0:00:02 > 0:00:04Charles Dickens once said of today's Roadshow location,
0:00:04 > 0:00:07"Rarely have I seen a place that so attracted my fancy,"
0:00:07 > 0:00:10and do you know, I think quite a few famous residents would agree,
0:00:10 > 0:00:12not least the late, great Arthur Negus,
0:00:12 > 0:00:14founding father of the Roadshow, of course,
0:00:14 > 0:00:16and who lived here for many years.
0:00:16 > 0:00:20Welcome to a return visit to Cheltenham.
0:00:58 > 0:01:00On the day before the Antiques Roadshow,
0:01:00 > 0:01:02there are always 101 things to be done.
0:01:05 > 0:01:08Lights need checking, miles of cables need laying,
0:01:08 > 0:01:11sets need to be laid out...
0:01:11 > 0:01:14Hmm, that sounds far too much like hard work for me.
0:01:16 > 0:01:19Far below all this activity, I've been told there's something
0:01:19 > 0:01:22rather interesting in the bowels of the building.
0:01:23 > 0:01:26From 1903, when the town hall opened,
0:01:26 > 0:01:29it was at the heart of Cheltenham's social life,
0:01:29 > 0:01:31so you might expect, 100 years on,
0:01:31 > 0:01:34to find something rather intriguing down here.
0:01:34 > 0:01:37Let's have a look. What can we see?
0:01:37 > 0:01:39Mm, what's in these books?
0:01:45 > 0:01:46Wouldn't you know it?
0:01:46 > 0:01:49It's from the local Echo, 1980 -
0:01:49 > 0:01:54"TV Antiques Roadshow In Town," and, look, there's Angela Rippon.
0:01:54 > 0:01:57This is the first time that the Antiques Roadshow
0:01:57 > 0:01:58came here to Cheltenham.
0:02:02 > 0:02:03It would be great to find something
0:02:03 > 0:02:06from the town hall's famous musical past.
0:02:08 > 0:02:11Here we go, "First Annual Festival.
0:02:11 > 0:02:14"The first performance of works by Benjamin Britten
0:02:14 > 0:02:16"conducted by the composer."
0:02:16 > 0:02:18Gosh, so when it came to classical music,
0:02:18 > 0:02:20Cheltenham was where it was at.
0:02:21 > 0:02:25As well as Benjamin Britten, many great composers performed here -
0:02:25 > 0:02:29William Walton, Vaughan Williams and Gustav Holst.
0:02:30 > 0:02:33And in the cultural capital of the Cotswolds -
0:02:33 > 0:02:37also renowned for its exquisite silver, immaculate furniture
0:02:37 > 0:02:40and rustic pottery - our experts are in position,
0:02:40 > 0:02:43and hoping to make their own mark with some exciting discoveries.
0:02:44 > 0:02:49Whenever I see a piece of painted enamel on an object of silver
0:02:49 > 0:02:54like this, it always gets the pulse ticking a little faster.
0:02:54 > 0:02:56What can you tell me about its past history?
0:02:56 > 0:03:01Well, all we know is that when my grandmother died in about 1977,
0:03:01 > 0:03:03we found it in her house.
0:03:03 > 0:03:08My father hadn't lived with her as a boy, so he'd never seen it before.
0:03:08 > 0:03:10We looked at it, it was a bit black,
0:03:10 > 0:03:13it had been on her mantelpiece, I think.
0:03:13 > 0:03:17It went on a shelf at home, and just carried on being black.
0:03:17 > 0:03:20Then about a year ago, I've got a friend
0:03:20 > 0:03:24who's staying in Amberleigh, and I took it to show her,
0:03:24 > 0:03:26and while we were looking at it,
0:03:26 > 0:03:29another friend of ours turned up for a cup of tea.
0:03:29 > 0:03:34- She works at the Court Barn Museum at Chipping Campden...- Yes.
0:03:34 > 0:03:35..and recognised what it was.
0:03:36 > 0:03:40So we went to Chipping Campden and showed this to the Harts,
0:03:40 > 0:03:44and they agreed that it had been made there,
0:03:44 > 0:03:46and that it was probably valuable.
0:03:46 > 0:03:51Well, what you've hit on is absolutely right, because
0:03:51 > 0:03:54when you look at how it's made,
0:03:54 > 0:03:56it absolutely screams Arts and Crafts.
0:03:56 > 0:03:58These rather crude riveted feet,
0:03:58 > 0:04:01which are all done absolutely deliberately.
0:04:01 > 0:04:03- Yes.- You know, it's not just bad making.
0:04:03 > 0:04:06- No.- That's how they deliberately made it,
0:04:06 > 0:04:09and then it's got this almost impressionistic enamel on the top.
0:04:09 > 0:04:13And this period was probably one of the peak periods
0:04:13 > 0:04:15for enamelling in the British Isles,
0:04:15 > 0:04:18and, of course, this came out of the very famous
0:04:18 > 0:04:21Guild of Handicraft workshop in Chipping Campden,
0:04:21 > 0:04:24and there's one name... Do you know
0:04:24 > 0:04:27the famous name associated with the Guild of Handicraft?
0:04:27 > 0:04:28Well, Ashbee.
0:04:28 > 0:04:30- Charles Ashbee.- Yes.
0:04:30 > 0:04:34He is an absolutely iconic name at the moment.
0:04:34 > 0:04:38People are going crazy over his stuff.
0:04:38 > 0:04:42So what I would need to do a little bit of work on, is to find out
0:04:42 > 0:04:46whether this was actually designed by Ashbee.
0:04:46 > 0:04:50If we turn it up and look at the bottom,
0:04:50 > 0:04:53you can see it's got the Guild of Handicraft mark there
0:04:53 > 0:04:57and the date letter is actually 1906.
0:04:57 > 0:04:58Now, that's exactly the period
0:04:58 > 0:05:02when Ashbee was running the Guild of Handicrafts.
0:05:02 > 0:05:07Lovely box. Very, very stylish, and, do you know, 20 years ago,
0:05:07 > 0:05:10I really disliked this stuff.
0:05:10 > 0:05:12- Do you like it?- I do now, yes.
0:05:12 > 0:05:15- So do I.- I mean, I don't think my father did, when he found it.
0:05:15 > 0:05:17It looked old-fashioned.
0:05:17 > 0:05:19And it's funny how tastes change.
0:05:19 > 0:05:22I used to love Georgian coffee pots and simple silver.
0:05:22 > 0:05:24Now I'm really into this Arts and Crafts silver
0:05:24 > 0:05:28and I think this is a lovely little box, highly collectable.
0:05:28 > 0:05:33Now, if it IS designed by Ashbee,
0:05:33 > 0:05:35we're probably looking at
0:05:35 > 0:05:37- £4,000 to £5,000.- Wow.
0:05:39 > 0:05:42So, not a bad increase.
0:05:42 > 0:05:43Not bad at all.
0:05:46 > 0:05:48What I've brought is two chairs and a table.
0:05:48 > 0:05:50- What, these two chairs we're sitting in?- Yes, yes.
0:05:50 > 0:05:53I bought these at auction last year for £160.
0:05:53 > 0:05:56- Yes.- And they're from Laurie Lee's house
0:05:56 > 0:05:59and I also got a letter from his widow stating the fact.
0:05:59 > 0:06:01- That these are Laurie Lee's?- Yes.
0:06:01 > 0:06:04So Laurie Lee, the man who wrote Cider With Rosie,
0:06:04 > 0:06:07that seminal book of the 1950s-60s
0:06:07 > 0:06:09that we all had to study at school...
0:06:09 > 0:06:11- Did you study it at school? - Yes, I did, yes.
0:06:11 > 0:06:14Yes, so, was it written on this table?
