0:00:02 > 0:00:06For 400 years, today's Roadshow location by the River Medway in Kent
0:00:06 > 0:00:10helped build Britain into one of the world's mightiest sea powers.
0:00:10 > 0:00:14Welcome to The Antiques Roadshow from the Historic Dockyard, Chatham.
0:00:53 > 0:00:56In March 1984, amid a storm of protest,
0:00:56 > 0:00:59four centuries of shipbuilding and repair came to an end
0:00:59 > 0:01:03when the Royal Navy ended its association with the River Medway
0:01:03 > 0:01:05and the dockyard at Chatham.
0:01:05 > 0:01:09It was a sad day for the 7,000 people who lost their jobs.
0:01:10 > 0:01:12During its lifetime, 400 ships,
0:01:12 > 0:01:17including submarines like Ocelot, were built at Chatham Royal Dockyard
0:01:17 > 0:01:19by the men and women who worked here.
0:01:21 > 0:01:24Ocelot was one of the last warships to be built.
0:01:24 > 0:01:27Now returned, she sits alongside other ships,
0:01:27 > 0:01:30celebrating Britain's naval history.
0:01:32 > 0:01:36HMS Cavalier was one of 96 emergency destroyers built for the Royal Navy
0:01:36 > 0:01:38during the Second World War
0:01:38 > 0:01:42and she's now the only remaining ship of her kind in Britain.
0:01:42 > 0:01:43Once the fastest in the fleet,
0:01:43 > 0:01:48her main job was to protect convoys from German U-boat attacks.
0:01:48 > 0:01:52But Britain's last wartime destroyer was bound for the scrapyard
0:01:52 > 0:01:56until a hard-fought campaign by many people,
0:01:56 > 0:01:58including some of her own ex-crew, saved her.
0:01:58 > 0:02:01She was finally towed to the safety
0:02:01 > 0:02:04of Chatham's Historic Dockyard for restoration.
0:02:04 > 0:02:08It's like the crew has just stepped ashore and could be back any minute.
0:02:08 > 0:02:12Many of these items belong to the men who served on HMS Cavalier
0:02:12 > 0:02:16and they donated them when the ship was saved from the breaker's yard.
0:02:19 > 0:02:20HMS Cavalier is just one ship
0:02:20 > 0:02:23restored at the Historic Dockyard, Chatham,
0:02:23 > 0:02:26a perfect backdrop for today's Roadshow.
0:02:29 > 0:02:33If you'd like more information
0:02:33 > 0:02:37about the programme, please log on to our website:
0:02:39 > 0:02:43I really like these things. Do you know what it is?
0:02:43 > 0:02:46No, that's exactly why I brought it today.
0:02:46 > 0:02:50- But you have a penchant for brown pots?- I love wood.
0:02:50 > 0:02:53- You like it cos it's wood?- Yes. - You know what kind of wood it is?
0:02:53 > 0:02:55- No.- It's bamboo.
0:02:55 > 0:03:00And I have a little, very fierce Shanghainese adviser
0:03:00 > 0:03:01on my pronunciation
0:03:01 > 0:03:04and in Chinese it's called a "bee-tohng" -
0:03:04 > 0:03:06falling, rising, falling, rising.
0:03:06 > 0:03:09Not "be-tong", "bee-tohng".
0:03:09 > 0:03:13And it's a brush pot, one of the scholar's objects.
0:03:13 > 0:03:18If you were a Chinese scholar in the middle of the 18th century
0:03:18 > 0:03:21or even the 19th century, you would have a table
0:03:21 > 0:03:24and on it you would have a number of things.
0:03:24 > 0:03:27You would have brushes for calligraphy,
0:03:27 > 0:03:29you'd have a bitong to put your brushes in.
0:03:29 > 0:03:32You would have an ink stone to grind up ink
0:03:32 > 0:03:36and you would be writing beautiful calligraphy
0:03:36 > 0:03:38or making paintings on scrolls.
0:03:38 > 0:03:42- Where did you get it from?- My mother used to look after an elderly lady.
0:03:42 > 0:03:46When she was going into a home, Mum was asked to choose something.
0:03:46 > 0:03:50And she chose that because my father was always into wood
0:03:50 > 0:03:52and she thought it was worthless.
0:03:52 > 0:03:57But it had value to her because she thought it was well done.
0:03:57 > 0:04:00She liked it and thought it was something of no value?
0:04:00 > 0:04:04She only chose this pot out of all the other things because she felt
0:04:04 > 0:04:06she didn't deserve to have anything.
0:04:06 > 0:04:10I think it's a really good reason to choose something -
0:04:10 > 0:04:11- because you like it.- Exactly.
0:04:11 > 0:04:14They are quite difficult to date accurately,
0:04:14 > 0:04:17but judging by the style of carving,
0:04:17 > 0:04:21particularly on the daybed where we have these little cell borders,
0:04:21 > 0:04:24this suggests it's the first half of the 18th century.
0:04:24 > 0:04:26It might date from around 1730, 1740,
0:04:26 > 0:04:30but they're very difficult things to put a clear date on.
0:04:31 > 0:04:33It really is... It's fabulous.
0:04:33 > 0:04:35You see also these huge daybeds
0:04:35 > 0:04:39like this where people lay on there, smoked opium,
0:04:39 > 0:04:42sat there with their scrolls,
0:04:42 > 0:04:44flowers, enjoying themselves.
0:04:44 > 0:04:47The mounts on here are another wood.
0:04:47 > 0:04:51It's called zitan. It's a very black wood and quite a rare wood now.
0:04:51 > 0:04:52It used to be more common.
0:04:52 > 0:04:56There was a high point of carving bamboo in the late 17th century.
0:04:56 > 0:04:58- This is not one of those.- No.
0:04:58 > 0:05:01But it was considered a very high art form and you get pieces
0:05:01 > 0:05:04which are signed by particular artists.
0:05:04 > 0:05:08Those are the really valuable ones, but still, it's nice.
0:05:08 > 0:05:12I suppose it's worth £6,000 to £8,000.
0:05:12 > 0:05:13GASPS
0:05:13 > 0:05:15LAUGHTER
0:05:16 > 0:05:18I don't believe it!
0:05:18 > 0:05:22Well, it nearly went to the charity shop last week.
0:05:22 > 0:05:27- Which shop?- The same place as everything else went.
0:05:27 > 0:05:31- Thank you very much indeed. - Thank you.
0:05:31 > 0:05:33This is the most extraordinary album.
0:05:33 > 0:05:39It's absolutely full of family and family gatherings and family events.
0:05:39 > 0:05:41- Yes.- So tell me about it. Whose is it?
0:05:41 > 0:05:47A lady called Mary Jeffrey who was born in 1843 in Swaffham in Norfolk.
0:05:47 > 0:05:49She was my great-great-aunt
0:05:49 > 0:05:52and the album has come down through the family
0:05:52 > 0:05:55by marriage and inheritance.
