all exactly as a breakfast table should be.
0:22:23 > 0:22:26And did he have a long career as a carpenter?
0:22:26 > 0:22:28I've been told by the family that he was killed during the war,
0:22:28 > 0:22:32while he was working up in the northeastern area.
0:22:32 > 0:22:35So, again, I know very, very little about him.
0:22:35 > 0:22:38That's such a shame because anything you can put to this table,
0:22:38 > 0:22:42the provenance, a photograph, all adds to it,
0:22:42 > 0:22:44because it builds a story. If someone was an apprentice,
0:22:44 > 0:22:48they then got a job working as a carpenter at Durham Cathedral,
0:22:48 > 0:22:51and then they were killed in the war, although it's a sad story,
0:22:51 > 0:22:55it does really put it in more of a package of historical interest.
0:22:55 > 0:23:01And the great thing is that this will be worth as much as a full-size breakfast table,
0:23:01 > 0:23:07- because I would put this at £400 to £600.- You would? Oh!
0:23:07 > 0:23:09Wonderful. Thank you for that, sir.
0:23:11 > 0:23:15A good portrait painter often gives us, the viewer,
0:23:15 > 0:23:19a window into the personality and lifestyle of the sitter.
0:23:19 > 0:23:23And in this particular picture, you get a great sense of status.
0:23:23 > 0:23:26I'd love to know a little bit more about him.
0:23:26 > 0:23:29This is a portrait of my father, John Kirby, known as Jack Kirby.
0:23:29 > 0:23:34He was assistant director of a very famous museum and art gallery
0:23:34 > 0:23:37in Baltimore called the Walters Art Gallery,
0:23:37 > 0:23:40and he patronised Earl Hofmann, who did this picture.
0:23:40 > 0:23:42- Earl Hofmann, the portraitist?- Yes.
0:23:42 > 0:23:46A very famous Baltimore, USA painter.
0:23:46 > 0:23:47So the house is in Baltimore?
0:23:47 > 0:23:51The house you can see in the portrait is actually where I was born.
0:23:51 > 0:23:53It's actually in a village called Lutherville,
0:23:53 > 0:23:55which is a historic village in Maryland,
0:23:55 > 0:23:58the state that Baltimore's in.
0:23:58 > 0:24:03And it came with me when I moved to Britain when I was 11 and I've had it ever since.
0:24:03 > 0:24:07Of course, Earl Hofmann was quite a respected portraitist in Baltimore.
0:24:07 > 0:24:09Can you tell me a little bit more about him?
0:24:09 > 0:24:12Well, my very best friend, Jack, was his son.
0:24:12 > 0:24:15So Earl was someone who I just saw all the time, I saw his studio,
0:24:15 > 0:24:18I saw him painting. He and his wife, Jean, and the other children
0:24:18 > 0:24:22always were there, so I didn't think of him being someone famous, he was just Earl.
0:24:22 > 0:24:25You know, my best friend's dad.
0:24:25 > 0:24:28But I do think you can see from this, the quality of the artist.
0:24:28 > 0:24:32He was one of the great realist painters from Baltimore.
0:24:32 > 0:24:36In fact, he won an award which was judged by Hopper, Edward Hopper,
0:24:36 > 0:24:40the great, well-known American painter, so he was quite well recognised.
0:24:40 > 0:24:43I did not know that. That's amazing to think that this is my dad
0:24:43 > 0:24:48- and he's painted my dad and he was in that sort of league. How wonderful.- Very wonderful.
0:24:48 > 0:24:50Of course, immediately you look at this picture, you think,
0:24:50 > 0:24:52it's not British, just the way he's dressed.
0:24:52 > 0:24:55He looks quite American with his slicked-back hair,
0:24:55 > 0:25:01the way his collar and tie are pinned, his jacket, his waistcoat.
0:25:01 > 0:25:03He looks quite American, doesn't he?
0:25:03 > 0:25:06I think that's very interesting you actually said that
0:25:06 > 0:25:09because I think he was trying to be European in this.
0:25:09 > 0:25:13- He was very much a European in his taste and discriminations.- Was he?
0:25:13 > 0:25:17Very much so. I think in some ways this is his interpretation
0:25:17 > 0:25:20of how an English gentleman should look, or at least a European.
0:25:20 > 0:25:22He was very much like that.
0:25:22 > 0:25:25It's a very grandeur portrait with a wonderful large chair.
0:25:25 > 0:25:27He takes up most of the canvas.
0:25:27 > 0:25:30So what's the future plan for this portrait?
