0:00:02 > 0:00:03We've reached our Falmouth -
0:00:03 > 0:00:06from where Sir Robin Knox-Johnston set sail
0:00:06 > 0:00:09for the first non-stop solo voyage around the world, and from where
0:00:09 > 0:00:12Dame Ellen MacArthur broke the record
0:00:12 > 0:00:14with her solo trip back in 2004.
0:00:14 > 0:00:17We're about to set sail on our own voyage of discovery.
0:00:17 > 0:00:19Welcome to the Antiques Roadshow
0:00:19 > 0:00:22from the National Maritime Museum, Cornwall.
0:01:05 > 0:01:08Today the Antiques Roadshow is setting out its stall
0:01:08 > 0:01:10at the National Maritime Museum, Cornwall.
0:01:10 > 0:01:14It was established here because Falmouth
0:01:14 > 0:01:17was one of the most important maritime ports in the country,
0:01:17 > 0:01:19with stories of brave endeavours at sea,
0:01:19 > 0:01:23of survival against the odds, and intriguing mysteries.
0:01:33 > 0:01:35This may be the greatest mystery
0:01:35 > 0:01:37the Roadshow has ever attempted to uncover.
0:01:37 > 0:01:39It's a ship's strong box from the 18th century
0:01:39 > 0:01:42and if I was strong enough to lift it and shake it,
0:01:42 > 0:01:45which I'm not, because it's incredibly heavy,
0:01:45 > 0:01:48I could tell you that there's something rattling around inside it.
0:01:48 > 0:01:51But, despite several attempts over the years,
0:01:51 > 0:01:54no-one has ever managed to unlock its secrets.
0:01:54 > 0:01:57But today, we're going to try and crack it
0:01:57 > 0:02:00and see if it contains hidden treasure.
0:02:03 > 0:02:07It's particularly intriguing because the strong box could have
0:02:07 > 0:02:09been aboard a ship that plied the seas
0:02:09 > 0:02:11for the Royal Mail Packet Service,
0:02:11 > 0:02:16which carried mail, money and important documents to destinations
0:02:16 > 0:02:20in Britain's ever-expanding empire during the 1800s.
0:02:24 > 0:02:27The Packet Service was unique to Falmouth.
0:02:27 > 0:02:32Formed in 1689, it consisted of around 40 ships
0:02:32 > 0:02:35that would carry gold bullion to pay troops fighting overseas.
0:02:37 > 0:02:40This made journeying the oceans fraught with danger.
0:02:40 > 0:02:42Packet captains ran the gauntlet of enemy ships
0:02:42 > 0:02:45from Spain and France, sent to capture them.
0:02:46 > 0:02:51In 1807, Captain William Rogers was attacked by French privateers.
0:02:51 > 0:02:53Sick of being hounded, Rogers turned to fight,
0:02:53 > 0:02:56despite being outnumbered three to one.
0:02:56 > 0:02:59He became a national hero by shooting the French captain,
0:02:59 > 0:03:01winning the day, and not losing a man.
0:03:05 > 0:03:08Rogers was meant to throw all the ship's valuables overboard
0:03:08 > 0:03:10if set upon, and this would have included
0:03:10 > 0:03:14the contents of his on-board safe, which brings us back to this one.
0:03:14 > 0:03:17Because this strong box was part of the Customs Service
0:03:17 > 0:03:21on board the ships, they were used to carry things like money,
0:03:21 > 0:03:25documents, maps, Customs have to be present by law when we open it,
0:03:25 > 0:03:28so let me introduce Trevor, who is from Customs.
0:03:28 > 0:03:30This is Chris, our locksmith or safe-cracker
0:03:30 > 0:03:34and hopefully we're going to be opening this strong box
0:03:34 > 0:03:37and finding out what's inside.
0:03:37 > 0:03:40And as our experts prepare for another busy day,
0:03:40 > 0:03:42why not try our valuation game?
0:03:42 > 0:03:45To take part, press red on your remote control.