0:05:55 > 0:05:59She moved to Bradford later on and got married
0:05:59 > 0:06:02and at the end of her life she was in Whitehaven in Cumbria,
0:06:02 > 0:06:05- but the period...- This period?
0:06:05 > 0:06:10This period was round about 1860 to 1875, roughly.
0:06:10 > 0:06:12- The Trollope period.- Absolutely.
0:06:12 > 0:06:14And very much a young girl.
0:06:14 > 0:06:18She was 18 when she started, yes.
0:06:18 > 0:06:22I love this. Obviously, they're coming up to the priest here.
0:06:22 > 0:06:26But I love this, giving out the lily of the valley for buttonholes,
0:06:26 > 0:06:29- which is what we all do before weddings.- Oh, yes.
0:06:29 > 0:06:32All the little details of Victorian life come out.
0:06:32 > 0:06:36- There's a Mary here. - That almost certainly is her.
0:06:36 > 0:06:40- She normally would put "Mary J"... - Mary J, yes.
0:06:40 > 0:06:44..wherever she put herself into one of the pictures.
0:06:44 > 0:06:47I love it. It goes all over here as well.
0:06:47 > 0:06:51It almost looks as though they're having a car-boot sale over here.
0:06:51 > 0:06:53- It does indeed.- I can't see Mary there.
0:06:53 > 0:06:56- I'm not sure that she's in there. - Wonderful.
0:06:56 > 0:06:59The whole album is full of these lovely little sketches.
0:06:59 > 0:07:02She hasn't written and doesn't say very much.
0:07:02 > 0:07:05We've always regarded it as a pictorial diary,
0:07:05 > 0:07:07but that's a misnomer
0:07:07 > 0:07:10because there are, as you say, really only captions
0:07:10 > 0:07:11and not much narrative.
0:07:11 > 0:07:13I love this. Here they all are.
0:07:13 > 0:07:17This is the sitting room, I suppose, and they're waiting.
0:07:17 > 0:07:20And I love this one. They're on the ice.
0:07:20 > 0:07:23They're on the ice and somebody's fallen through.
0:07:23 > 0:07:24Absolutely wonderful.
0:07:24 > 0:07:25And it's so full!
0:07:25 > 0:07:29She kept this going for, what, two years, three years?
0:07:29 > 0:07:33Oh, no, I think it covers a period of probably about 15.
0:07:33 > 0:07:37This period here, as we get towards the end of the album,
0:07:37 > 0:07:40things become rather more, dare I say, sexy.
0:07:40 > 0:07:44The earlier pictures seem to be rather more wooden
0:07:44 > 0:07:46and rather more sort of...
0:07:46 > 0:07:49- Yes.- But this is almost voluptuous.
0:07:49 > 0:07:51And the colours, particularly,
0:07:51 > 0:07:54seem to be more varied and brighter in the later years.
0:07:54 > 0:07:58- She's growing up, in fact.- Yes. - She's becoming more...
0:07:58 > 0:08:03Yes, she started at 18 and by this time, she's 32, 33.
0:08:03 > 0:08:08Yes, absolutely. So she knows all these sort of things.
0:08:08 > 0:08:11This last one here that we're going to have a look at
0:08:11 > 0:08:13is a montage of the house,
0:08:13 > 0:08:15a little watercolour of the house
0:08:15 > 0:08:18with the photos stuck on to the people.
0:08:18 > 0:08:22I think this is stunning, absolutely stunning.
0:08:22 > 0:08:25We have to think of a value. Have you thought of a value?
0:08:25 > 0:08:31No, because it's very much a family heirloom, the value...
0:08:31 > 0:08:34It sounds trite, but it really is irrelevant.
0:08:34 > 0:08:3740 pages with two or three illustrations per page.
0:08:37 > 0:08:42- Yes.- Four illustrations per page. It's stunning.
0:08:42 > 0:08:43£10,000.
0:08:44 > 0:08:48I think I need that brandy that I mentioned earlier on.
0:08:48 > 0:08:53- Thank you for bringing it in.- Thank you, Mr Farahar, very much indeed.
0:08:53 > 0:08:56A beautiful form, exquisitely decorated.
0:08:56 > 0:09:00To me, this is the epitome of 19th-century elegance,
0:09:00 > 0:09:03but where does it come from in your life?
0:09:03 > 0:09:05It belonged to our grandparents.
0:09:05 > 0:09:07As far as we know, they were in service
0:09:07 > 0:09:11to a Lady Dalzell in Belgravia. This was a gift from them.
0:09:11 > 0:09:14It's one of a pair. They've got the other one at home.
0:09:14 > 0:09:16- So you have two of these?- Yeah.
0:09:16 > 0:09:19This is a superb example of its type.
0:09:19 > 0:09:21What we're looking at is a classic piece
0:09:21 > 0:09:25of late-19th-century Bohemian glass art.
0:09:25 > 0:09:27At the end of the 19th century,
0:09:27 > 0:09:30the Bohemians really were right up there
0:09:30 > 0:09:33in terms of manufacturing beautiful glassware.
0:09:33 > 0:09:36A couple of names that spring to mind when I look at this
0:09:36 > 0:09:39are the likes of Moser or possibly Neuwelt,
0:09:39 > 0:09:43particularly when you look at this outer casing of white glass
0:09:43 > 0:09:44which has been applied,
0:09:44 > 0:09:48then cut through in these panels in this strawberry diamond pattern,
0:09:48 > 0:09:52then of course, this beautiful acanthus collar neck,
0:09:52 > 0:09:56really typical detailing and all this lovely final giltwork.
0:09:56 > 0:09:59I mean, they just reek of quality.
0:09:59 > 0:10:04- And the tale and the provenance sort of echoes that, doesn't it?- Yeah.
0:10:04 > 0:10:07- So something you love yourself today?- Absolutely.
0:10:07 > 0:10:11It's not on display because it doesn't fit in with our decor,
0:10:11 > 0:10:14but I do like them and I'm liking them even more.
0:10:14 > 0:10:16They're lovely things
0:10:16 > 0:10:19and I'd come into this thinking about valuing one.
0:10:19 > 0:10:22Obviously, I've got to value two
0:10:22 > 0:10:25and a pair of these, in the current market,
0:10:25 > 0:10:29- would comfortably realise somewhere in the region of £1,500.- Wow!
0:10:30 > 0:10:32That's a very nice surprise.
0:10:35 > 0:10:38Well, bright sunshine on a wonderful day here
0:10:38 > 0:10:41and a glorious brooch that we've got in front of us
0:10:41 > 0:10:46and a couple of ladies and a baby. How are they related to you?
0:10:48 > 0:10:52The lady holding the baby is my mother-in-law
0:10:52 > 0:10:57and the lady here is Queen Farida of Egypt.
0:10:58 > 0:11:01I think that's Princess Ferial.