0:06:14 > 0:06:18I'm not sure about that, but I'm sure he sat in these very chairs.
0:06:18 > 0:06:20Well, Laurie Lee was born in 1914
0:06:20 > 0:06:27and he was born in Slad, down here in Gloucestershire,
0:06:27 > 0:06:30a few miles away from where we are at the moment,
0:06:30 > 0:06:32and brought up by his mother's family.
0:06:32 > 0:06:37His father went off to war in 1914 and he didn't get killed,
0:06:37 > 0:06:40but he decided not to come back to his family,
0:06:40 > 0:06:44so he was brought up in a female environment in this
0:06:44 > 0:06:47tiny little Slad valley, which all figures in his little book.
0:06:47 > 0:06:51But I'd love to feel - although it probably wasn't -
0:06:51 > 0:06:57that Cider With Rosie was written, forged, on this piece of wood here.
0:06:57 > 0:07:00- Yes.- There's the coffee stain - tremendous!
0:07:00 > 0:07:03- And look, you haven't cleaned it off.- No.
0:07:03 > 0:07:06You see here, this is all, this is all wax from the candle.
0:07:06 > 0:07:08- Oh, from the... Candle wax, yes. - You see the candle.
0:07:08 > 0:07:10So this dim little cottage,
0:07:10 > 0:07:12writing by the light of a candle,
0:07:12 > 0:07:17mug of hot coffee to keep warm, writing Cider With Rosie.
0:07:17 > 0:07:19I don't suppose it happened on this table,
0:07:19 > 0:07:23- but indeed this was Laurie Lee's table.- Quite.
0:07:23 > 0:07:25An invalid table, late Victorian.
0:07:25 > 0:07:28At auction - how much did you pay for it?
0:07:28 > 0:07:31I paid £160 for the three items.
0:07:31 > 0:07:33Well, I suppose if they went into auction now
0:07:33 > 0:07:37and you forgot the Laurie Lee implications,
0:07:37 > 0:07:41- I think that they would make, possibly make £100.- Yes.
0:07:41 > 0:07:44So you paid £60 over because it was Laurie Lee's.
0:07:44 > 0:07:46Yeah, absolutely.
0:07:46 > 0:07:48Well, I think catalogued properly
0:07:48 > 0:07:52and with this wonderful association from an author who wrote
0:07:52 > 0:07:54a seminal book of the 20th century,
0:07:54 > 0:07:57we're talking about £5,000.
0:07:57 > 0:08:00HE LAUGHS At least.
0:08:00 > 0:08:02So where do you keep it? Where do you keep it now?
0:08:02 > 0:08:04- Um...- You obviously don't bother to polish it.
0:08:04 > 0:08:08No, no, it's just kept in the house, just on the landing.
0:08:08 > 0:08:11That's brilliant. Thanks very much.
0:08:12 > 0:08:15My husband worked for The Beatles, he worked for Apple Corps,
0:08:15 > 0:08:18and we were invited to the opening party of their new shop.
0:08:18 > 0:08:21The Apple shop? Brilliant!
0:08:21 > 0:08:23Yes, the Apple shop, which was on the corner of Baker Street
0:08:23 > 0:08:26- and Paddington Street. - Yes, right, exactly.
0:08:26 > 0:08:28And they'd got The Fool, who were a Dutch group,
0:08:28 > 0:08:31to design some amazing clothes.
0:08:31 > 0:08:33This was just the beginning of the hippie,
0:08:33 > 0:08:34slightly getting hippie thing.
0:08:34 > 0:08:37Yes, I'm just trying to think, the Apple shop, which was this
0:08:37 > 0:08:41- extraordinary edifice with a big mural...- Wonderful painting.
0:08:41 > 0:08:42..on the outside of it.
0:08:42 > 0:08:46That opened, I think, in December '67, didn't it?
0:08:46 > 0:08:48- That's right, yes. - With a huge fanfare,
0:08:48 > 0:08:53and it was full of these wonderful, sumptuous clothes
0:08:53 > 0:08:58in extraordinary colours, extraordinary fabrics,
0:08:58 > 0:09:04and the trade mark was the Apple logo.
0:09:04 > 0:09:08Obviously, The Beatles set up the Apple recording label,
0:09:08 > 0:09:13they called it, tongue in cheek, Apple Corps, spelt C-O-R-P,
0:09:13 > 0:09:16and the Apple shop was a sort of offshoot
0:09:16 > 0:09:19of the Apple Corporation, which was their record label.
0:09:19 > 0:09:22- So you were there, lucky girl. - I was there at the opening party.
0:09:22 > 0:09:25- How was it? - It was packed - absolutely packed -
0:09:25 > 0:09:28and we were allowed to buy garments at the opening party,
0:09:28 > 0:09:31so I bought this, a blue brocade dress,
0:09:31 > 0:09:34and another top for my husband.
0:09:34 > 0:09:37Where they are, I don't know, so this is the only remaining one.
0:09:37 > 0:09:41And we were also invited to listen to, not the final mix,
0:09:41 > 0:09:43but the final run-through of Hey Jude.
0:09:43 > 0:09:47We went up to this tiny little studio
0:09:47 > 0:09:50and I sat on a little banquette with Paul McCartney on one side
0:09:50 > 0:09:56and out came this incredible song, which just went on and on and on.
0:09:56 > 0:10:00And Paul was really worried, he said, "Is it too long?"
0:10:00 > 0:10:03and we all said, "No, no, it's fabulous, it's fabulous."
0:10:03 > 0:10:05- Extraordinary and exciting times. - Yes.
0:10:05 > 0:10:09- I mean, the... Let's just do the postscript to the Apple shop.- Yes.
0:10:09 > 0:10:12- Because the Apple shop... - Didn't last long, no.
0:10:12 > 0:10:15No, it closed in the July, the following year,
0:10:15 > 0:10:17so it had a very short run.
0:10:17 > 0:10:20Well, they had an awful problem with people just coming in
0:10:20 > 0:10:21- and taking things.- Shoplifting?
0:10:21 > 0:10:23"Oh, I'm a friend of George,
0:10:23 > 0:10:26"he said I could have six dresses," that sort of thing.
0:10:26 > 0:10:29They had a lot of trouble with that, so I think they lost a lot of money.
0:10:29 > 0:10:31- Right.- But, um...
0:10:31 > 0:10:34But the psychedelic dream sort of continues
0:10:34 > 0:10:37when I look at this painting here.
0:10:37 > 0:10:40Now, I had a look at the back of it, and it says, "Philip Sutton"
0:10:40 > 0:10:45- and it's 1981, which is, you know, later than the psychedelic era.- Yes.
0:10:45 > 0:10:48But it has a sort of feeling of psychedelia to it.
0:10:48 > 0:10:49Is that you?
0:10:49 > 0:10:53That's me looking a bit like somebody from Trixie comic
0:10:53 > 0:10:57- of the 1960s, but, yes, that is me. - And are you wearing...?
0:10:57 > 0:10:59I'm wearing this, yes. Wearing that.
0:10:59 > 0:11:01And what's the background?
0:11:01 > 0:11:03Because the background looks like a sort of scene
0:11:03 > 0:11:05from Yellow Submarine in a way, doesn't it?
0:11:05 > 0:11:08Well, it could be, but in fact, it's After The Flood,
0:11:08 > 0:11:11- Noah's ark, after the flood. - Oh, right.
0:11:11 > 0:11:12- So there's the ark.- Yes.
0:11:12 > 0:11:16And there's Mrs Noah and Mr Noah, my cat and a dog.
0:11:16 > 0:11:20And I'd made this for an American client because I was making
0:11:20 > 0:11:22- applique and embroidered quilts and wall hangings.- Yes.