0:03:45 > 0:03:47We'll give you your final score and Roadshow rating
0:03:47 > 0:03:49at the end of the programme. Good luck!
0:03:50 > 0:03:53I can see that the love of cleaning silver
0:03:53 > 0:03:56isn't high up on your list of preferences.
0:03:56 > 0:03:59Where's it been for all these years?
0:03:59 > 0:04:03- Well, kept in a cupboard, wardrobe, mainly.- Yeah?
0:04:03 > 0:04:07Wrapped in paper, in tissue paper, black tissue paper.
0:04:07 > 0:04:08And what's its history before that?
0:04:08 > 0:04:11Well, it's just been handed down through the generations
0:04:11 > 0:04:14- on our father's side.- Right.
0:04:14 > 0:04:17- We don't know any significance about it.- Do you know what it is?
0:04:17 > 0:04:22- Well, I understand it's a porringer, whatever that means.- Yes.
0:04:22 > 0:04:27A porringer is a name, basically, for a bowl for serving broth.
0:04:27 > 0:04:29Oh, yes.
0:04:29 > 0:04:32They were very popular in the second half of the 17th century,
0:04:32 > 0:04:37so we're actually looking at a pretty old piece of silver here.
0:04:37 > 0:04:42And if we turn it up, it's got a lovely set of marks on the bottom.
0:04:42 > 0:04:47We've got a date letter "R" for 1674, so Charles II.
0:04:47 > 0:04:53The maker's mark, FS, is recorded, but we don't know who it is
0:04:53 > 0:04:57because most of the records of silversmiths of that period
0:04:57 > 0:04:59were destroyed in a fire at the Goldsmiths Hall
0:04:59 > 0:05:02- towards the end of the 17th century.- Yes.
0:05:02 > 0:05:04But what is no nice about this porringer
0:05:04 > 0:05:08is that it has all the features that you would expect to see
0:05:08 > 0:05:10on a piece of Charles II silver.
0:05:10 > 0:05:15And that is this heavy and somewhat rather crude and clumsy embossing.
0:05:15 > 0:05:16Yes.
0:05:16 > 0:05:19And the reason you've got that is that, after the Civil War,
0:05:19 > 0:05:25from sort of 1660 onwards, silver was in very short supply
0:05:25 > 0:05:29so it was made in light gauge, and in order to strengthen it,
0:05:29 > 0:05:32they embossed it with these big, rather clumsy figures.
0:05:32 > 0:05:35- And we've got a deer on the front here.- Yes.
0:05:35 > 0:05:37And if we turn it round,
0:05:37 > 0:05:40we've got the hound chasing it on the other side.
0:05:40 > 0:05:44- But the technical expertise is not magnificent.- No.
0:05:44 > 0:05:48But it has a charm, and there are plenty of collectors
0:05:48 > 0:05:50that like silver of this period,
0:05:50 > 0:05:54particularly people who actually collect porringers.
0:05:54 > 0:05:56Do they? Oh!
0:05:56 > 0:06:00So, a piece of silver of this age, and an object like this,
0:06:00 > 0:06:02is actually quite sought after.
0:06:02 > 0:06:07- Is it?- Yeah, to the tune of £3,000 to £4,000.
0:06:07 > 0:06:09Golly!
0:06:09 > 0:06:13So, is it going back in the piece of paper?!
0:06:13 > 0:06:17We shall have to just have a family discussion, I think.
0:06:17 > 0:06:20- Thanks for bringing it along. - Thank you very much, thank you.
0:06:26 > 0:06:27There she goes!
0:06:27 > 0:06:31BYSTANDERS LAUGH AND CHEER
0:06:34 > 0:06:36That was fantastic!
0:06:36 > 0:06:37That is, I would say,
0:06:37 > 0:06:42- the most unusual toy I've seen for a very long time.- Really?
0:06:42 > 0:06:45And so amusing. And so, who are the figures?