0:11:01 > 0:11:06- Uh-huh.- And the brooch was given to my mother-in-law by King Farouk.
0:11:06 > 0:11:09Wow, that's fantastic! How did that come about?
0:11:09 > 0:11:11My mother-in-law was a nanny
0:11:11 > 0:11:17and she was selected to go and be nanny to his children in Egypt
0:11:17 > 0:11:19in, I think, about 1936.
0:11:19 > 0:11:23- Where was she going from? - Manchester.- Manchester. Brilliant.
0:11:23 > 0:11:28It is an absolutely gorgeous piece of craftsmanship.
0:11:28 > 0:11:32The central section you have here with all those delightful flowers
0:11:32 > 0:11:34is actually rock crystal.
0:11:34 > 0:11:38And the rock crystal has been carved from behind
0:11:38 > 0:11:41to create this lovely bunch of flowers that we see.
0:11:41 > 0:11:46Then it's been mounted in this diamond mount around the edge
0:11:46 > 0:11:51with these adorable highlights of beautiful bottle-green emeralds,
0:11:51 > 0:11:56super sapphires here and lovely, black onyx highlights as well.
0:11:56 > 0:12:01And they've all been delicately, almost sunk into the actual mount.
0:12:01 > 0:12:04It is just an adorable piece. Do you wear it?
0:12:04 > 0:12:07- I haven't.- You haven't worn it?- No.
0:12:07 > 0:12:11- Gosh!- Our daughter wore it on her wedding day.
0:12:11 > 0:12:14That's a lovely image to have
0:12:14 > 0:12:18of somebody wearing such an exquisite piece of jewellery
0:12:18 > 0:12:19on their wedding day.
0:12:19 > 0:12:23Date-wise, it's slightly earlier to when it was presented
0:12:23 > 0:12:25to your mother-in-law.
0:12:25 > 0:12:30It dates from about 1925 which was the height of the Art Deco period.
0:12:30 > 0:12:35The Decorative Arts Exhibition was taking place in Paris in 1925
0:12:35 > 0:12:40and the jewellery section of that was utterly amazing.
0:12:41 > 0:12:45So it just coincides with this very beautiful brooch
0:12:45 > 0:12:48which is typical of French design of the 1920s,
0:12:48 > 0:12:53particularly in the delicate craftsmanship that we see.
0:12:53 > 0:12:56So, a super way that it's been put together,
0:12:56 > 0:12:58it's also very fashionable at the moment.
0:12:58 > 0:13:02It's the type of jewellery that everybody seems to want to collect,
0:13:02 > 0:13:04so if it did come up to auction,
0:13:04 > 0:13:07it would fetch somewhere between £6,000 and £8,000.
0:13:07 > 0:13:10Very nice.
0:13:10 > 0:13:13- Thank you very much. - Thank you for bringing it in.
0:13:14 > 0:13:18Many years ago in the 1960s when I was first collecting,
0:13:18 > 0:13:22my passion was Doulton Lambeth stoneware.
0:13:22 > 0:13:24Had I seen this then,
0:13:24 > 0:13:27I'd have died to have it. I'm still very pleased to see it,
0:13:27 > 0:13:30but I don't collect things any more.
0:13:30 > 0:13:32But to see a piece of this quality
0:13:32 > 0:13:35suddenly appear out of a bag, so to speak,
0:13:35 > 0:13:37is fairly magical.
0:13:37 > 0:13:39I mean, this is an amazing piece.
0:13:39 > 0:13:40- Do you like it?- I do.
0:13:40 > 0:13:43It's been in the family as long as I can remember.
0:13:43 > 0:13:44Why have you got it?
0:13:44 > 0:13:49My grandfather worked for the Royal Doulton Pottery at Lambeth.
0:13:49 > 0:13:53When he retired, as I understand the story that came through the family,
0:13:53 > 0:13:56he was invited to take a piece from the collection.
0:13:56 > 0:13:58This was the piece he chose.
0:13:58 > 0:14:01He looked around the room thinking, "What shall I have?"
0:14:01 > 0:14:05I wonder why he picked that? When did he retire?
0:14:05 > 0:14:07I think in the 1920s, '30s.
0:14:07 > 0:14:09- Between the wars?- I think so.
0:14:09 > 0:14:12It has to be said, in the 1930s,
0:14:12 > 0:14:15this was probably the most unfashionable pot
0:14:15 > 0:14:17he could have picked.
0:14:17 > 0:14:21This is the Art Deco period. This very elaborate 19th century design
0:14:21 > 0:14:23must have seemed out of the ark.
0:14:23 > 0:14:25- So why did he do it? - It is quite special.
0:14:25 > 0:14:29It was cast for the visit of the Prince of Wales
0:14:29 > 0:14:32to the Lambeth Pottery in 1885.
0:14:32 > 0:14:36Whether he had a particular affection for it, I don't know.
0:14:36 > 0:14:37- He wasn't there then.- No.
0:14:37 > 0:14:41- Maybe he worked beneath it. - It's a piece he admired perhaps.
0:14:41 > 0:14:43Let's get that point.
0:14:43 > 0:14:44On the 21st of December, 1885,
0:14:44 > 0:14:48the Prince of Wales visited the Lambeth factory, as you said.
0:14:48 > 0:14:51This was made as a demonstration piece
0:14:51 > 0:14:54as His Royal Highness looked on. He said, "Carry on, chaps."
0:14:54 > 0:14:59They made this and it was then fired and put on the shelves
0:14:59 > 0:15:03- and became a very important part of the museum collection.- Yes.
0:15:03 > 0:15:06Two things are interesting - one that he picked it,
0:15:06 > 0:15:10and the second that Royal Doulton was prepared to release
0:15:10 > 0:15:12such a crucially important piece.
0:15:12 > 0:15:14- Do you know who made it?- I don't.
0:15:14 > 0:15:17In here we have simple initials, "MVM, '85."
0:15:17 > 0:15:21- '85 is the date.- Yes. - This is Mark V Marshall,
0:15:21 > 0:15:24- who was one of the top Doulton artists.- OK.
0:15:24 > 0:15:27He was much more adventurous than some of them.
0:15:27 > 0:15:30He did this very fluid, Art Nouveau design.
0:15:30 > 0:15:33He will have done all the decoration on this piece,
0:15:33 > 0:15:35signed it in front of the Prince of Wales.
0:15:35 > 0:15:38It will have gone off to the bottle ovens,
0:15:38 > 0:15:41to the salt-glaze firing and come out looking like this.
0:15:41 > 0:15:43- I'm so glad you like it.- Yes, I do.
0:15:43 > 0:15:47Because quite apart from the family, it's such a thing.
0:15:47 > 0:15:51When I saw it coming out of your bag, I couldn't believe it.
0:15:51 > 0:15:55It's a piece never been seen. You've had it since that time.
0:15:55 > 0:16:00- Great, important, historical piece for Doulton.- Yes.