0:25:30 > 0:25:33Well, it will stay with me until I'm off this earth and then afterwards,
0:25:33 > 0:25:36I think I will donate it to the Walters Art Gallery.
0:25:36 > 0:25:38I think it would be fitting to do so.
0:25:38 > 0:25:42And if not, I know the family in the States would be very pleased to have it back.
0:25:42 > 0:25:46- I've got to do the horrible commercial thing now. - You know, I'm not really bothered
0:25:46 > 0:25:49but please tell me. I'm sure the viewers would find it interesting.
0:25:49 > 0:25:53I think if you were able to go down the commercial route
0:25:53 > 0:25:57and sell it to them, I think you could certainly ask a figure close to £5,000.
0:25:57 > 0:26:00Really? So much? That's very interesting.
0:26:00 > 0:26:03Thank you very much for telling me that but it's priceless to me.
0:26:06 > 0:26:09Remember our Basic, Better, Best challenge I was telling you about earlier?
0:26:09 > 0:26:14Three bronzes, one worth £50. That's the basic.
0:26:14 > 0:26:19The better one worth £500 and the best worth £5,000.
0:26:19 > 0:26:23Now, Paul Viner, you are our specialist in this area.
0:26:23 > 0:26:28I've been asking our visitors what they think and no-one could really agree.
0:26:28 > 0:26:31What should we be looking for when it comes to bronzes?
0:26:31 > 0:26:35Well, Fiona, the first thing to decide is whether it's bronze or not.
0:26:35 > 0:26:39Bronze is basically a copper alloy and it's heavy, hard-wearing,
0:26:39 > 0:26:42and over the years develops a nice patina.
0:26:42 > 0:26:47However, there is a zinc alloy which is used as an imitation bronze,
0:26:47 > 0:26:51normally called spelta, and that is much lighter, more fragile,
0:26:51 > 0:26:55and doesn't have the quality and depth of casting of a bronze.
0:26:55 > 0:26:57So that's a good starting point.
0:26:57 > 0:27:00Also, see whether the bronze is signed and dated,
0:27:00 > 0:27:02and whether it is in good condition or not.
0:27:02 > 0:27:06I, in the end, I actually did lift this up,
0:27:06 > 0:27:08which I didn't let any of our visitors do,
0:27:08 > 0:27:11and I realised it was lighter, so I put this as the basic.
0:27:11 > 0:27:14I assume that's right. But then I couldn't decide between these two,
0:27:14 > 0:27:17because that's so beautiful and it's signed and dated,
0:27:17 > 0:27:20- but then this is of Gordon of Khartoum, is it?- Correct.
0:27:20 > 0:27:23So I thought, well, he's an important figure,
0:27:23 > 0:27:26it's beautifully intricate, beautifully moulded,
0:27:26 > 0:27:28so I put that as best.
0:27:28 > 0:27:30- But where do we begin?- All right.
0:27:30 > 0:27:34Let's begin with the largest figure of a fisherwoman,
0:27:34 > 0:27:37and this is spelta. Absolutely correct.
0:27:37 > 0:27:42It was made in about 1880 and during that period, 1880s to 1920s,
0:27:42 > 0:27:45there was an enormous desire for spelta figures from people
0:27:45 > 0:27:49who could not afford bronzes. They got spelta as a substitute.
0:27:49 > 0:27:52On a first glance, you can't necessarily tell the difference.
0:27:52 > 0:27:55No, you can't. But it's not particularly well cast.
0:27:55 > 0:27:59The detail of her basket and her net are not particularly good.
0:27:59 > 0:28:02And if you look at her nose, you can see there's a little white dot
0:28:02 > 0:28:04at the front, where the zinc is coming through
0:28:04 > 0:28:06so that's an indication, and again,
0:28:06 > 0:28:08as you say, she's much lighter than the other two.
0:28:08 > 0:28:12- So she's the basic? Just £50?- Yes. - So which was the better one?
0:28:12 > 0:28:19- The better one was Louise.- Oh, I've got it right! She's so charming.
0:28:19 > 0:28:20Isn't she delightful?
0:28:20 > 0:28:23I was thinking she would be so commercial, so marketable.
0:28:23 > 0:28:26Well, she is because she's a charming girl, as you say,
0:28:26 > 0:28:28it's in the winter, she's got her hands in her muff.
0:28:28 > 0:28:32We know her name is Louise because it's signed on the base.