0:06:45 > 0:06:48Well, I don't know, but they seem to be grannies
0:06:48 > 0:06:51and I can't really understand why grannies would be
0:06:51 > 0:06:54on a toboggan or a rollercoaster.
0:06:54 > 0:06:56Hang on, not all grannies are old, you know!
0:06:56 > 0:07:00I'm a granny and I would love to go on a toboggan and rollercoaster!
0:07:00 > 0:07:02I'd probably scream all the way.
0:07:02 > 0:07:06And we've got a mark on it, here.
0:07:06 > 0:07:11MMN, which stands for Max Moskowitz of Nuremberg.
0:07:11 > 0:07:13Oh, really?
0:07:13 > 0:07:18And he was one of the many in the factories in Nuremberg
0:07:18 > 0:07:21who were making these toys.
0:07:21 > 0:07:26But really unusual ones like this. And I think because of that,
0:07:26 > 0:07:28I mean, he didn't probably make very many.
0:07:28 > 0:07:31And a lot of them were sent to America and I'm intrigued to know
0:07:31 > 0:07:34where you got it yourself, because I've never seen one.
0:07:34 > 0:07:37- Well, I actually got it from America. - Did you?
0:07:37 > 0:07:42Yes, from an American collector, and he didn't quite know what it was
0:07:42 > 0:07:47and it just fascinated me, and I thought I'd have to have it.
0:07:47 > 0:07:49I think it's absolutely wonderful.
0:07:49 > 0:07:52We're dating really quite an early tin plate toy,
0:07:52 > 0:07:55to the 1920s, 1921,
0:07:55 > 0:07:57and it's in very good condition.
0:07:57 > 0:07:59I mean, it's working, for a start
0:07:59 > 0:08:04and the fact that all the paint is all there,
0:08:04 > 0:08:07it's obviously been played with, but it's in very good condition.
0:08:07 > 0:08:12And I suppose I've got to put a price on it for you,
0:08:12 > 0:08:16and I would say that a collector in this country
0:08:16 > 0:08:19would be looking at £1,000 to £1,500.
0:08:19 > 0:08:20Wow!
0:08:21 > 0:08:23Gosh, that's good!
0:08:23 > 0:08:25HE LAUGHS
0:08:31 > 0:08:33Come on, Granny.
0:08:33 > 0:08:35Go.
0:08:35 > 0:08:37CROWD LAUGH
0:08:41 > 0:08:43I don't know what she was like in real life,
0:08:43 > 0:08:47but she doesn't look very happy there, does she, really?
0:08:47 > 0:08:50I think she's a perfect old dragon, frankly!
0:08:50 > 0:08:51Who is she? What's the story?
0:08:51 > 0:08:55She was my great-great-grandmother
0:08:55 > 0:08:58and her husband was a man called Sir William Blingorn,
0:08:58 > 0:09:03a German, who was a personal friend of Prince Albert.
0:09:03 > 0:09:09And when Prince Albert came over to England to marry Queen Victoria,
0:09:09 > 0:09:12he asked William to come with him, so he'd have a close friend here.
0:09:12 > 0:09:14Right.
0:09:14 > 0:09:16The ring belongs to her.
0:09:16 > 0:09:21It was handed to my grandmother and my grandmother gave it to me.
0:09:21 > 0:09:25So there's the family tradition, it goes right back to the 19th century.
0:09:25 > 0:09:26The man who owned this originally
0:09:26 > 0:09:28was someone who had this friendship...
0:09:28 > 0:09:31- Yes.- ..with the Prince Consort.
0:09:31 > 0:09:32That's right.
0:09:32 > 0:09:37The ring is quite a bold sort of cluster of stones.
0:09:37 > 0:09:42It's come down to you in remarkably good condition. Did you know that?
0:09:42 > 0:09:43There's no damage,
0:09:43 > 0:09:46there's no apparent wear to the mount or anything like that,
0:09:46 > 0:09:48so you've looked after it. Have you worn it?
0:09:48 > 0:09:51- I've worn it a great deal.- Oh, you've looked after it very well!