0:16:00 > 0:16:05And you're looking today at a pot
0:16:05 > 0:16:07which is going to be
0:16:07 > 0:16:09between £3,000 and £5,000.
0:16:10 > 0:16:13That's lovely. Thank you very much.
0:16:19 > 0:16:24You get a lot of different items on the militaria side of the Roadshow.
0:16:24 > 0:16:28Swords, medals, helmets.
0:16:28 > 0:16:30Never, I think, a mandolin,
0:16:30 > 0:16:34- let alone a working mandolin. - Absolutely.
0:16:34 > 0:16:37But this is a very unusual mandolin, isn't it?
0:16:37 > 0:16:42My grandfather was given it on Christmas Day 1946
0:16:42 > 0:16:47by a German POW who had made it from scratch
0:16:47 > 0:16:53in a camp in Aliceville, Alabama to which he had been sent
0:16:53 > 0:16:55after being captured in North Africa.
0:16:55 > 0:17:00When the prisoner-of-war, whose name was Paul, was sent back,
0:17:00 > 0:17:02he was sent back to this country
0:17:02 > 0:17:06and sent to an internment camp
0:17:06 > 0:17:10where a lot of the POWs were kept and they did reparation work,
0:17:10 > 0:17:16rebuilding after bombing and some farming and that sort of thing,
0:17:16 > 0:17:18but they weren't allowed to fraternise
0:17:18 > 0:17:21with any of the inhabitants.
0:17:21 > 0:17:25At the end of 1946, the rules were relaxed
0:17:25 > 0:17:31and volunteer families were able to host a German POW for Christmas Day
0:17:31 > 0:17:34to have lunch in a family environment.
0:17:34 > 0:17:38And my grandfather offered to have two.
0:17:38 > 0:17:40One of them we don't know much about,
0:17:40 > 0:17:44but the other one, Paul, spoke pretty good English.
0:17:44 > 0:17:47And he and my grandfather hit it off.
0:17:47 > 0:17:52And so Paul presented my grandfather with the mandolin that he had made
0:17:52 > 0:17:54as a way of saying thank you
0:17:54 > 0:18:00and because he came originally from eastern Germany,
0:18:00 > 0:18:04he was repatriated to the eastern part, which was the Russian bloc,
0:18:04 > 0:18:06and that was the end of the story.
0:18:06 > 0:18:10Nothing further was ever heard of him again.
0:18:10 > 0:18:14Unfortunately, a lot of those men who fell back into Russian hands
0:18:14 > 0:18:16were worked to death as prisoners-of-war
0:18:16 > 0:18:20- and that was probably his fate, but what a legacy this is!- Brilliant.
0:18:20 > 0:18:24It's an absolutely beautiful piece. Its value is entirely personal.
0:18:24 > 0:18:28In actual terms, it's probably worth maybe £200,
0:18:28 > 0:18:31but it's priceless to you, I know.
0:18:31 > 0:18:33It has no value. It's our history.
0:18:33 > 0:18:37- One last question. Has anybody ever tuned it and played it?- Never.
0:18:37 > 0:18:43Not since it was given and since it was made in 1945, it is as was then.
0:18:43 > 0:18:46Perhaps you should find somebody who could.
0:18:46 > 0:18:48I'd love to hear it played.
0:18:48 > 0:18:52Thank you very much for bringing it. It's a beautiful piece.
0:18:52 > 0:18:53Thank you for the interest.
0:18:54 > 0:18:56MANDOLIN MUSIC
0:19:13 > 0:19:15It's not until a moment like this
0:19:15 > 0:19:20that an everyday, ordinary little object seems to take on more impact.
0:19:20 > 0:19:23This is an amazing display of toast racks,
0:19:23 > 0:19:26but I sense that this is not a collection, but an obsession.
0:19:26 > 0:19:30- How did it start?- It started because my husband was a collector
0:19:30 > 0:19:32of quite a lot of different items.
0:19:32 > 0:19:37Then he said to me one day, "Why don't you collect something?"
0:19:37 > 0:19:41One day in the Portobello Market, he was doing something on one side
0:19:41 > 0:19:45and I saw this little toast rack up on the shelf and I thought,
0:19:45 > 0:19:48- "Toast racks!" - And how long's this been going on?
0:19:48 > 0:19:50It started in 1988.
0:19:50 > 0:19:54And we've got a lovely selection here, 30-plus.
0:19:54 > 0:19:55I daren't ask. How many?
0:19:55 > 0:19:58- Just over 400.- 400?!- Yes.
0:19:58 > 0:20:03Wow. Well, it's funny because they are the kind of thing
0:20:03 > 0:20:06that every factory began making.
0:20:06 > 0:20:09- Yes.- The history of the toast rack seems to come into being
0:20:09 > 0:20:12about the end of the 18th century,
0:20:12 > 0:20:141770s, 1780s,
0:20:14 > 0:20:18with a change in how we started to live socially and dine
0:20:18 > 0:20:21and do breakfast, basically.
0:20:21 > 0:20:24From that point on, most factories would take it upon themselves
0:20:24 > 0:20:28to make these a mainstay of their tableware production.
0:20:28 > 0:20:33We've got examples from all over. Transfer-printed blue and white,
0:20:33 > 0:20:37we've got classic examples like this from Clarice Cliff,
0:20:37 > 0:20:41and some lovely early salt-glaze stoneware examples,
0:20:41 > 0:20:43probably from Brampton.
0:20:43 > 0:20:49They are such a huge array of shape and taste and style, aren't they?
0:20:49 > 0:20:50They are, yes.
0:20:50 > 0:20:55In terms of buying these over the years, what's the most you've spent?
0:20:55 > 0:20:57£500 on this one.
0:20:57 > 0:21:00What we've got is a lovely piece of salt-glaze stoneware,
0:21:00 > 0:21:03leaning towards Derbyshire, maybe Brampton.
0:21:03 > 0:21:08And I see on it we've got Prince Albert and Queen Victoria.
0:21:09 > 0:21:14So it's a cross-market appeal. Salt-glaze collectors will love that
0:21:14 > 0:21:16and also you've got commemorative appeal
0:21:16 > 0:21:20and it's just a very early example. The lowest you've spent?
0:21:20 > 0:21:2350p. I don't think that one's here.
0:21:23 > 0:21:28Well, in terms of an array, they do vary so dramatically in price.
0:21:28 > 0:21:32The better the company, the rarer the object,
0:21:32 > 0:21:34the more the value is going to be.
0:21:34 > 0:21:38Your £500 spend there for the Brampton is absolutely spot on.
0:21:38 > 0:21:42The Clarice Cliff examples here, the Secrets and Crocus patterns,
0:21:42 > 0:21:47- today are going to be £200 each. - Gosh.- Easily.- Right.
0:21:47 > 0:21:52- Some of the others, like the Shelley, maybe £40 or £50.- Right.