0:28:32 > 0:28:35It also has the signature of the artist, "Ferd Frick",
0:28:35 > 0:28:39Ferdinand Frick, he was an Austrian artist, not particularly well-known.
0:28:39 > 0:28:44Dated 1905. So this is a charming bronze by a recorded artist
0:28:44 > 0:28:48but not a particularly well-known one. £500 at auction.
0:28:48 > 0:28:53So, Gordon of Khartoum, and is it because he is Gordon of Khartoum
0:28:53 > 0:28:57that this is the best and therefore worth £5,000 or so?
0:28:57 > 0:29:00Yes, basically it has everything going for it.
0:29:00 > 0:29:02It's Gordon in a very contemplative mood.
0:29:02 > 0:29:06He's carrying a Bible in his hand because he was a very religious man.
0:29:06 > 0:29:09Under his left-arm he's got a swagger stick which was known
0:29:09 > 0:29:12to his troops as his magic wand, because he always
0:29:12 > 0:29:16went into battle holding it and he was never injured in battle.
0:29:16 > 0:29:22And when Gordon was at the siege of Khartoum, he held out for a year
0:29:22 > 0:29:25and then finally the British Government very reluctantly
0:29:25 > 0:29:27sent troops out to relieve him
0:29:27 > 0:29:29and the Mahdi massacred Gordon and his troops
0:29:29 > 0:29:32two days before the British relief force arrived.
0:29:32 > 0:29:36In Victorian England, when the news got back a couple of weeks later,
0:29:36 > 0:29:38there was a huge outpouring of grief.
0:29:38 > 0:29:42And a famous sculptor called Sir William Hayworth Thorneycroft
0:29:42 > 0:29:45was commissioned to do a larger-than-life-size bronze,
0:29:45 > 0:29:49which is this model, and you can see it on the Victoria Embankment to this day.
0:29:49 > 0:29:52- It's about 8 foot high.- Gosh, so this is the maquette for that bronze?
0:29:52 > 0:29:55This is the maquette. And it's signed by Thorneycroft,
0:29:55 > 0:29:57it's dated. So from that point of view,
0:29:57 > 0:30:00highly sought after by collectors.
0:30:00 > 0:30:02- That is the £5,000 piece. - Well, there you have it.
0:30:02 > 0:30:04If you are lucky enough to have bronzes at home,
0:30:04 > 0:30:07this gives you some idea of what to look for.
0:30:07 > 0:30:10Or have a look at our website if you want to see any tips on there:
0:30:15 > 0:30:18I overheard some conversation as you approached me in the queue
0:30:18 > 0:30:22to say that you've actually come quite a long way to be here today.
0:30:22 > 0:30:24We came all the way from Oman, the Sultanate of Oman.
0:30:24 > 0:30:27I work there, actually, and I watch your programme.
0:30:27 > 0:30:31He watches the show weekly, daily sometimes,
0:30:31 > 0:30:34even episodes he's seen already.
0:30:34 > 0:30:38And it was his birthday in July and before we flew to England, I said,
0:30:38 > 0:30:41"Dad, I've got a surprise for you. Come over here."
0:30:41 > 0:30:44And I printed a nice letter with nice handwriting.
0:30:44 > 0:30:48It said, "You are cordially invited to come and visit the Antiques Roadshow."
0:30:48 > 0:30:51- And here you are!- Absolutely.
0:30:51 > 0:30:54And I have seen that you've got a couple of watches.
0:30:54 > 0:30:56- Do you have lots of watches at home? - I do, actually.
0:30:56 > 0:31:00I've been collecting pocket watches for the last two years.
0:31:00 > 0:31:04These are some of the ones I collect that I have at present,
0:31:04 > 0:31:07and I would like to know a little bit more about them, actually.
0:31:07 > 0:31:09OK, well, the lovely thing here on this box
0:31:09 > 0:31:13I can see in beautiful gold tooling, International Watch Co.
0:31:13 > 0:31:18And IWC is a very, very fine factory.
0:31:18 > 0:31:20It's one of those extraordinary things,
0:31:20 > 0:31:24an American by the name of FA Jones came over from the States
0:31:24 > 0:31:31in the 1860s, I think 1869, with a partner, a man called Kidder,
0:31:31 > 0:31:36and between the two of them they produced only about 5,000 watches.
0:31:36 > 0:31:41And in 1875, he went bankrupt.
0:31:41 > 0:31:43And then the Swiss took it over.
0:31:43 > 0:31:46And this is a typically 1930s dress watch.
0:31:46 > 0:31:51Beautiful gold dial with raised gold numerals, fully signed, of course.