0:11:22 > 0:11:25And I made that for an American client, and Philip Sutton,
0:11:25 > 0:11:29who's a friend of ours, saw it and he said, "Shall we do a swap?"
0:11:29 > 0:11:32And I made him a bedspread and he painted my portrait,
0:11:32 > 0:11:35and I decided I wanted to be painted behind this, which I found.
0:11:35 > 0:11:36Brilliant, brilliant.
0:11:36 > 0:11:41Well, Philip Sutton, he is a Royal Academician,
0:11:41 > 0:11:43he's represented in Tate Britain,
0:11:43 > 0:11:48he was a tutor at the Slade School of Art in the 1950s and '60s,
0:11:48 > 0:11:49so he is well known
0:11:49 > 0:11:54and I know that Philip Sutton himself says of his work
0:11:54 > 0:11:58that he feels like he's a musician running through fields of colour,
0:11:58 > 0:12:02and using each of the colours a bit like a musical instrument,
0:12:02 > 0:12:04creating wild music... So, in a way,
0:12:04 > 0:12:06that sort of psychedelic feel continues.
0:12:06 > 0:12:10And even though this is dated 1981, it's still...
0:12:10 > 0:12:17He still has that feel of the late '60s and early '70s, it's terrific.
0:12:17 > 0:12:23OK, so it comes down to the nuts and bolts, which is the value.
0:12:23 > 0:12:27And I think that the coat here,
0:12:27 > 0:12:29I could see that
0:12:29 > 0:12:31easily fetching £400 or £500.
0:12:31 > 0:12:33Wow! Just the dress?
0:12:33 > 0:12:38The Philip Sutton is slightly more difficult to value.
0:12:38 > 0:12:41I'm going to be slightly cautious
0:12:41 > 0:12:44- and put a value of £1,000 to £1,500 on it.- Wow.
0:12:44 > 0:12:47BUT it's got a long way to go.
0:12:47 > 0:12:51But that's a portrait of me wearing this dress,
0:12:51 > 0:12:55so my family are going to have a portrait of me and the dress.
0:12:55 > 0:12:59They can set up - like Matisse had a museum -
0:12:59 > 0:13:03the painting, the object from the painting next to it.
0:13:03 > 0:13:06It'll be like a little shrine, a little shrine to you in the corner.
0:13:06 > 0:13:08I've even got the shoes I used to wear with this,
0:13:08 > 0:13:10I used to wear silver...
0:13:10 > 0:13:13Not tights, because they didn't have tights in those days -
0:13:13 > 0:13:15silver stockings, which scratched like mad,
0:13:15 > 0:13:18and silver shoes, and I thought I was fabulous!
0:13:18 > 0:13:22# Those were the days, my friend
0:13:22 > 0:13:25# We thought they'd never end
0:13:25 > 0:13:31# We'd sing and dance for ever and a day
0:13:31 > 0:13:34# We'd live the life we choose
0:13:34 > 0:13:36# We'd fight and never lose
0:13:36 > 0:13:42# For we were young and sure to have our way... #
0:13:44 > 0:13:47You may remember in our Antiques Roadshow in Wimbledon
0:13:47 > 0:13:50that one of our visitors brought along a Bible,
0:13:50 > 0:13:53which had that magic name in it - Negus -
0:13:53 > 0:13:55and it once belonged to the Negus family.
0:13:55 > 0:13:58And, of course, the late, great Arthur Negus is indelibly
0:13:58 > 0:14:01linked to the Antiques Roadshow years gone by,
0:14:01 > 0:14:05so we were very pleased to reunite the Bible with the Negus family.
0:14:05 > 0:14:07- And, Ann, you're Arthur's daughter. - Yes.
0:14:07 > 0:14:09What did you think when you got the call about this?
0:14:09 > 0:14:12Well, I was so excited, it's a wonderful thing to have
0:14:12 > 0:14:17because I have very little of my history to go on,
0:14:17 > 0:14:20so this told us everything. It's lovely.
0:14:20 > 0:14:22- It's a real link to the past, isn't it?- Yes, absolutely.
0:14:22 > 0:14:24You've got "Charles and Harriet Negus".
0:14:24 > 0:14:28- Yes, that's my great-grandfather. - Your great-grandfather.
0:14:28 > 0:14:32And great-grandmother, yes, and since having the Bible,
0:14:32 > 0:14:37because of the entries, we have managed to trace back to the 1700s.
0:14:37 > 0:14:39- Really?- At the present time.
0:14:39 > 0:14:44We hope to go further. It's lovely, wonderful to get it.
0:14:44 > 0:14:47Now, even though it's a long time now since your dad presented
0:14:47 > 0:14:51the Antiques Roadshow, but everyone remembers his name.
0:14:51 > 0:14:54I mean, people keep coming up to me and talking about him.
0:14:54 > 0:14:55I'm amazed, I'm amazed, yeah, I am amazed,
0:14:55 > 0:15:01but I always thought he didn't have a proper job like other fathers.
0:15:01 > 0:15:05He was always bringing home funny things and bits of furniture
0:15:05 > 0:15:08and the talk, you know, but as I got older,
0:15:08 > 0:15:13I appreciated how much he really was engrossed with it, loved it.
0:15:13 > 0:15:16Well, what came through was his real passion for it, I think.
0:15:16 > 0:15:21He had a... Well, as a boy, you see - father a cabinet-maker -
0:15:21 > 0:15:24he just lived with antiques the whole time,
0:15:24 > 0:15:29absolutely the whole time. It's lovely, really, to be recognised.
0:15:29 > 0:15:32Well, it's lovely to have you back on the programme.
0:15:32 > 0:15:35It feels entirely fitting to have a Negus back amongst our midst.
0:15:35 > 0:15:39Well, thank you for asking me, it's been most enjoyable.
0:15:40 > 0:15:44You know, a lot of people say, "Well how old does it have to be,
0:15:44 > 0:15:45"to be an antique?"
0:15:45 > 0:15:49And, of course, according to HMRC - Her Majesty's Revenue and Customs -
0:15:49 > 0:15:51it should be 100 years old,
0:15:51 > 0:15:54and, thankfully, we don't stick too strictly to that,
0:15:54 > 0:15:56because if we did,
0:15:56 > 0:15:58we wouldn't be able to see this wonderful cabinet...
0:15:58 > 0:16:02- That's right.- ..which has come from the Gordon Russell Museum in Broadway
0:16:02 > 0:16:05- and was made in 1925.- 1924.
0:16:05 > 0:16:091924. That's the first mistake for me!
0:16:09 > 0:16:11Have you got the label in the drawer that we can...?
0:16:11 > 0:16:13I think it's in this one, isn't it? Can we have a look?
0:16:16 > 0:16:18Ah, there we go.
0:16:20 > 0:16:24Oh, it does say 1925 on the label - that was the exhibition.
0:16:24 > 0:16:26That was the exhibition in Paris,
0:16:26 > 0:16:31where it won the gold medal at the Paris Exhibition of 1925.
0:16:31 > 0:16:35- And designed by Gordon Russell, Sir Gordon Russell.- Yes.
0:16:35 > 0:16:38Now, there was another influence before him,
0:16:38 > 0:16:42the Chipping Campden, there was a movement there of Arts and Crafts.
0:16:42 > 0:16:47The Guild of Handicrafts brought down from Whitechapel in London...
0:16:47 > 0:16:49- Right.- ..by CR Ashbee, the architect.
0:16:49 > 0:16:52Right, now those people were quite exclusive, weren't they?
0:16:52 > 0:16:54What they produced was expensive,
0:16:54 > 0:16:57whereas I think Gordon was important because he thought that
0:16:57 > 0:17:01machinery could help him make furniture for the average person
0:17:01 > 0:17:04that they could afford, and that's his great contribution, isn't it?