0:21:52 > 0:21:56But as a rough tot up on the table, I've done some very quick maths
0:21:56 > 0:22:02- and you're looking upwards of £2,500 of toast racks.- Gosh, right.
0:22:02 > 0:22:04I should treat them more carefully.
0:22:04 > 0:22:06You have how many at home?
0:22:06 > 0:22:08Well, about 350.
0:22:08 > 0:22:12I'll let you do the maths. It's a wonderful collection.
0:22:12 > 0:22:16Keep going. Have you ever thought about running a B&B?
0:22:16 > 0:22:17No! Definitely not.
0:22:17 > 0:22:21- You'd be well placed for breakfast. - I would indeed.
0:22:21 > 0:22:26- There's one more.- What's this one? - A plastic one that's collapsible.
0:22:26 > 0:22:28Well, what a place to end!
0:22:28 > 0:22:34We go from the earliest example at £500 to a modest modern collectable.
0:22:34 > 0:22:36The only way is up for you.
0:22:36 > 0:22:41- Hopefully, yes. - Thank you very much.- Thank you.
0:22:41 > 0:22:43I often see on the Roadshow
0:22:43 > 0:22:47pictures by 19th-century and early 20th-century artists
0:22:47 > 0:22:49and they work to a formula.
0:22:49 > 0:22:53They often paint subjects time and time again
0:22:53 > 0:22:55and they become particularly good.
0:22:55 > 0:22:58I'm lucky enough today to see an array of subjects
0:22:58 > 0:23:02by one artist, Moberly. Tell me where they came from.
0:23:02 > 0:23:05Well, I think with my grandparents.
0:23:05 > 0:23:08They were friends of the Moberly family.
0:23:08 > 0:23:12- Do you know much about the artist? - Well, my father told me
0:23:12 > 0:23:19that it was a painting from Ernest Shackleton, the explorer,
0:23:19 > 0:23:22and it was one of his favourite dogs,
0:23:22 > 0:23:24which he had painted by Moberly.
0:23:24 > 0:23:29Shackleton we'll come to because that's fascinating for me.
0:23:29 > 0:23:33Mariquita Jenny Moberly has signed the dog picture
0:23:33 > 0:23:35and her monogram is on the other two.
0:23:35 > 0:23:39Of course, the one in the front is a fantastic self-portrait.
0:23:39 > 0:23:44She doesn't look like a poor artist. She's in a very elegant interior
0:23:44 > 0:23:47and she's wearing a beautiful green dress.
0:23:47 > 0:23:50So we know that she initially lived in Epsom.
0:23:50 > 0:23:54She was born 1855 and then she moved to Mitcham.
0:23:54 > 0:23:59We know that Sir Ernest Shackleton was incredibly famous,
0:23:59 > 0:24:04but he also loved his dogs and had a whole number of dogs. Here is one.
0:24:04 > 0:24:08You've also brought along some photographs of her pictures of dogs.
0:24:08 > 0:24:11- Yes.- And at the top it says,
0:24:11 > 0:24:16"Sir Ernest Shackleton's dogs from watercolours by MJM."
0:24:16 > 0:24:19And then they're numbered below.
0:24:19 > 0:24:23So I imagine when he was on expedition or away from the country,
0:24:23 > 0:24:26she was probably commissioned
0:24:26 > 0:24:29to paint his dogs that were left at home.
0:24:29 > 0:24:33And of course dating these pictures, one can't be exactly precise
0:24:33 > 0:24:35on all three of them.
0:24:35 > 0:24:38The self-portrait is dated 1918.
0:24:38 > 0:24:40I imagine the interior and the dog
0:24:40 > 0:24:43are painted around a similar time, 1910-1920.
0:24:43 > 0:24:48We know that Shackleton dies in '22 and, of course, she dies in 1932.
0:24:48 > 0:24:49Yes.
0:24:49 > 0:24:54Now values for Victorian, Edwardian watercolours of this type
0:24:54 > 0:24:58by an artist who wasn't greatly well known,
0:24:58 > 0:25:01they're normally worth a few hundred pounds.
0:25:01 > 0:25:04So the self-portrait would probably be £200-£300,
0:25:04 > 0:25:06the interior, which I love,
0:25:06 > 0:25:09especially with that Arts and Crafts fireplace,
0:25:09 > 0:25:11perhaps £200-£300,
0:25:11 > 0:25:16but anything to do with Shackleton really raises the value.
0:25:16 > 0:25:20I think this particular watercolour is absolutely delightful.
0:25:20 > 0:25:24- It'll be worth £2,000-£3,000. - Oh, OK. Thank you.
0:25:24 > 0:25:26A massive difference to the little interiors,
0:25:26 > 0:25:29- which are delightful. - Yes, thank you.
0:25:29 > 0:25:30Look at that.
0:25:30 > 0:25:35- I mean, that looks like it's been some places, doesn't it?- Yeah.
0:25:35 > 0:25:39- So where has it been in your life? - Well, it's actually our dad's.
0:25:39 > 0:25:43He found it in a skip about five years ago.
0:25:43 > 0:25:48- OK. So what do you know about it? - We don't know anything about it.
0:25:48 > 0:25:50We thought it might have been
0:25:50 > 0:25:54- something from a chemistry background or...- No, no, no.
0:25:54 > 0:25:57It's wine. It's wine.
0:25:57 > 0:26:00- It's a wine bottle.- Right.
0:26:00 > 0:26:02And...
0:26:02 > 0:26:04Go on, give us a date. How old?
0:26:04 > 0:26:08- I was thinking 1850. - 1850?- 1900s?
0:26:10 > 0:26:12- 1800?- 1800.
0:26:12 > 0:26:14- 1750.- 1750.
0:26:14 > 0:26:17Go back a century!
0:26:17 > 0:26:20- This is...1660. - Really?
0:26:20 > 0:26:22Cromwell's era.
0:26:22 > 0:26:27Puritans. And yet the wine bottle comes down from the Puritans.
0:26:27 > 0:26:29And these are rare things,
0:26:29 > 0:26:32even though they were produced in pretty large numbers.
0:26:32 > 0:26:35And they evolved in a very specific way.
0:26:35 > 0:26:39"How do you know, Andy, that this is 1650, 1660?"
0:26:39 > 0:26:42Well, they just had very subtle changes
0:26:42 > 0:26:44as they evolved every five years.
0:26:44 > 0:26:50You can knuckle the English bottle down to a five-year period.
0:26:50 > 0:26:55So 1660. The earliest one of these is RPM 1657.
0:26:55 > 0:26:59And the seal on that bottle is RPM 1657,
0:26:59 > 0:27:01- which is the date.- Oh, I see.
0:27:01 > 0:27:05And that is the earliest intact English bottle we know.
0:27:05 > 0:27:11And this one is that much later. Like hardly at all.
0:27:12 > 0:27:14Oh...
0:27:14 > 0:27:18And these are quite sought after, you know.