0:31:51 > 0:31:54Lovely machine-turned back.
0:31:54 > 0:31:5814 carat gold, as a lot of their things were.
0:31:58 > 0:32:03And then we've got that superb movement, fully signed - "IWC".
0:32:03 > 0:32:07And then just looking in there, there's their little trademark,
0:32:07 > 0:32:09which says "Probus".
0:32:09 > 0:32:14And that is as right as you could require. It's lovely.
0:32:14 > 0:32:17- Is this one of your star pieces? - Actually, I do like this one, yes.
0:32:17 > 0:32:19- Good.- It's a very nice size.
0:32:19 > 0:32:23I have to say, I rather like that as well but let's look at this one.
0:32:23 > 0:32:28Wow. I mean, there we have another beautiful case, Ulysse Nardin, and...
0:32:29 > 0:32:32I just bought this recently
0:32:32 > 0:32:35so I'm more interested to know little bit more about it.
0:32:35 > 0:32:38Well, that's quite intriguing. Because in Dutch,
0:32:38 > 0:32:41it's got "25 years, Philips",
0:32:41 > 0:32:44of course the company, and the presentation, "1944".
0:32:44 > 0:32:47So a lovely dress watch.
0:32:47 > 0:32:49Also in 14 carat gold,
0:32:49 > 0:32:54and also an absolutely top of the range movement by Ulysse Nardin.
0:32:54 > 0:32:58- Do you see that little piece there? - Oh, yes.
0:32:58 > 0:33:03This should reveal a little secret because that should pop down.
0:33:03 > 0:33:08There we go, and in there, in that little pouch behind,
0:33:08 > 0:33:12- there is the certificate. - Brilliant, brilliant!
0:33:12 > 0:33:16That with the original box is a lovely thing to have.
0:33:16 > 0:33:18That's beautiful. Thank you.
0:33:18 > 0:33:21- So you've come all the way over. - I know, it's amazing!
0:33:21 > 0:33:23- I'm really pleased to be able to show you that.- I am pleased indeed.
0:33:23 > 0:33:26- It's really nice.- It is lovely.
0:33:26 > 0:33:29So, it would be almost rude to discuss price
0:33:29 > 0:33:33because they're your pride and joy. I think with this box,
0:33:33 > 0:33:37the certificate and that lovely condition Ulysse Nardin watch,
0:33:37 > 0:33:41at auction we'd be looking at at least £1,000.
0:33:41 > 0:33:45And the IWC, which I love very much,
0:33:45 > 0:33:50- great name, and we could be running up towards £2,000 at auction.- Sure.
0:33:50 > 0:33:52The two together at auction
0:33:52 > 0:33:56would certainly fetch between £3,000 and £4,000.
0:33:56 > 0:33:57Very good.
0:34:03 > 0:34:07This is an ordinary looking chest of drawers at first glance,
0:34:07 > 0:34:10until you look down here at the handles.
0:34:10 > 0:34:15Now that is an Earl's Coronet. I want there to be a story.
0:34:15 > 0:34:20- Is there a story?- The family folklore is that it was commissioned
0:34:20 > 0:34:23by Admiral Lord Howe for one of his daughters,
0:34:23 > 0:34:27whether it was for her wedding or coming out or whatever,
0:34:27 > 0:34:30I don't know. But we've been able to trace our family tree
0:34:30 > 0:34:33through my father back to the Howe family.
0:34:33 > 0:34:37So this is Earl Howe, First Sea Lord or whatever.
0:34:37 > 0:34:41He's the man famous for the Glorious First of June.
0:34:41 > 0:34:43So he was the one who won that battle.
0:34:43 > 0:34:49And Nelson referred to him as, don't quote me on this,
0:34:49 > 0:34:53England's finest tactician. He was a brilliant naval commander.
0:34:53 > 0:34:57- And I think he was known as Black Dick Howe.- Was he?
0:34:57 > 0:35:01He had a scowl on his face all the time.
0:35:01 > 0:35:04- This is O-Level history - I'm going back to the 1960s.- Right.
0:35:04 > 0:35:07He always had a scowl, he was rather scruffy for an admiral.
0:35:07 > 0:35:10One imagines they're always immaculate on the quarterdeck,
0:35:10 > 0:35:12with the white lapels and everything and white breeches,
0:35:12 > 0:35:16but he was fairly scruffy and always scowled, until he went into battle.
0:35:16 > 0:35:18And then he smiled, which I think is the last thing I would do!
0:35:18 > 0:35:21Smile when I went into battle!