0:17:04 > 0:17:05It is indeed.
0:17:05 > 0:17:09And it was his line of utility furniture which we see a lot of.
0:17:09 > 0:17:11- Indeed.- But it's always quite exceptional,
0:17:11 > 0:17:13it always has that little bit of difference,
0:17:13 > 0:17:15- but let's talk about this cabinet. - Yes.
0:17:15 > 0:17:18Because this is a chance for me to talk about a piece of furniture
0:17:18 > 0:17:19which equates...
0:17:19 > 0:17:22My field is 18th-century furniture,
0:17:22 > 0:17:24and yet, when you see something like this,
0:17:24 > 0:17:26this, to me, is the equivalent.
0:17:26 > 0:17:30This is 20th century, 18th century. This is wonderful.
0:17:30 > 0:17:33And he was so clever because he reversed what you'd expect to see.
0:17:33 > 0:17:37A Queen Anne cabinet would have had this wonderful work
0:17:37 > 0:17:41enclosed by a pair of doors, but he's opened it up
0:17:41 > 0:17:45so you see these panels of inlay and marquetry - they're beautiful -
0:17:45 > 0:17:49and inside, there are two things that strike straightaway, little details.
0:17:51 > 0:17:54Now then, if you take that hinge strap up to there,
0:17:54 > 0:17:57this is Queen Anne, it could be Queen Anne.
0:17:57 > 0:18:01But this part is absolutely totally Arts and Crafts, isn't it?
0:18:01 > 0:18:03- Absolutely.- Wonderful design.
0:18:03 > 0:18:06- And then another revival are these oyster veneers.- Yes.
0:18:06 > 0:18:08Revival of the 17th century,
0:18:08 > 0:18:12parquetry lined with boxwood and ebony. I...
0:18:12 > 0:18:16- And the oysters are laburnum. - Laburnum, yeah.
0:18:16 > 0:18:18- May I...?- Yes, please.
0:18:18 > 0:18:19Oh...
0:18:19 > 0:18:21Still works perfectly.
0:18:21 > 0:18:23Oh! What a joy! Just...
0:18:23 > 0:18:26Wonderful, er...
0:18:26 > 0:18:27- Dovetails.- Dovetails.
0:18:27 > 0:18:29Just, just superlative.
0:18:29 > 0:18:33Well, now, I know that the museum... This, of course, is without price,
0:18:33 > 0:18:36there's nothing quite like it - it is priceless.
0:18:36 > 0:18:38It is a priceless piece.
0:18:38 > 0:18:40But, commercially, we have to look,
0:18:40 > 0:18:44and I know everybody wants to know the sort of price range.
0:18:44 > 0:18:48It would certainly be in the range of £50,000 to £60,000.
0:18:48 > 0:18:53This sort of furniture is so sought after and so wonderful.
0:18:53 > 0:18:55Who knows? I mean, that might be an underestimation,
0:18:55 > 0:18:59but it is a great joy for me to see and talk about something
0:18:59 > 0:19:03which I can enjoy as much as a piece of 18th-century furniture.
0:19:03 > 0:19:06- So do we.- Thank you very much. - Not at all, you're welcome.
0:19:07 > 0:19:10It's amusing to reflect that such a tranquil figure as this
0:19:10 > 0:19:13was created by such a wild Bohemian.
0:19:13 > 0:19:17Yes, she was known for her wildness and she would never
0:19:17 > 0:19:20take no for an answer, so she'd go up to you at a dinner party
0:19:20 > 0:19:23and say, "Oh, your face is so interesting, I must sculpt you,"
0:19:23 > 0:19:26and she would introduce herself to everybody famous
0:19:26 > 0:19:27and just push herself.
0:19:27 > 0:19:31So we're talking about Fredda Brilliant, the Polish sculptress
0:19:31 > 0:19:36- who emigrated to Australia, went to Russia, went to India.- Yes.
0:19:36 > 0:19:41And created a very considerable reputation for herself, not only
0:19:41 > 0:19:46as a woman on the stage, but as a creator of sculptures and portraits.
0:19:46 > 0:19:48Absolutely, absolutely.
0:19:48 > 0:19:52She was my aunt, she was married to my mother's brother.
0:19:52 > 0:19:54My mother's brother was Herbert Marshall,
0:19:54 > 0:19:57famous film producer, theatre manager and all that.
0:19:57 > 0:20:00They met in Russia, were married in Russia,
0:20:00 > 0:20:02so they spent years in Russia.
0:20:02 > 0:20:04So a lot of her early work was Russian.
0:20:04 > 0:20:08Then she went to India, and did a lot of the Indian people.
0:20:08 > 0:20:14- And there's a great story I recall about how she met Picasso in...- Yes!
0:20:14 > 0:20:19Picasso says, "Come to my house in the south of France, to sculpt me,"
0:20:19 > 0:20:22and it would have happened, had he not pinched her bottom?
0:20:22 > 0:20:25He pinched her bottom, but what was worse for Fredda,
0:20:25 > 0:20:28he pinched her bottom when her husband was in the room.
0:20:28 > 0:20:31- Oh, no, no!- And this was just a no-no.- Doubly bad.
0:20:31 > 0:20:36So, you have this maquette, this preparatory bronze,
0:20:36 > 0:20:41for what is arguably the most famous image of Gandhi.
0:20:41 > 0:20:44- Yes.- The statue in Tavistock Square.
0:20:44 > 0:20:46- Yes.- Which she created, she made,
0:20:46 > 0:20:50and I think it was unveiled by Harold Wilson, was it not?
0:20:50 > 0:20:52Harold Wilson, yes, yes.
0:20:52 > 0:20:55And it's now a place of pilgrimage. I see it from time to time
0:20:55 > 0:20:57and there's quite often flowers in front of it.
0:20:57 > 0:20:58Yes, that was the whole idea,
0:20:58 > 0:21:00for people to put flowers into the shrine.
0:21:00 > 0:21:02Oh, I'm with you, so it's got... Right.
0:21:02 > 0:21:04It was done for that and she was very proud of that,
0:21:04 > 0:21:07that when Indians first came to England to live,
0:21:07 > 0:21:10the first thing they would do would be go to Tavistock Square and put
0:21:10 > 0:21:13flowers as a thank you for a safe journey, or having arrived finally.
0:21:13 > 0:21:15And on his birthday, there's a pilgrimage
0:21:15 > 0:21:18goes into Tavistock Square of the Indian League
0:21:18 > 0:21:22and other dignitaries, and they lay all these flowers around him.
0:21:22 > 0:21:25- Every year they do this. - It's rather thrilling to think
0:21:25 > 0:21:29your aunt has created such an emotive, almost divine image
0:21:29 > 0:21:31- like that, isn't it?- Yes, yes.
0:21:31 > 0:21:34- Now how did you come by it? - Well, in her latter years,
0:21:34 > 0:21:36I used to go over to America where she was then residing,
0:21:36 > 0:21:41and help her to try and sort out 90 years of mayhem, which wasn't easy.
0:21:41 > 0:21:43Her whole life and all her chaotic...
0:21:43 > 0:21:44Her whole life and all her bronzes
0:21:44 > 0:21:46and all her paperwork that she'd kept for ever...
0:21:46 > 0:21:47So I would go over there
0:21:47 > 0:21:51and we became very close and then she became older and sick
0:21:51 > 0:21:54and she ended up leaving me everything.
0:21:54 > 0:21:56- Everything?- Everything.
0:21:56 > 0:21:57So, it's not just this?
0:21:57 > 0:22:01No, I have a shed with maybe... at least 50 pieces of hers.