0:27:18 > 0:27:20Without a seal,
0:27:20 > 0:27:23plain like this,
0:27:23 > 0:27:27this would be... three or four...
0:27:28 > 0:27:31..thousand pounds.
0:27:34 > 0:27:39But to have a seal, they go for a lot more.
0:27:39 > 0:27:43- Oh, OK.- So the quality of the seal makes a big difference.
0:27:43 > 0:27:46If this said,
0:27:46 > 0:27:49"BIB 1660",
0:27:49 > 0:27:53this would be worth £30,000.
0:27:53 > 0:27:56But it doesn't!
0:27:56 > 0:27:58LAUGHTER
0:27:58 > 0:28:02And if this said, "BIB", intact,
0:28:02 > 0:28:06this would be £20,000.
0:28:06 > 0:28:08OK.
0:28:08 > 0:28:12But as it's, "BIB" broken, I'm really sorry to tell you
0:28:12 > 0:28:16it's only worth £10,000-£12,000! Found in a skip!
0:28:18 > 0:28:22I've got the shakes! Take it away from me, baby!
0:28:22 > 0:28:24- Are you joking?- Absolutely not.
0:28:24 > 0:28:28- No word of a lie.- Oh, thank you. That's brilliant.- Most welcome.
0:28:28 > 0:28:30What a gas!
0:28:30 > 0:28:32Here we are in the county of Kent.
0:28:32 > 0:28:36I wasn't expecting to see a copy of the Bayeux Tapestry!
0:28:36 > 0:28:37How long is it?
0:28:37 > 0:28:42- It's approximately 40 feet. - Well, we've got some volunteers.
0:28:42 > 0:28:45Could we unroll it, please? Heavens.
0:28:45 > 0:28:48Presumably, you went to Bayeux, were completely inspired,
0:28:48 > 0:28:53- got home and got out your needle and thread.- No.- So what happened?!
0:28:53 > 0:28:57Sorry to disappoint you. I've never been to Bayeux or seen the original.
0:28:57 > 0:28:59I went to a re-enactment show
0:28:59 > 0:29:03and I saw that some people had done small excerpts of the tapestry
0:29:03 > 0:29:05and I thought, "If they can do it, I can."
0:29:05 > 0:29:08I got a piece of material about five feet long,
0:29:08 > 0:29:13and I drew it and sewed it with the only two stitches I knew.
0:29:13 > 0:29:15I'm incredibly impressed!
0:29:15 > 0:29:18You've used - I'm not going to call it stem stitch.
0:29:18 > 0:29:21It's more of a sort of running stitch that you've got,
0:29:21 > 0:29:26but it's a great bit of work. Now the original embroidery,
0:29:26 > 0:29:29there were all sorts of wonderful theories,
0:29:29 > 0:29:32that it was stitched by Queen Matilda,
0:29:32 > 0:29:35William the Conqueror's sister,
0:29:35 > 0:29:39but actually it was a piece of what I'm going to call
0:29:39 > 0:29:40opus anglicanum,
0:29:40 > 0:29:44which is basically English work.
0:29:44 > 0:29:47And English work, meaning stitchery,
0:29:47 > 0:29:50was renowned the world over in medieval times.
0:29:50 > 0:29:54So you're sort of continuing the tradition, aren't you?
0:29:54 > 0:29:59- How long has it taken you so far? - I started it about 17 years ago,
0:29:59 > 0:30:03but I've probably done the best part of 14 years, a couple of hours
0:30:03 > 0:30:05- every day.- Amazing.
0:30:05 > 0:30:08Now we don't usually value modern objects,
0:30:08 > 0:30:11and this is a modern object.
0:30:11 > 0:30:14It's a contemporary object. You're still working on it.
0:30:14 > 0:30:17I don't want to set a precedent here,
0:30:17 > 0:30:20but it is a remarkable piece of stitchery
0:30:20 > 0:30:24and I guess, in time, it will obviously become an antique,
0:30:24 > 0:30:28well after you and I have disappeared off the scene.
0:30:28 > 0:30:32Chaps did work on the original, so it is thought,
0:30:32 > 0:30:37so you're continuing it in the grand scheme of opus anglicanum.
0:30:37 > 0:30:40- Well done.- Thank you.
0:30:40 > 0:30:42This is a jolly nice cider mug.
0:30:42 > 0:30:47- Do you drink cider?- No, not at all. - Well, you want to start drinking it!
0:30:47 > 0:30:49Two pints, do you think?
0:30:49 > 0:30:51I'd be under the table with two pints of that!
0:30:51 > 0:30:56- Especially if it was strong cider. It's through the family?- Yes.
0:30:56 > 0:31:00- A great-great-granny, I think. - Great-great-granny?- Yes.
0:31:00 > 0:31:04That's pushing three generations back, four. Actually, in date,
0:31:04 > 0:31:07it's going to be around about 1780.
0:31:07 > 0:31:12- As long as that?- A long time, yes. And it's made in China.
0:31:12 > 0:31:17- No!- And came over to England as, you know, a present for somebody,
0:31:17 > 0:31:21and it's got a wonderful scene of Chinese people on the front.
0:31:21 > 0:31:24They're hunting with dogs.
0:31:24 > 0:31:29The whole decoration is terrific. Fine border, nice painting outside,
0:31:29 > 0:31:31and this super twisted handle.
0:31:31 > 0:31:34The handle is based upon an English creamware mug
0:31:34 > 0:31:36that must have gone out to China
0:31:36 > 0:31:41with this twisted rope handle and they liked it and copied it.
0:31:41 > 0:31:44It's a super mug. I love the border, too.
0:31:44 > 0:31:47And all the decoration is splendid.
0:31:47 > 0:31:50- You like it, do you? - Yes, I do like it.
0:31:50 > 0:31:53The value is going to be around about £300 or £400.
0:31:53 > 0:31:56- Right.- So it's a nice jug for cider.
0:31:56 > 0:32:00- Thank you very much.- Enjoy it. - I will. Thank you.
0:32:01 > 0:32:05Three generations, a collection of jewellery. How did it all happen?
0:32:05 > 0:32:08It was my grandma.
0:32:08 > 0:32:13Years ago, she used to travel with the fair.
0:32:13 > 0:32:15They went place to place.
0:32:15 > 0:32:19And they used to go to the public house to have a drink.
0:32:19 > 0:32:24And she would buy, as this one was bought, in the pub.
0:32:24 > 0:32:28I don't know about that one, where she got that one from.
0:32:28 > 0:32:32And also when they came back to their winter quarters,
0:32:32 > 0:32:35she was the lady down the road
0:32:35 > 0:32:38that people would come and sell bits to her.
0:32:38 > 0:32:43- So she was like a pawnbroker in the show community?- Yes.
0:32:43 > 0:32:47And it was a travelling showman community, a travelling fairground.
0:32:47 > 0:32:50So they'd turn up with these wonderful things
0:32:50 > 0:32:53when they were short of money and come to her.