0:35:21 > 0:35:24So I think this dates to the 1780s.
0:35:24 > 0:35:26It's a typical piece of Hepplewhite furniture.
0:35:26 > 0:35:30Beautiful mahogany. The handles appear to be completely original,
0:35:30 > 0:35:33so it might have been made for certainly an Earl's family.
0:35:33 > 0:35:36This is an incredibly rare thing. To have something that goes back,
0:35:36 > 0:35:39in furniture, that's not named, without a bill,
0:35:39 > 0:35:41that can go back possibly to the original family
0:35:41 > 0:35:45is almost unheard of in over 40 years of my experience of furniture.
0:35:45 > 0:35:46- It's extraordinary.- Gosh.
0:35:46 > 0:35:49So that makes it difficult to value, actually,
0:35:49 > 0:35:52because if it was an ordinary chest of drawers,
0:35:52 > 0:35:55without the handles, without this potential provenance,
0:35:55 > 0:35:57£1,500, £2,000, something like that.
0:35:59 > 0:36:03But we don't have slide rules, we don't have a calculator,
0:36:03 > 0:36:06there's no chart I can go to to add in provenance.
0:36:06 > 0:36:11- But if I said £5,000 or £6,000? - Gosh, that's amazing.
0:36:11 > 0:36:15- And that's the difference. - Gosh, that's incredible.
0:36:15 > 0:36:19Well, it's not leaving the family, I can assure you.
0:36:24 > 0:36:28Now it's a very rare and unexpected treat on a Roadshow
0:36:28 > 0:36:32to meet a great hero of mine. Ted Dexter, it's a great, great pleasure.
0:36:32 > 0:36:36- Nice to meet you too, I watch you often.- Now we could spend the next two days talking about cricket,
0:36:36 > 0:36:39but it wouldn't go down very well with my masters,
0:36:39 > 0:36:40but what we've come to talk about
0:36:40 > 0:36:44is a different story altogether, isn't it? It's about your father.
0:36:44 > 0:36:46I thought I'd like to share
0:36:46 > 0:36:49this rather extraordinary story of my dad.
0:36:49 > 0:36:52He joined up in 1914
0:36:52 > 0:36:57and survived through to 1918.
0:36:57 > 0:37:02Survived the Somme and was actually the only serving officer
0:37:02 > 0:37:05who joined up at the beginning who survived to the end,
0:37:05 > 0:37:08- so I'm pretty lucky to be here. - You're very lucky to be here,
0:37:08 > 0:37:11because obviously the attrition rates amongst officers,
0:37:11 > 0:37:15everybody knows it was historic in the First World War.
0:37:15 > 0:37:19And we've got here the diary. He was an artillery man, wasn't he?
0:37:19 > 0:37:22"The Diary of 'B' Battery, Royal Field Artillery,
0:37:22 > 0:37:26"the 84th Army Brigade, '14-18."
0:37:26 > 0:37:28And if we turn to 'Retrospect',
0:37:28 > 0:37:33there's a very short list there of people who served right through.
0:37:33 > 0:37:36"Gathered in Colchester in 1914,
0:37:36 > 0:37:39"still serving on November 11th, 1918."
0:37:39 > 0:37:43That's the total list, and he's the only officer.
0:37:43 > 0:37:46- It is extraordinary, isn't it? - It certainly is.
0:37:46 > 0:37:50You mentioned the Somme and I think I've picked out that particular day,
0:37:50 > 0:37:54the 1st July, the greatest day of the British Army,
0:37:54 > 0:37:59the greatest disaster of the British Army. 20,000 dead, 60,000 casualties.
0:37:59 > 0:38:03But a battle that changed the nature of the First World War.
0:38:03 > 0:38:09And, of course, as an artillery man, what was he doing 6:25 to 7:30?
0:38:09 > 0:38:13Bombarding the German lines. And the bombardment, in fact,
0:38:13 > 0:38:16had gone on for seven days solidly before that.
0:38:16 > 0:38:18And when the guns stopped,
0:38:18 > 0:38:21the British soldiers rose from the trenches
0:38:21 > 0:38:25and assumed that all the Germans would have been killed by the artillery barrage.
0:38:25 > 0:38:28They weren't, they were down in deep trenches,
0:38:28 > 0:38:32and there was five minutes between the ending of the artillery branch,
0:38:32 > 0:38:36the soldiers going forward, and during that time the Germans came up,
0:38:36 > 0:38:40mounted their machine guns and mayhem and slaughter followed.