0:22:01 > 0:22:04Now, they're not all finished, a lot of them are just plasters.
0:22:04 > 0:22:06Well, that's exciting, the creative process.
0:22:06 > 0:22:09And no direction. Yes. And no direction as to what to do with them.
0:22:10 > 0:22:13Quite obvious to me that Fredda needs another,
0:22:13 > 0:22:16another bit of exposure, another look at the world.
0:22:16 > 0:22:18- The world needs to look at HER, indeed.- Yes, yes.
0:22:18 > 0:22:23Well, I think that this, as a one-off piece,
0:22:23 > 0:22:26must be worth, given its significance
0:22:26 > 0:22:30in the history of the representation of this man,
0:22:30 > 0:22:33- £20,000.- Yes.
0:22:34 > 0:22:36But you have 50 other pieces.
0:22:36 > 0:22:38Yes, they're not all as good as this,
0:22:38 > 0:22:40but there are other pieces, yes.
0:22:40 > 0:22:43I think it's about time that Fredda came out of the dark.
0:22:43 > 0:22:45Had a look at the world, I think so.
0:22:45 > 0:22:47She would enjoy it, by the sounds of it.
0:22:47 > 0:22:49Ooh, she'd love it, she's been in the shed for ten years,
0:22:49 > 0:22:53so it's time, it's time she came out of the shed and the world saw her.
0:22:53 > 0:22:55- Thank you.- Pleasure.
0:22:56 > 0:23:00This is a very stylish centrepiece, possibly a fruit stand,
0:23:00 > 0:23:01something like that,
0:23:01 > 0:23:04and there are two things that intrigue me about it.
0:23:04 > 0:23:08One is the design and the other is that it doesn't have a glass liner.
0:23:08 > 0:23:12- What happened to the liner? - Well, two friends of mine...
0:23:12 > 0:23:14One of them owned it
0:23:14 > 0:23:17and I always admired it, and one day they had a major spat,
0:23:17 > 0:23:22as only queens can, and he threw it at the other one
0:23:22 > 0:23:26and the legs bent and the liner unfortunately broke.
0:23:26 > 0:23:29Ah, well, I've heard some interesting stories about history of objects
0:23:29 > 0:23:31and that's one of the best!
0:23:31 > 0:23:33The design is particularly interesting
0:23:33 > 0:23:37and if we turn it up and have a look at the hallmarks,
0:23:37 > 0:23:41it's got the maker's mark of William Hutton & Sons,
0:23:41 > 0:23:44and the date letter for 1902.
0:23:45 > 0:23:50Now, there's one very famous designer associated with William Hutton
0:23:50 > 0:23:54- and that is the name of Kate Harris. - Mm-hm.
0:23:54 > 0:23:57And this design on the front, which is very stylish,
0:23:57 > 0:24:01very Art Nouveau, is very much Kate Harris's style,
0:24:01 > 0:24:06and not only that, on the sides here we've got pink tourmalines...
0:24:06 > 0:24:07Oh, it is tourmaline?
0:24:07 > 0:24:10..set in, so they're quite valuable in their own right.
0:24:10 > 0:24:15The stones themselves are probably worth £500 on their own.
0:24:15 > 0:24:17Ooh, very nice! Thank you.
0:24:17 > 0:24:19But the whole thing, I would think,
0:24:19 > 0:24:23has got to be worth between £2,000 and £3,000.
0:24:23 > 0:24:26- Even better! - BOTH LAUGH
0:24:28 > 0:24:31We're here on hallowed ground in the hall,
0:24:31 > 0:24:35where Captain Scott of the Antarctic talked,
0:24:35 > 0:24:40where Edward Wilson, the doctor on the expedition, talked,
0:24:40 > 0:24:42where Shackleton talked,
0:24:42 > 0:24:47where Amundsen, who actually got to the South Pole first, talked.
0:24:47 > 0:24:50- Yes.- In this hall here. And we have holy relics
0:24:50 > 0:24:54from the last expedition here
0:24:54 > 0:24:58- and wonderful pictures from the first expedition.- Yes.
0:24:58 > 0:25:00Why have...? Why are you here? Why are these here?
0:25:00 > 0:25:03You couldn't come to Cheltenham without seeing something of
0:25:03 > 0:25:04one of his most famous sons,
0:25:04 > 0:25:07who was my great-uncle, Edward Wilson of the Antarctic.
0:25:07 > 0:25:09- Right.- As you say, medical doctor on Scott's expeditions
0:25:09 > 0:25:11and Chief of Scientific Staff.
0:25:11 > 0:25:14But the family have just made quite a large donation
0:25:14 > 0:25:17to the museum here of artefacts from the expedition
0:25:17 > 0:25:19to mark the centenary of his death, which happened 100 years ago.
0:25:19 > 0:25:23100 years ago, including this very holy relic.
0:25:23 > 0:25:26Indeed. It's a compass which was used by him
0:25:26 > 0:25:30on the South Pole journey and went to the South Pole with him,
0:25:30 > 0:25:34and then was found on his body in November 1912 by the search party.
0:25:34 > 0:25:38And it's a prismatic compass, it's got liquid in it.
0:25:38 > 0:25:41It has some sort of oil in it. I'm not very sure what.
0:25:41 > 0:25:43- So that wouldn't freeze. - To make sure it didn't freeze, yes.
0:25:43 > 0:25:46That wouldn't freeze, and then two watercolours,
0:25:46 > 0:25:48which are so fabulous,
0:25:48 > 0:25:51which are as fresh and as bright as they could possibly be.
0:25:51 > 0:25:55- This one of The Discovery, which was the first expedition.- Yes.
0:25:55 > 0:25:58- Not the one he died on, but the earlier expedition.- Yes.
0:25:58 > 0:26:02- Discovery At Hut Point - with beautiful sky.- Yes.
0:26:02 > 0:26:05And this one here, of one of the great icebergs,
0:26:05 > 0:26:09absolutely pristine, as though they've never come out of an album.
0:26:09 > 0:26:12He had a very strong eye for colour, he had a sort of...
0:26:12 > 0:26:14You know, musicians have perfect pitch,
0:26:14 > 0:26:17- he had sort of perfect eye for colour.- He had perfect eye.
0:26:17 > 0:26:19Quite remarkable. He used to sketch outside with a pencil
0:26:19 > 0:26:22and he made colour notes on his sketches and then
0:26:22 > 0:26:26- he would paint up the watercolours in the hut, or on the ship.- Yes.
0:26:26 > 0:26:27Because he couldn't have done it outside
0:26:27 > 0:26:29or they would have frozen. Yes, yes.
0:26:29 > 0:26:33- Absolutely. And this wonderful hoodie here at the end.- Yes.
0:26:33 > 0:26:35That doesn't look used to me.
0:26:35 > 0:26:37It doesn't look used to me either. It's a puzzle.
0:26:37 > 0:26:39- It came down through one of his brothers.- Yes.
0:26:39 > 0:26:42It was passed to my brother as his South Pole balaclava,
0:26:42 > 0:26:44but in those days "South Pole" and "Antarctic"
0:26:44 > 0:26:47were used interchangeably, so, you know,
0:26:47 > 0:26:48if you were to go by family,
0:26:48 > 0:26:50you'd say it was taken to the South Pole,
0:26:50 > 0:26:53but I don't think so. I think, my view... I don't know, you tell me,
0:26:53 > 0:26:55but my instinct is it's an early balaclava
0:26:55 > 0:26:56probably from the first expedition.
0:26:56 > 0:26:59Well, no, I'm sure it's... I'm sure it's his balaclava.
0:26:59 > 0:27:01- I don't think it was used. - No, I agree.
0:27:01 > 0:27:04He left it back at Hut Point and it went back home.