0:09:51 > 0:09:52I'm very fond of it.
0:09:52 > 0:09:57I don't blame you, because it's a big bold-looking cluster ring
0:09:57 > 0:09:59set with a cluster of colourless stones.
0:09:59 > 0:10:02A lot of people would look at those stones and wonder what they were.
0:10:02 > 0:10:05- Do you know what they are?- I think they're diamonds. I hope they are.
0:10:05 > 0:10:08Well, they are diamonds. They're table cut diamonds,
0:10:08 > 0:10:09and unlike modern cut diamonds
0:10:09 > 0:10:13which are often much more sparkly because they've got more facets,
0:10:13 > 0:10:17these diamonds here are very simplistic in their cut.
0:10:17 > 0:10:22They're very chunky, square stones, literally with tops cut off
0:10:22 > 0:10:24and we call them table cut stones.
0:10:24 > 0:10:26I mentioned about the quality of the setting.
0:10:26 > 0:10:28Have a look at that at the back,
0:10:28 > 0:10:31that lovely polished, gold mount in the setting.
0:10:31 > 0:10:35Where do you think it was made? Any ideas?
0:10:35 > 0:10:39As he was German, I was wondering if it was German, but I don't know.
0:10:39 > 0:10:43I think yes, Continental manufacture,
0:10:43 > 0:10:46but would it be a surprise to hear that, in spite of its condition,
0:10:46 > 0:10:48it was made in about 1700?
0:10:48 > 0:10:52- Really?- Mmm. And that's what makes this unusual,
0:10:52 > 0:10:56because old diamonds, like this, were cut in that particular way,
0:10:56 > 0:10:59and after that, sophisticated cutting started to come in.
0:10:59 > 0:11:01Diamonds were sparkly, because they learned the technique
0:11:01 > 0:11:03of cutting diamonds properly for the first time.
0:11:03 > 0:11:07But the old diamonds, particularly on the Continent,
0:11:07 > 0:11:08did look really rather drab.
0:11:08 > 0:11:13- But, actually, that's the character of the stones in the ring.- Yes.
0:11:13 > 0:11:15So it's got a wonderful family background.
0:11:15 > 0:11:17I'd love to know what she was like.
0:11:18 > 0:11:22Well, my grandmother was brought up by her.
0:11:22 > 0:11:25She was orphaned as a baby.
0:11:25 > 0:11:28And she was brought up by The Dragon, as we always called her.
0:11:28 > 0:11:31Don't think she'd have appreciated that!
0:11:31 > 0:11:36Well, one story she told me, that she had a pet lamb
0:11:36 > 0:11:38which she used to feed when she was a very little girl,
0:11:38 > 0:11:40a lamb called Barley.
0:11:40 > 0:11:44And one day at dinner, she said to her grandmother, this old lady,
0:11:44 > 0:11:48"I haven't seen Barley today. Do you know where he is?"
0:11:48 > 0:11:52And she turned to this small child and said, "You're eating her"!
0:11:52 > 0:11:55So that's why we call her "The Dragon".
0:11:55 > 0:11:58Hmm. So she was a gentle soul, wasn't she, really?!
0:11:58 > 0:12:03Anyway, not withstanding this dreadful tale of Barley,
0:12:03 > 0:12:06made up with lamb chops and mint sauce, which is a horrible story...
0:12:06 > 0:12:08- Awful!- Awful story.
0:12:08 > 0:12:12..the ring itself is worth £4,000 to £5,000.
0:12:12 > 0:12:13Good Lord!
0:12:15 > 0:12:17- There we are.- How wonderful!
0:12:17 > 0:12:21And I've been cheerfully wearing it, thinking nothing of it.
0:12:21 > 0:12:24Nothing wrong in that. Carry on wearing it, but be aware of the fact
0:12:24 > 0:12:27you've got a ring on your finger worth several thousand pounds.
0:12:27 > 0:12:28SHE LAUGHS
0:12:28 > 0:12:30- Thank you very much.- Thank you.