0:38:40 > 0:38:45And anybody who came through that was extraordinarily lucky.
0:38:45 > 0:38:48He came through, he'd already done two years,
0:38:48 > 0:38:50and then he went on to do two years more.
0:38:50 > 0:38:53He never, ever talked about it.
0:38:53 > 0:38:55I'm not surprised. That's the normal thing.
0:38:55 > 0:38:57Almost to the day he died.
0:38:57 > 0:39:01- Just before he died he talked to me a bit about it.- What did he say?
0:39:01 > 0:39:03- Mostly about the horses.- Yes.
0:39:03 > 0:39:06He loved the horses, and remembered all their names.
0:39:06 > 0:39:09And as an artillery man, that's what he would have been involved in.
0:39:09 > 0:39:11Now I can see we've got a metal box there.
0:39:11 > 0:39:15I think that's a box that should contain the Military Cross, an MC.
0:39:15 > 0:39:18Do you know when that was or when it happened?
0:39:18 > 0:39:21I don't know the exact, I think somewhere in here gives the date,
0:39:21 > 0:39:24I know what happened. I mean, if you're in the artillery,
0:39:24 > 0:39:29you have to have forward spotters to tell you where your shot is landing.
0:39:29 > 0:39:34And the communications broke down and apparently he went forward
0:39:34 > 0:39:40and renewed the communication and, you know, almost a death sentence,
0:39:40 > 0:39:43- but he managed to get back. - So this is an MC.
0:39:45 > 0:39:47- But sadly...- Except it isn't.
0:39:47 > 0:39:53It was stolen and who knows, because it has his name on it, RM Dexter.
0:39:53 > 0:39:58Somebody watching might think, hello, I think I've got that.
0:39:58 > 0:40:01Well, I hope they are because then they can put it back in the box
0:40:01 > 0:40:04with the family who should have it.
0:40:04 > 0:40:06- It's a tragedy that it's gone.- In a way, it's almost more poignant...
0:40:06 > 0:40:08Seeing the empty box, yes.
0:40:08 > 0:40:10So he had an extraordinary story.
0:40:10 > 0:40:14As you say, without these details, you wouldn't be here.
0:40:14 > 0:40:16And then I wouldn't have had all the pleasure you've given me.
0:40:16 > 0:40:19Thank you very much, and as I say, for fulfilling a childhood dream.
0:40:19 > 0:40:23- It's lovely to share this with a few other people.- Yes, thank you.
0:40:23 > 0:40:27What do you think this object actually is?
0:40:27 > 0:40:29Well, I was assuming it was a plate of some sort.
0:40:29 > 0:40:34- A plate? Right. Plates aren't normally oval.- Right, no.
0:40:34 > 0:40:38It's actually a porcelain plaque
0:40:38 > 0:40:42painted with this wonderful landscape.
0:40:42 > 0:40:44A plaque is just a large piece of flat porcelain
0:40:44 > 0:40:47and you can see how well it's painted.
0:40:47 > 0:40:50There is incredible detail there. There's a flock of sheep
0:40:50 > 0:40:54and there's a wonderful, misty landscape with hills in the distance.
0:40:54 > 0:40:57- It's really quite impressionistic, isn't it?- It is, actually.
0:40:57 > 0:40:59I've never really looked at it before.
0:40:59 > 0:41:01So what can you tell me about it?
0:41:01 > 0:41:05It's hung on my mum's wall for the last, say about 60 years
0:41:05 > 0:41:08and we've never really taken much attention to it.
0:41:08 > 0:41:11- Have you any idea who made it? - Only from looking at the back.
0:41:11 > 0:41:15So you've looked at the back? Let's have a look on the back.
0:41:16 > 0:41:19And there's a few smart bets.
0:41:19 > 0:41:21It's actually the mark of the Royal Worcester factory.
0:41:21 > 0:41:25Those little dots there represent the date codes. That's 1912.
0:41:25 > 0:41:26Oh, right.
0:41:26 > 0:41:28We turn it back...
0:41:30 > 0:41:32Noticed anything else about it?
0:41:32 > 0:41:34I've noticed a signature, that's about it.
0:41:34 > 0:41:37There is a signature just there, isn't there? Know what it says?
0:41:37 > 0:41:41I thought it was M Davis, but apparently it's H.
0:41:41 > 0:41:43- Harry Davis.- Harry, OK.
0:41:43 > 0:41:46And Harry Davis was without a doubt
0:41:46 > 0:41:50the greatest artist at the Royal Worcester factory.