0:27:04 > 0:27:06And these were all made by Jaeger, weren't they?
0:27:06 > 0:27:08- I believe so, yes. - All these warm goods.
0:27:08 > 0:27:10I mean, that really is a nice warm...
0:27:10 > 0:27:13It's beautiful, isn't it? I mean, it's in almost pristine condition.
0:27:13 > 0:27:17And the other thing too, it has a certain style to it too, doesn't it?
0:27:17 > 0:27:19- Yes.- It's not just a piece of covering,
0:27:19 > 0:27:21felt covering your face or anything like that.
0:27:21 > 0:27:23- No.- It has a certain style.- Yes.
0:27:23 > 0:27:25These are never going to come out of captivity, I hope.
0:27:25 > 0:27:28No, well, they're safely stored in the museum
0:27:28 > 0:27:31and these are safely stored at his old school at Cheltenham College,
0:27:31 > 0:27:33so they're not going to come onto the market,
0:27:33 > 0:27:36but it would be interesting to know what you think.
0:27:36 > 0:27:39From his wardrobe, this wonderful Jaeger hood,
0:27:39 > 0:27:41what are we talking about?
0:27:42 > 0:27:44£2,000, £3,000?
0:27:44 > 0:27:47It depends how much you attach to his name,
0:27:47 > 0:27:49because it has a value as an historic object
0:27:49 > 0:27:52and then something for his name as well, probably.
0:27:52 > 0:27:54- I think easily that sort of price. - Yes.
0:27:54 > 0:27:57For the watercolours, which are really brilliant
0:27:57 > 0:27:59and of the Antarctic itself...
0:28:01 > 0:28:04..we have to be talking in the region of...
0:28:04 > 0:28:05£20,000 each.
0:28:07 > 0:28:11But this piece here, which I...
0:28:11 > 0:28:14This relic, which I hardly want to touch - this compass.
0:28:14 > 0:28:16How do you value something like that?
0:28:16 > 0:28:19Found on his body. Yes, but I've got to!
0:28:19 > 0:28:23- I would have thought about £150,000. - Goodness.
0:28:23 > 0:28:27You know, that is an incredible piece. This is wonderful, thank you.
0:28:27 > 0:28:29Thank you.
0:28:30 > 0:28:33Look, I don't know whether this is the smallest object that we've
0:28:33 > 0:28:37recorded on the Antiques Roadshow, it's certainly the smallest object
0:28:37 > 0:28:39I'VE ever recorded on the Antiques Roadshow,
0:28:39 > 0:28:42and it takes the form of
0:28:42 > 0:28:47almost a tiny finger ring, but it's so small, it wouldn't fit a baby,
0:28:47 > 0:28:53it's absolutely minute, which means that, although it clearly is a ring
0:28:53 > 0:28:57of some description, I wonder if it's not necessarily for human use.
0:28:57 > 0:29:00I want you to tell me what you know about it,
0:29:00 > 0:29:02because it's a very small object.
0:29:02 > 0:29:05Well, as far as I understand, it's a vervel,
0:29:05 > 0:29:08which was used in hunting with a hawk.
0:29:08 > 0:29:11- Or a falcon.- Or a falcon, yes.
0:29:11 > 0:29:17- Yeah, so a vervel is a little tiny silver ring...- Yes.
0:29:17 > 0:29:20- ..that is used as a kind of a slide piece...- Exactly, yes.
0:29:20 > 0:29:26..to go through the sort of leather lash that ties round
0:29:26 > 0:29:28the foot of the falcon.
0:29:28 > 0:29:31So the interesting thing is the age of it.
0:29:31 > 0:29:34Now, what do you know about the age of this piece?
0:29:34 > 0:29:39It belonged to Sir Henry Lee, who was the Champion of Elizabeth I.
0:29:39 > 0:29:43And apart from that, I know very little.
0:29:43 > 0:29:47Now, this kind of object is incredibly rare,
0:29:47 > 0:29:50so how do you know that it was Sir Henry Lee's?
0:29:50 > 0:29:53What makes you think it was Sir Henry Lee's?
0:29:53 > 0:29:55Well, the other items that came with it
0:29:55 > 0:29:58when I acquired it were Sir Henry Lee's seal -
0:29:58 > 0:30:02there were several of these, this is the only one I still have.
0:30:02 > 0:30:04Of these vervels.
0:30:04 > 0:30:06Together with his will.
0:30:06 > 0:30:07Which is pretty cast iron, really.
0:30:07 > 0:30:11- Yes, it is.- There's another reason that we can say with some confidence
0:30:11 > 0:30:15that it was originally the property of Sir Henry Lee,
0:30:15 > 0:30:19is because when we look round the tiny little hoop -
0:30:19 > 0:30:22I need my lens for this because it is absolutely tiny -
0:30:22 > 0:30:25it is engraved "Sir Henry Lee".
0:30:25 > 0:30:27Interesting, now I never realised that.
0:30:27 > 0:30:29- Did you not know that? - No, I didn't.
0:30:29 > 0:30:33I knew from the paperwork that I had, that it was authentic,
0:30:33 > 0:30:34but I hadn't realised that.
0:30:34 > 0:30:37It's also supplemented by a little crest on that.
0:30:37 > 0:30:40Now, I don't know Sir Henry Lee's personal crest,
0:30:40 > 0:30:43but I think the chances are, if you can look him up, check him up,
0:30:43 > 0:30:46you'll find that that has got his crest as well.
0:30:46 > 0:30:50So tiny as it is, it has an awful lot of information packed into it.
0:30:50 > 0:30:51Yes, it has.
0:30:51 > 0:30:55Now, I've never had to value one of these before and I defy
0:30:55 > 0:31:00someone to be accurate with what something like this would be worth.
0:31:00 > 0:31:05It is very old, 16th century, and very rare.
0:31:05 > 0:31:07I would like to think that an estimate
0:31:07 > 0:31:13of around about £1,500 to £2,500 for it would be the right quote.
0:31:13 > 0:31:16- Yes.- I wouldn't be surprised if someone came
0:31:16 > 0:31:20and paid considerably more for it because it's just so rare.
0:31:20 > 0:31:25It is actually - can I put it like this? - it is a national treasure.
0:31:25 > 0:31:30I've seen most animals cast in bronze before and this is charming,
0:31:30 > 0:31:33but I must say, I've never seen a monkey with a pair of binoculars.
0:31:33 > 0:31:34No.
0:31:34 > 0:31:36It was given to me
0:31:36 > 0:31:39by a next-door neighbour as a graduation present
0:31:39 > 0:31:44and she had a cabinet of curiosities and I'm afraid she didn't like
0:31:44 > 0:31:48this monkey and I don't think she didn't like me, but I quite liked it
0:31:48 > 0:31:52as a child, so she gave it to me, but I know very little about it.
0:31:52 > 0:31:55And is it the fact that it's just charming, that you liked it?
0:31:55 > 0:31:58Yes, I think it's because it's curious, and I thought about it
0:31:58 > 0:32:01and wondered whether it was a bit of a skit on Darwin,
0:32:01 > 0:32:03because it seems to be looking at its own toes,
0:32:03 > 0:32:05which is quite interesting.
0:32:05 > 0:32:07Exactly, but I think that's the charm about it.
0:32:07 > 0:32:10I mean, it's so unusual to find a bronze like this.
0:32:10 > 0:32:13I mean, a monkey - I think you're right, he's examining his foot.
0:32:13 > 0:32:16- I mean, it's Austrian, 1910.- Yes.
0:32:16 > 0:32:18Very much in the Bergman style.
0:32:18 > 0:32:21Bergman made all of the best bronzes, and they're cold painted,
0:32:21 > 0:32:24so they're cast and then painted cold,
0:32:24 > 0:32:28and literally made for export, sold all over Europe.