0:12:31 > 0:12:34Now, I love these sort of French clocks very, very much
0:12:34 > 0:12:38and I have to ask you, do you have the original dome for it?
0:12:38 > 0:12:40Yes, I do, at home, yes, I do.
0:12:40 > 0:12:42And do you have it running?
0:12:42 > 0:12:45No, unfortunately it hasn't run as long as I've known it.
0:12:45 > 0:12:48And so it's a family thing, if you've known it for ages, is it?
0:12:48 > 0:12:51Yes, yes, it is. It belonged to my grandfather, yes.
0:12:51 > 0:12:56He won it in a penny farthing race back in the 1800s, late 1800s.
0:12:56 > 0:12:58He used to do a lot of racing bikes and penny farthings, then.
0:12:58 > 0:13:00Penny farthings particularly? Gosh.
0:13:00 > 0:13:02Yes, penny farthings in particular.
0:13:02 > 0:13:04What a fabulous prize!
0:13:04 > 0:13:06- So, late 1800s.- Yes.
0:13:06 > 0:13:12It all fits in absolutely perfectly, because it dates from 1885-1895.
0:13:12 > 0:13:14All fits in beautifully.
0:13:14 > 0:13:18The French were manufacturing wonderfully complicated clocks
0:13:18 > 0:13:21and this is a real compendium.
0:13:21 > 0:13:25But they were doing things on industrial themes and marine themes.
0:13:25 > 0:13:29But this is actually equally desirable.
0:13:29 > 0:13:33And the reason is, because you've got the pair of globes.
0:13:33 > 0:13:35I mean, let's start at the bottom.
0:13:35 > 0:13:38Standard timepiece movement, not a striker, obviously.
0:13:38 > 0:13:41Thermometer in the middle, sadly the tube has broken,
0:13:41 > 0:13:43but that's the least of your worries,
0:13:43 > 0:13:47and then we have an aneroid barometer at the top
0:13:47 > 0:13:52and right at the very top, we have a little compass.
0:13:54 > 0:13:55It's a great thing,
0:13:55 > 0:13:59but the thing that makes it superb are the pair of globes.
0:13:59 > 0:14:04A terrestrial globe and a celestial globe.
0:14:04 > 0:14:07I see the globe is signed just down here, Bertaux,
0:14:07 > 0:14:10and it gives an address in Paris
0:14:10 > 0:14:14and the celestial is signed by a different maker, Delamarche,
0:14:14 > 0:14:17at the same address, which is quite fun.
0:14:17 > 0:14:20So it's all absolutely 100%
0:14:20 > 0:14:25and this would have been a very generous present at the time.
0:14:25 > 0:14:29It's a really nice object, and if it were mine,
0:14:29 > 0:14:33I would probably regild it, resilver some of it, polish the marble
0:14:33 > 0:14:37and just get it looking in top retail.
0:14:37 > 0:14:41So, even in this state, I have absolutely no hesitation
0:14:41 > 0:14:45in saying to you that it would fetch at least £3,500 to £4,000.
0:14:45 > 0:14:47Oh, my goodness.
0:14:47 > 0:14:51And how appropriate, now that cycling is so popular in the UK,
0:14:51 > 0:14:55that we have something won by an early penny farthing racer.
0:14:55 > 0:14:57Yes, thank you!
0:14:57 > 0:15:00If I was living in 1911
0:15:00 > 0:15:03and I had a chance of having my portrait painted,
0:15:03 > 0:15:07who was the best person I could possibly get to paint my portrait?
0:15:07 > 0:15:10And it would be this person, John Singer Sargent.
0:15:10 > 0:15:13I can hardly believe what I'm seeing here.
0:15:13 > 0:15:17It is fantastic, and it's the most beautiful black chalk drawing,
0:15:17 > 0:15:20dated 1911.
0:15:20 > 0:15:25- Now, who's the sitter? - It's my great-great aunt Pamela.