0:41:50 > 0:41:56- This plaque is a testament to his skill and creativity.- Interesting.
0:41:56 > 0:42:01- In my opinion, he's unsurpassed. - Really?- It's pretty good, isn't it?
0:42:01 > 0:42:05- That sounds fantastic.- Have you ever given any thought to the value of it?
0:42:05 > 0:42:10No, as I say, it's been hung on the wall. It's only come down since my mum, she's gone into care
0:42:10 > 0:42:13so we've taken all the stuff out of her house.
0:42:13 > 0:42:16So it's just a bit of stuff that's been hanging around.
0:42:16 > 0:42:20Houses are full of stuff that's hanging around and no-one knows quite what to do with, yes?
0:42:20 > 0:42:22Just ignored it, yes.
0:42:22 > 0:42:25Well, there are lots of Royal Worcester collectors
0:42:25 > 0:42:28and I'm glad to say they've got taste. Because like me,
0:42:28 > 0:42:31they realise that Harry Davis is the greatest artist there was.
0:42:33 > 0:42:38And I think that this plaque would sell at auction
0:42:38 > 0:42:43for between £6,000 and £8,000.
0:42:43 > 0:42:44Really?
0:42:46 > 0:42:51Really? Well, somebody said it might be worth £800.
0:42:51 > 0:42:53£800?
0:42:53 > 0:42:58- Rubbish! Much more than that. It's a work of art on porcelain.- Really?
0:43:00 > 0:43:02- Well, this looks like silk, it feels like silk.- It is silk.
0:43:02 > 0:43:05Where did it come from?
0:43:05 > 0:43:08Well, during the war, my mother lived in a cottage
0:43:08 > 0:43:13near to Tamworth in Arden, and one day this aeroplane came over
0:43:13 > 0:43:16and crashed in the field just beyond the cottage.
0:43:16 > 0:43:20And then we saw, well, she saw, a parachutist come out
0:43:20 > 0:43:24and land in the field. So she shouted to everybody, you know,
0:43:24 > 0:43:26"Come and see what's going on in the field",
0:43:26 > 0:43:30so they picked up pitchforks, brooms, a pair of scissors,
0:43:30 > 0:43:33and then they chased through the field
0:43:33 > 0:43:36and he thought they were going to kill him.
0:43:36 > 0:43:38But no, they didn't want to kill him, they wanted the parachute
0:43:38 > 0:43:40to make some knickers and underwear,
0:43:40 > 0:43:43- and they'd got the scissors ready to cut up the pieces.- And they did?
0:43:43 > 0:43:46- Yeah.- They actually managed to cut it up into bits
0:43:46 > 0:43:49- and they all grabbed these pieces? - They all had a piece.
0:43:49 > 0:43:51But my mother was very upset because she had the piece
0:43:51 > 0:43:54with all the information on it, which now is very relevant,
0:43:54 > 0:43:58but, I mean, she did have enough for a pair of knickers anyway.
0:43:58 > 0:44:02I'm sure she did, but I don't think there would have been any harm
0:44:02 > 0:44:03if she'd made her underwear,
0:44:03 > 0:44:06her knickers out of this piece, with that on.
0:44:06 > 0:44:09It wouldn't have mattered, really! This is very interesting.
0:44:09 > 0:44:12Because it tells us such a lot about where it was made
0:44:12 > 0:44:16and when it was made. It's a German parachute, of course.
0:44:16 > 0:44:20Fallschirm, now that is German for parachute.
0:44:20 > 0:44:24And underneath that, it says the date - "16th August, 1940".
0:44:24 > 0:44:30So we know when this parachute was actually made. 16th August, 1940.
0:44:30 > 0:44:32Lots of little stamps under there.
0:44:32 > 0:44:36These are inspection stamps, because you know his life,
0:44:36 > 0:44:41that pilot's life depended on this parachute working properly.
0:44:41 > 0:44:44So it had to be inspected to make sure it was perfect.
0:44:44 > 0:44:48Now, I don't know what a pair of silk knickers would have been worth in 1940.
0:44:48 > 0:44:51- I don't know but it's lovely material!- Haha!
0:44:51 > 0:44:54But, I tell you, this is, I mean, it's only a part of a parachute.
0:44:54 > 0:44:58A complete parachute today would be worth a fair amount of money.
0:44:58 > 0:45:00This is only a little, tiny part of it.
0:45:00 > 0:45:03It still has a value, but not that great, perhaps £50, £60.