0:32:28 > 0:32:31There was a huge craze for them, but this is actually quite a rare one.
0:32:31 > 0:32:36- Right.- I think you chose well out of the cabinet of curiosities.
0:32:36 > 0:32:39- Yes.- I would love it and I think anyone would love it
0:32:39 > 0:32:42and would be prepared to pay £600.
0:32:42 > 0:32:44- Wow, right.- Maybe even a bit more.
0:32:44 > 0:32:46Lovely, thank you very much, that's great.
0:32:50 > 0:32:54Now, tell me the story of how this biscuit came to have a stamp
0:32:54 > 0:32:56and a Cheltenham address on it.
0:32:56 > 0:33:00Well, it was sent by my great-uncle to his mother.
0:33:00 > 0:33:03He was in Ireland at the time, in the army.
0:33:03 > 0:33:06- This was, what, 19...?- 1915.
0:33:06 > 0:33:09And he sent the biscuit to her
0:33:09 > 0:33:12and then it was followed up by a postcard, which says,
0:33:12 > 0:33:17"The food is running short, so could we perhaps have the biscuit back?"
0:33:17 > 0:33:19Well, let's look at this postcard, here it is.
0:33:19 > 0:33:21"Did they get my biscuit at home?
0:33:21 > 0:33:24"I hope, if you did, you did not mistake it for a dog biscuit.
0:33:24 > 0:33:25"Food is running short,
0:33:25 > 0:33:29"I hope if you have my biscuit, you will send it back."
0:33:29 > 0:33:31Now, he was obviously a bit of a character.
0:33:31 > 0:33:34- He was...- What was he thinking of, sending a biscuit through the post?!
0:33:34 > 0:33:37Well, I suppose they were reputed to be
0:33:37 > 0:33:41very, very hard and presumably to be sent through the post
0:33:41 > 0:33:44with a stamp and address on, it must have been.
0:33:44 > 0:33:47I can tell you, I would never have expected to see
0:33:47 > 0:33:50a stamped and addressed biscuit.
0:33:50 > 0:33:52No, no, I think it is
0:33:52 > 0:33:56a little bit more of a curiosity than value, really, but, yes.
0:33:56 > 0:33:57Well, it's certainly unique.
0:33:57 > 0:34:00Yes, I think it probably is. I hope so anyway.
0:34:05 > 0:34:08This must be the very first time that anyone's brought
0:34:08 > 0:34:10a brick to the Antiques Roadshow.
0:34:10 > 0:34:12You're not a brick layer or something, are you?
0:34:12 > 0:34:15Definitely not, no, I've never worked on a brickyard
0:34:15 > 0:34:19- or anything else building bricks at all, so...- What's the story?
0:34:19 > 0:34:25Well, I used to be a soldier many years ago and in 1987
0:34:25 > 0:34:28I was in Berlin when Rudolf Hess died,
0:34:28 > 0:34:32and was there when they actually dismantled Spandau Prison
0:34:32 > 0:34:34after Rudolf Hess had passed away.
0:34:34 > 0:34:39And, basically, they tore down the...
0:34:39 > 0:34:42prison into rubble and dust
0:34:42 > 0:34:45and then got rid of it into the North Sea
0:34:45 > 0:34:48and I just couldn't stand by and let all of history
0:34:48 > 0:34:51just be deleted in a single go like that, so I...
0:34:51 > 0:34:55This is a part of our... This really is a part of our modern history,
0:34:55 > 0:34:57isn't it, our 20th-century history?
0:34:57 > 0:34:59Yeah, it's the final chapter
0:34:59 > 0:35:01of the Second World War, as far as I'm concerned.
0:35:01 > 0:35:05But I was there - I took it and was in a lot of worry for a long time,
0:35:05 > 0:35:10so it's been hidden for 25 years and now it has finally come out.
0:35:10 > 0:35:12Well, do you know, this is what
0:35:12 > 0:35:15we very often on the Antiques Roadshow never see -
0:35:15 > 0:35:18a real, live witness to historical events.
0:35:18 > 0:35:21This prison - Spandau Prison - which was famously
0:35:21 > 0:35:25the home of the seven Third Reich Nazis who were imprisoned
0:35:25 > 0:35:27after the Nuremberg Trials,
0:35:27 > 0:35:30- and the last one of whom was Hess, of course...- Yeah.
0:35:30 > 0:35:33- ..died in 1987.- That's right.
0:35:33 > 0:35:36And this is a piece of that history.
0:35:36 > 0:35:39What did your comrades think of you taking a brick?
0:35:39 > 0:35:40I didn't tell anyone.
0:35:40 > 0:35:44You didn't tell anyone? I'll tell you something interesting.
0:35:44 > 0:35:48My father was in the occupation army after the Second World War,
0:35:48 > 0:35:49in Germany, in Berlin,
0:35:49 > 0:35:54and he was one of those soldiers who guarded Hess
0:35:54 > 0:35:56and I can imagine that he would have...
0:35:56 > 0:35:58He'd have passed that at some point.
0:35:58 > 0:36:00He may even have stood there having a cigarette or something,
0:36:00 > 0:36:02- you never know, do you?- No.
0:36:02 > 0:36:05Quite incredible to hear about. Well, I mean, for heaven's sake,
0:36:05 > 0:36:07what is something like this worth?
0:36:07 > 0:36:09It's almost impossible to say.
0:36:09 > 0:36:11I mean, it's actually a piece of history.
0:36:11 > 0:36:13From the point of view of the brick, it's worth almost nothing -
0:36:13 > 0:36:15what's a brick cost these days?
0:36:15 > 0:36:17- 40 pence?- Something like that.
0:36:17 > 0:36:18But actually, as a piece of history,
0:36:18 > 0:36:22I reckon a militaria collector, a historian,
0:36:22 > 0:36:25I reckon he'd easily pay you £100 for that.
0:36:25 > 0:36:27Where are you going to find another one?
0:36:27 > 0:36:30Nowhere, that's the point, so I'm lucky to have it,
0:36:30 > 0:36:32and I will keep it.
0:36:32 > 0:36:34You know, I've been waiting all day
0:36:34 > 0:36:36for a fine piece of Winchcombe Pottery to turn up,
0:36:36 > 0:36:38because it's not too far from here, Winchcombe,
0:36:38 > 0:36:42and here it is at last, and in particular, it's joyful to me
0:36:42 > 0:36:44because it's not only got
0:36:44 > 0:36:46the Winchcombe Pottery - WP - mark on it,
0:36:46 > 0:36:49but it's got the mark of the potter himself - ST - for Sid Tustin.
0:36:49 > 0:36:50Right.
0:36:50 > 0:36:53I knew Sid Tustin very well, he was a wonderful old chap,
0:36:53 > 0:36:56- worked in the factory till he was 90.- 90?!
0:36:56 > 0:37:00And he told me that he made, over his lifetime at Winchcombe Pottery,
0:37:00 > 0:37:04- over a million pieces of pottery, most of them very small.- Yes.
0:37:04 > 0:37:09And this is a giant pot for Sid because he never made big pots.
0:37:09 > 0:37:10How come you have it?
0:37:10 > 0:37:12Well, I was in Moreton-in-Marsh, actually,
0:37:12 > 0:37:16not very far from here and not very far from Winchcombe
0:37:16 > 0:37:18and I saw it in the window,
0:37:18 > 0:37:20recognised that it was Winchcombe Pottery
0:37:20 > 0:37:24and went in and bought it, and it's been in the family ever since.
0:37:24 > 0:37:27- And loved.- And very much loved, yes,
0:37:27 > 0:37:31and because my eldest son has grown up with it, it's always been there.