0:32:53 > 0:32:57They'd send the children down with a piece of jewellery
0:32:57 > 0:33:02and say Mum wants so much, then she'd give them money for it.
0:33:02 > 0:33:05If they came down with a wedding ring,
0:33:05 > 0:33:07she would send a big box of food back,
0:33:07 > 0:33:12my mother would take it back, and send the wedding ring back.
0:33:12 > 0:33:15She'd never take a wedding ring.
0:33:15 > 0:33:19- It's a sacred thing.- It's the last straw, isn't it?- It is really!
0:33:19 > 0:33:22You're desperate to sell your wedding ring.
0:33:22 > 0:33:25That's all too true in some places today,
0:33:25 > 0:33:27so we're reliving history.
0:33:27 > 0:33:29But look at these wonderful things.
0:33:29 > 0:33:32- She clearly bought good things as well.- Oh, yes.
0:33:32 > 0:33:37And out of the collection that you showed earlier, I've chosen these.
0:33:37 > 0:33:40They're stunning. This is a snake biting its tail.
0:33:40 > 0:33:45It's almost sort of slightly aggressive for a piece of jewellery.
0:33:45 > 0:33:49It's stroppy, isn't it? Pearls and rubies and turquoise.
0:33:49 > 0:33:52But it's a very ancient symbol called the Ouroboros,
0:33:52 > 0:33:55the eternally renewing circle,
0:33:55 > 0:33:59the snake swallowing its tail. It's an emblem of eternal love.
0:33:59 > 0:34:03And the turquoise - something borrowed, something blue -
0:34:03 > 0:34:05rubies for eyes, pearls for Venus.
0:34:05 > 0:34:09And then diamonds saying this is all forever.
0:34:09 > 0:34:12It's wonderful. It dates from about 1860
0:34:12 > 0:34:15and it's a very popular decorative scheme,
0:34:15 > 0:34:19but here is a suite of jewellery in coral and diamonds
0:34:19 > 0:34:22and, oddly enough, it has the same message.
0:34:22 > 0:34:26It's odd, but coral is one of the treasures of the sea
0:34:26 > 0:34:30and in common with pearls and all precious materials
0:34:30 > 0:34:32from the depths of the sea,
0:34:32 > 0:34:37it's sacred to Venus, the love goddess. Then you added diamonds.
0:34:37 > 0:34:41So here are two pieces of jewellery saying love,
0:34:41 > 0:34:44but they have a much stronger resonance for you
0:34:44 > 0:34:48- because they're part of your history.- Definitely.
0:34:48 > 0:34:52- Have you worn those? - Not so much. That one.
0:34:52 > 0:34:54That one you really like.
0:34:54 > 0:34:59Is it a bit more to do with your personality? It's stronger.
0:34:59 > 0:35:04- Have you worn the corals? - No, I haven't.- No.
0:35:04 > 0:35:08- They're nice, but they're not really...- They're for wimps.- Yeah.
0:35:08 > 0:35:12- Not our cup of tea.- Not strong enough!- They like the bling bit.
0:35:12 > 0:35:17They're wonderful. I think these date from 1900, this 1860.
0:35:17 > 0:35:19The same message evoked
0:35:19 > 0:35:23in a different way through the meaning of the stones.
0:35:23 > 0:35:27And two lovely relics from just about Victorian England.
0:35:27 > 0:35:29They're enviable, valuable.
0:35:29 > 0:35:34Some of the turquoises are a little bit faded and discoloured,
0:35:34 > 0:35:36but nonetheless it's all there
0:35:36 > 0:35:39and it must be worth £1,000 of anybody's money.
0:35:39 > 0:35:42- Lovely. - A wonderful object.- Yeah, nice.
0:35:42 > 0:35:46That's OK. And then this suite of jewellery,
0:35:46 > 0:35:49- that's probably worth £600-£800.- Nice.
0:35:49 > 0:35:53So a total of £1,800. Push it a bit, maybe £2,000.
0:35:53 > 0:35:57But two wonderful pieces blazing in the sunlight,
0:35:57 > 0:36:01to be worn by the three graces and their lovely daughter.
0:36:01 > 0:36:06- Thanks ever so much. - Thank you.
0:36:06 > 0:36:10You've kindly brought along a small selection of what I understand
0:36:10 > 0:36:14- is a massive collection of car motoring mascots.- About 200 in all.
0:36:14 > 0:36:18So it's quite difficult to select two or three.
0:36:18 > 0:36:21I love them all. It was nearly impossible.
0:36:21 > 0:36:23I kept changing my mind.
0:36:23 > 0:36:25I've always wanted to know,
0:36:25 > 0:36:29is it because you're a frustrated car collector
0:36:29 > 0:36:34- or do you have the cars as well? - I bought a vintage Alvis
0:36:34 > 0:36:38and within five minutes of parking it, the mascot got stolen,
0:36:38 > 0:36:41so I had to find out where to find another mascot.
0:36:41 > 0:36:43That was the beginning.
0:36:43 > 0:36:47That's what collecting's all about. The Alvis has the famous hare.
0:36:47 > 0:36:49Yes, that's right.
0:36:49 > 0:36:53- Did you manage to replace it? - Yes. It's over here.
0:36:53 > 0:36:57So you and I have selected three of the mascots here. Personally,
0:36:57 > 0:37:01one of my favourites is this gorgeous Riley Skilady.
0:37:01 > 0:37:02Yes, exactly.
0:37:02 > 0:37:07One assumes because it's skiing that the Riley Alpine is the model
0:37:07 > 0:37:08- it was first made for.- Yes.
0:37:08 > 0:37:11But sculpturally she's wonderful.
0:37:11 > 0:37:14The sad thing is you can't really have them on cars now
0:37:14 > 0:37:16because of regulations.
0:37:16 > 0:37:21- That's right. You wouldn't want impaled by her skis.- Exactly.
0:37:21 > 0:37:25The Robert I really do like. This is the pre-war example, rarer.
0:37:25 > 0:37:30- Often the head is damaged. - Pre-First World War?- Yeah.
0:37:30 > 0:37:34And he's designed by the famous commercial artist John Hassall.
0:37:34 > 0:37:38He has this sort of egg-shaped ceramic head.
0:37:38 > 0:37:42The thing I like is you can move the head and you can move the hat
0:37:42 > 0:37:47to give him different positions. It can be different each time.
0:37:47 > 0:37:50He's called Robert because he's based on Robert Peel,
0:37:50 > 0:37:52who started the police force.
0:37:52 > 0:37:54There's two rare ones,
0:37:54 > 0:37:58but also the third one here is unusual because it's mechanical.
0:37:58 > 0:38:02This is my latest acquisition, bought at a local auction.
0:38:02 > 0:38:06The reason I bought it is because the wings articulate.
0:38:06 > 0:38:10The wind blows it up and they twist around and then down again.