0:45:03 > 0:45:06But it's not the money that's interesting,
0:45:06 > 0:45:07it's your mother's knickers.
0:45:07 > 0:45:10Yes. And they all had silk knickers in the village!
0:45:12 > 0:45:17# We're going to hang out the washing on the Siegfried Line. #
0:45:17 > 0:45:21It's worth between £2,000 and £2,500.
0:45:23 > 0:45:26This was used for fighting. It's designed for slashing.
0:45:26 > 0:45:31My goodness, you wouldn't want to get in the way of that.
0:45:31 > 0:45:33What if my husband hadn't have chipped it?
0:45:33 > 0:45:35- He's cost you £1,000. - He owes me, yes.
0:45:35 > 0:45:36He owes you £1,000.
0:45:36 > 0:45:38Where's my money?!
0:45:40 > 0:45:44# We're gonna hang out the washing on the Siegfried Line
0:45:44 > 0:45:50# If that Siegfried Line's still there. #
0:45:50 > 0:45:54Two or three years ago, the "Fiona Moment" on the Roadshow
0:45:54 > 0:45:57was "Most Seen, Most Wanted".
0:45:57 > 0:46:00And that concerned us as specialists,
0:46:00 > 0:46:04describing the piece that we'd most like to see brought into the show
0:46:04 > 0:46:10in our wildest dreams. And this is the nearest it's ever got.
0:46:11 > 0:46:14Wow. It's wow.
0:46:14 > 0:46:17That's what I thought when I saw it. Wow.
0:46:17 > 0:46:20So, come on, spill the beans.
0:46:20 > 0:46:23I've had that for about 10 years.
0:46:23 > 0:46:26And you found it under a gooseberry bush?
0:46:26 > 0:46:30I just found it in a cheap little shop for two quid.
0:46:32 > 0:46:36Two quid. Let me tell you what it is.
0:46:36 > 0:46:41It's an English, lidded goblet
0:46:41 > 0:46:45from circa 1730 to 1750.
0:46:45 > 0:46:49Now, Ravenscroft is 1670, so this is later.
0:46:49 > 0:46:52But what it does is it continues a theme.
0:46:52 > 0:46:56Venetian glass dominated Europe for hundreds of years.
0:46:56 > 0:46:59And we just see the last influence of the foreign
0:46:59 > 0:47:02in this very English piece. London was the great centre
0:47:02 > 0:47:06of British glass-making at this time, largely because the money was there.
0:47:06 > 0:47:09If you were the Duke of Northumberland or the Duke of Bedford
0:47:09 > 0:47:11or whatever, you came into London to do your shopping.
0:47:11 > 0:47:15You as Mr Posh, Lord Posh, would have been buying objects like this
0:47:15 > 0:47:17to adorn your life.
0:47:18 > 0:47:21We know it's English. It can be nothing else because...
0:47:21 > 0:47:24GLASS TINGS ..rings like a bell.
0:47:24 > 0:47:30There is no doubt what this is at all. And it's an absolute blinder.
0:47:30 > 0:47:33These are nipped diamonds. They've double-dipped the glass,
0:47:33 > 0:47:36and then they would nip these together to form diamonds.
0:47:36 > 0:47:40They are nipped diamonds, is the decorative form.
0:47:40 > 0:47:45If this was a stopper, you'd date your decanter at 1735,
0:47:45 > 0:47:52and so your £2, I'm absolutely delighted to tell you,
0:47:52 > 0:47:56is a £5,000 object.
0:47:56 > 0:47:58CROWD GASPS, AMAZED LAUGHTER
0:47:58 > 0:48:01Retail - £5,000.
0:48:01 > 0:48:02- WOMAN:- Wow.
0:48:02 > 0:48:04Now that's shut you up, didn't it?!
0:48:04 > 0:48:06- LAUGHTER - Yes, Andy, it has.
0:48:06 > 0:48:10It's a peach, and that's brilliant. Thanks for bringing it in.
0:48:10 > 0:48:11Made my day.
0:48:17 > 0:48:20What a great find for Andy McConnell.
0:48:20 > 0:48:23But that's not been the biggest surprise of the day.
0:48:23 > 0:48:27At last, the sun has shone on us after weeks
0:48:27 > 0:48:30and weeks of torrential rain.
0:48:30 > 0:48:34I have to say, it has made everything so much nicer.
0:48:34 > 0:48:36So from the whole of the Roadshow team,
0:48:36 > 0:48:38and the glorious Wightwick Manor,
0:48:38 > 0:48:41until next time, bye-bye.