0:37:31 > 0:37:32- That's jolly nice.- Yes, yes.
0:37:32 > 0:37:35My boys have all grown up with my pots
0:37:35 > 0:37:38and so it's lovely to pass the knowledge on to them
0:37:38 > 0:37:40- and the joy on to them. - Absolutely, yes.
0:37:40 > 0:37:42- Because it's a lovely piece.- Yes.
0:37:42 > 0:37:43Sid was a wonderful man.
0:37:43 > 0:37:47I used to go and have tea with him quite regularly and he worked,
0:37:47 > 0:37:50of course, for the Winchcombe Pottery right back in the 1910s,
0:37:50 > 0:37:54and a wonderful chap, and with his brother, Charles,
0:37:54 > 0:37:58they did most of the hard work making these pots.
0:37:58 > 0:38:02A wonderful factory and they've left this legacy of great pieces.
0:38:02 > 0:38:06- Yes, yes.- And I think it's wonderful, it's got, I suppose,
0:38:06 > 0:38:10twos in the shape of swans, twos and swans swimming round.
0:38:10 > 0:38:13- Yes, yes, very, very simple. - Very simple.- Yes.
0:38:13 > 0:38:15This is made in the earthenware body,
0:38:15 > 0:38:18the clay dug up from the back of the factory site.
0:38:18 > 0:38:20Really, was it dug up on the site?
0:38:20 > 0:38:23Yes, dug up on the site, and I think it's great.
0:38:23 > 0:38:26- Not of huge value yet.- No, no.
0:38:26 > 0:38:29- £100 to £200, perhaps, something like that.- Yes.
0:38:29 > 0:38:32- Not enormous.- I think I bought it for £6, I think,
0:38:32 > 0:38:35and that's all I had in my purse at the time,
0:38:35 > 0:38:37so I rushed in and bought it, so...
0:38:37 > 0:38:39But the joy that it's given is inestimable.
0:38:39 > 0:38:41Oh, absolutely, yes, yearly, every year.
0:38:41 > 0:38:43- So lovely to enjoy it. - Thank you very much.
0:38:43 > 0:38:46- There it is.- Thank you. Thanks.
0:38:49 > 0:38:52I have to tell you that's not the box for this piece of jewellery.
0:38:52 > 0:38:57- Right.- Now, I'm not entirely sure
0:38:57 > 0:39:03whether we've ever done a tiara on the Antiques Roadshow.
0:39:03 > 0:39:06I'd have to talk to my colleague Geoffrey Munn,
0:39:06 > 0:39:09but I can't ever remember us having done a tiara,
0:39:09 > 0:39:11and if we've ever done one,
0:39:11 > 0:39:17it is never one quite as tremendous as this one is.
0:39:17 > 0:39:20It is an extraordinary work of art.
0:39:20 > 0:39:25Tiaras are meant to impress and, do you not agree, it impresses?
0:39:25 > 0:39:26Yes, it does.
0:39:26 > 0:39:30I want you to tell me as much as you know about it.
0:39:30 > 0:39:34Well, my grandfather was Governor General of New Zealand
0:39:34 > 0:39:38and his wife, for her public duties, would wear tiaras
0:39:38 > 0:39:40and so this was hers,
0:39:40 > 0:39:44and she wore it when the Queen and the Duke of Edinburgh
0:39:44 > 0:39:49came to visit after the Coronation in 1953, their visit after that.
0:39:49 > 0:39:52And then she gave it to her daughter.
0:39:52 > 0:39:53So your grandmother wore it
0:39:53 > 0:39:57- for this spectacularly important sort of occasion.- Yes.
0:39:57 > 0:39:59The Queen going to New Zealand, so it begs the question -
0:39:59 > 0:40:01have you ever worn it?
0:40:01 > 0:40:04Yes, I wore it for my wedding day, yes.
0:40:04 > 0:40:07- Did people comment on it? - Yes, they thought it was lovely.
0:40:07 > 0:40:09- Did you feel special?- Yes, I did.
0:40:09 > 0:40:12Yeah, well, there we are, you see, d'you know what tiaras do?
0:40:12 > 0:40:15- They make you feel special. They do.- Yes.
0:40:15 > 0:40:20Tiaras are made to look like crowns, really, and if you think about
0:40:20 > 0:40:24the time when this was made, which is around about I suppose, what, 1900...?
0:40:24 > 0:40:27- Right.- And tiaras were worn for grand occasions
0:40:27 > 0:40:32and there's not much better than the Queen going out to New Zealand,
0:40:32 > 0:40:36- where you would wear your formal, important jewellery.- Right.
0:40:36 > 0:40:40The balance of it is terrific.
0:40:40 > 0:40:44Turquoise, diamonds
0:40:44 > 0:40:47and real salt-water pearls,
0:40:47 > 0:40:50mounted up in scrolling formation...
0:40:52 > 0:40:55And there is the base,
0:40:55 > 0:40:56which is a sort of velvet lining,
0:40:56 > 0:41:01- so that when you wear it on the head, it doesn't cut in.- Mm.
0:41:01 > 0:41:03So it's got to have that slight buffer.
0:41:03 > 0:41:08So you get the idea of the formal frame if it's worn this way,
0:41:08 > 0:41:12but you know the Victorians were incredibly practical people.
0:41:12 > 0:41:18When you look at the back of it, you have these little finials.
0:41:18 > 0:41:21- Can you see that little screw mechanism there?- Yes.
0:41:21 > 0:41:25You unscrew the screw at the side...
0:41:25 > 0:41:31you can then dismantle the entire framework from this,
0:41:31 > 0:41:37and if you can imagine it, you can then wear it as a necklace...
0:41:37 > 0:41:41So either a tiara or a necklace and there, I'm delighted to say,
0:41:41 > 0:41:47you have the original extension pieces that hook in to the ends
0:41:47 > 0:41:53of the tiara and you can wear it as a rather splendid necklace, as well.
0:41:53 > 0:41:56Very important to have those little bits and pieces
0:41:56 > 0:42:01- because it's that that really drives the price.- Right.
0:42:01 > 0:42:06Tiaras are very interesting. They're very much treated as one-off pieces
0:42:06 > 0:42:09and whenever they come into auction houses and they're sold,
0:42:09 > 0:42:12you know, there's always tremendous interest in them.
0:42:12 > 0:42:15Once upon a time, they were considered rather ostentatious.
0:42:15 > 0:42:20Nowadays, young ladies getting married often will hire tiaras,
0:42:20 > 0:42:23because it really does finish the outfit off.
0:42:23 > 0:42:25So you see how things have changed.
0:42:26 > 0:42:30Well, they're great diamonds, they're great turquoises,
0:42:30 > 0:42:32it's a big, splendid look.
0:42:32 > 0:42:33What do I think that will fetch?
0:42:33 > 0:42:35£25,000 to £30,000.
0:42:35 > 0:42:38Oh, my God! Really?
0:42:40 > 0:42:43SHE LAUGHS
0:42:44 > 0:42:47Gosh! I'm trying not to swear!
0:42:48 > 0:42:50Yeah, I think so, that sort of money...
0:42:52 > 0:42:54And don't forget, that's just what you can sell it for.
0:42:54 > 0:42:57- Thank you very much.- Thank you.
0:42:57 > 0:43:00- SHE LAUGHS - That's brilliant.
0:43:00 > 0:43:02What a reaction!
0:43:02 > 0:43:05A great way to close our event here in Cheltenham.
0:43:05 > 0:43:08And our mission to find Cotswolds' treasures also came good.
0:43:08 > 0:43:12Top marks to our experts in uncovering those exciting finds.
0:43:12 > 0:43:17From Cheltenham Town Hall and all of the Roadshow team, bye-bye.