0:38:10 > 0:38:12So the faster you go...
0:38:12 > 0:38:16- If you speed up and slow down, it'll flap.- What a fantastic idea.
0:38:16 > 0:38:18I don't know anything about it.
0:38:18 > 0:38:21It didn't come off a particular car.
0:38:21 > 0:38:25You could go to the equivalent of a car accessory showroom
0:38:25 > 0:38:30and this one, the faster you got, the faster it flapped its wings.
0:38:30 > 0:38:31What a lovely idea.
0:38:31 > 0:38:35- I'd guess it's 1920s.- Absolutely. Let's quickly talk about prices.
0:38:37 > 0:38:39The Riley Skilady, at auction,
0:38:39 > 0:38:43you'd be talking between £550 and £600.
0:38:43 > 0:38:48- Robert, again, I would think between £450 and £500.- Nice.
0:38:48 > 0:38:50And the one you've just bought.
0:38:50 > 0:38:54- How much did you pay?- £95. - It's great.- Magic.- A magic buy.
0:38:54 > 0:38:59- I'd have bid a lot more at auction. - That's the joy of collecting.
0:38:59 > 0:39:01Sometimes you buy at a low price.
0:39:01 > 0:39:06I think that's at least half-price. I would think £200-£300.
0:39:06 > 0:39:10So as a group we're talking about £1,200-£1,500.
0:39:10 > 0:39:13That's nice to know. Thanks.
0:39:13 > 0:39:16I hadn't originally planned to come today.
0:39:16 > 0:39:18I sent this along with my friend
0:39:18 > 0:39:23who was very kind enough to show it to somebody. I then got the call
0:39:23 > 0:39:27to say would I be able to come on to the programme.
0:39:27 > 0:39:30My grandmother gave it to me on my 21st
0:39:30 > 0:39:34- and she actually died the day after. - Oh, no!
0:39:34 > 0:39:36- So it's very special.- I'm not surprised.
0:39:36 > 0:39:40That's got to be one of the most special things you have.
0:39:40 > 0:39:45The history of this, do you know where your grandmother may have...?
0:39:45 > 0:39:47Well, my family originate from Italy
0:39:47 > 0:39:50and they moved to France and, on the outbreak of war,
0:39:50 > 0:39:52they returned to Italy.
0:39:52 > 0:39:56They lost most of their possessions, like many people,
0:39:56 > 0:39:59but they managed to hold on to certain things
0:39:59 > 0:40:02and this used to be my grandmother's.
0:40:02 > 0:40:04She always used to let me hold it.
0:40:04 > 0:40:07So...it's special.
0:40:07 > 0:40:12It was special to her and it was portable as well,
0:40:12 > 0:40:15which was very important at that time.
0:40:15 > 0:40:19- Have you done much work in looking at it?- I'm constantly holding it.
0:40:19 > 0:40:22It's extremely tactile.
0:40:22 > 0:40:25The workmanship on it just blows me away
0:40:25 > 0:40:30- every single time I hold it. - It is a very tactile object.
0:40:30 > 0:40:32It was made to be held, handled,
0:40:32 > 0:40:37and that's where so much of the pleasure of this piece comes from.
0:40:38 > 0:40:43- It's Chinese and it's a Buddhist lion dog.- Wow.
0:40:44 > 0:40:50They were used for protection and as a sort of symbol of harmony.
0:40:50 > 0:40:54You often see one sitting up, actually, outside official buildings
0:40:54 > 0:40:56or Buddhist temples.
0:40:56 > 0:41:00So that's what the animal is. He's got this wonderful mane.
0:41:00 > 0:41:05Extraordinary carving there. It's exceptionally good quality.
0:41:05 > 0:41:07And who would this have been made for?
0:41:07 > 0:41:10It would have been made really for a high official
0:41:10 > 0:41:13or somebody in the Imperial family. Had to be.
0:41:13 > 0:41:18It's made of nephrite jade. There are different types of jade.
0:41:18 > 0:41:22Jadeite mostly comes from Burma. It's harder, brighter green.
0:41:22 > 0:41:25This is nephrite jade from, I think, Hotan,
0:41:25 > 0:41:28which is in the far, far west of China.
0:41:28 > 0:41:33It had to travel huge distances in order to get anywhere near Beijing
0:41:33 > 0:41:35where it would be carved.
0:41:35 > 0:41:39- It's abraded, rather than carved. Worn down with corundums.- Wow.
0:41:39 > 0:41:42It takes a huge amount of time to make this.
0:41:42 > 0:41:44Jade is difficult to date.
0:41:44 > 0:41:46I think one of the defining points,
0:41:46 > 0:41:50and it's very difficult to do this without comparing with other pieces,
0:41:50 > 0:41:55is the actual surface finish. It's all been polished minutely by hand.
0:41:55 > 0:42:00- All by hand?- And they can't really replicate exactly the same surface
0:42:00 > 0:42:01on modern pieces.
0:42:01 > 0:42:05Dating isn't precise, but I would date this
0:42:05 > 0:42:08to somewhere around the end of the 17th century
0:42:08 > 0:42:11- or possibly into the first half of the 18th.- Wow.
0:42:11 > 0:42:14It would have taken months and months to carve it.
0:42:14 > 0:42:17You can't get Hotan jade any more.
0:42:17 > 0:42:21- It's no longer available.- Really? - The value is almost unimportant.
0:42:21 > 0:42:25- It's the story of how you got it. - Very unimportant.
0:42:25 > 0:42:30- But you have to look after it and keep it somewhere.- Yeah.
0:42:30 > 0:42:32In auction, it's about £25,000.
0:42:32 > 0:42:34Whoa.
0:42:37 > 0:42:39Unbelievable.
0:42:42 > 0:42:46Hopefully, this will stay in my family for a good many years.
0:42:46 > 0:42:48It'll be handed down to my daughter.
0:42:48 > 0:42:52Hopefully, she'll admire it and love it as much as I do.
0:42:52 > 0:42:54You're very lucky.
0:42:56 > 0:42:57Oh...
0:42:57 > 0:43:01Look at that. A nice cup of tea at the end of a long day
0:43:01 > 0:43:03at the Antiques Roadshow.
0:43:03 > 0:43:07Just round the corner, I found this original 1941 NAAFI van.
0:43:07 > 0:43:11NAAFI stands for Navy, Army and Air Force Institute.
0:43:11 > 0:43:15Their ethos was service to the services and they supplied
0:43:15 > 0:43:17refreshments, food and drink
0:43:17 > 0:43:21and hundreds of thousands of packets of cigarettes during WWII.
0:43:21 > 0:43:25They're still working now, out in Afghanistan.
0:43:25 > 0:43:29But for now this will do for me - my lovely cup of tea.
0:43:29 > 0:43:33From the NAAFI van and Historic Dockyard, Chatham,
0:43:33 > 0:43:35until next time, bye-bye.