0:15:25 > 0:15:27So, what sort of person was Pamela?
0:15:27 > 0:15:31Well, she's quite a young girl here, but she grew up to be
0:15:31 > 0:15:34one of the great society beauties of the 20s and 30s.
0:15:34 > 0:15:36Very glamorous, as you can probably imagine.
0:15:36 > 0:15:38She even turned down Edward VIII.
0:15:38 > 0:15:42She wouldn't have anything to do with him, but of course he went on
0:15:42 > 0:15:43and married Wallis Simpson afterwards.
0:15:43 > 0:15:47Pamela was always dressed fantastically.
0:15:47 > 0:15:50Pearls always round her neck, that sort of person, really.
0:15:50 > 0:15:53What a wonderful story. I think that's fantastic.
0:15:53 > 0:15:57And you can just see here, you know, she is so pretty as a child,
0:15:57 > 0:16:02and what she'd have grown into. No wonder Edward VIII was interested.
0:16:02 > 0:16:03Well, it is a fantastic study
0:16:03 > 0:16:06and the thing about Sargent... who's an American,
0:16:06 > 0:16:09and he came over and studied in Paris and came over here,
0:16:09 > 0:16:13and he became what I call the greatest flapper artist.
0:16:13 > 0:16:17He painted these elegant ladies, beautiful oil paintings
0:16:17 > 0:16:19and lots of drawings like this.
0:16:19 > 0:16:22I suppose if you couldn't afford to have your portrait
0:16:22 > 0:16:24painted in oil, you'd go for one of these.
0:16:24 > 0:16:27- That's the story.- Is that what happened?- That's exactly the story.
0:16:27 > 0:16:30Well, they couldn't have chosen a better person to paint her.
0:16:30 > 0:16:34And after he'd finished in Paris, he came over and painted in London
0:16:34 > 0:16:38and all the aristocracy wanted him to paint their portraits.
0:16:38 > 0:16:41So you can't afford the oil, this is what you'd come up with.
0:16:41 > 0:16:45And I think it's absolutely stunning.
0:16:45 > 0:16:47It is on French paper, and he often used this,
0:16:47 > 0:16:50because sometimes these can be very clever prints
0:16:50 > 0:16:54and you get confused, but this is black chalk on French paper,
0:16:54 > 0:16:57absolutely typical of what he was using at the time.
0:16:57 > 0:16:59And I see you've got the brooch here.
0:16:59 > 0:17:02Yes. It's amazing it's survived so long, really.
0:17:02 > 0:17:04- I know, and here it is in the picture.- Yes.
0:17:04 > 0:17:09Shown to us here, and it's just so lovely to have the two together.
0:17:09 > 0:17:11So do you have it hanging at home?
0:17:11 > 0:17:14Well, it is hung up, yeah.
0:17:14 > 0:17:17- And have you got it insured at the moment?- I believe so.
0:17:17 > 0:17:19Do you know how much for?
0:17:19 > 0:17:22Yes, it's currently insured for £10,000.
0:17:22 > 0:17:24OK, well, you're going to have to readjust that,
0:17:24 > 0:17:27because they're rare.
0:17:27 > 0:17:31He's probably the most collectable portrait painter
0:17:31 > 0:17:34you could want to own, really, and I would put on this,
0:17:34 > 0:17:39if it came up for auction, about £30,000 to £50,000.
0:17:39 > 0:17:41Oh, really now?
0:17:41 > 0:17:43- At least.- Goodness me!
0:17:43 > 0:17:45The reason being, he's an American
0:17:45 > 0:17:50and he is the most famous portrait painter, really,
0:17:50 > 0:17:52- of the 20th century.- Goodness, wow!
0:17:52 > 0:17:53It's stunning.
0:17:53 > 0:17:55Oh, it is, it's really beautiful.
0:17:57 > 0:18:01While Chris works away here trying to open the strong box
0:18:01 > 0:18:02- good luck with that -
0:18:02 > 0:18:04Trevor, you're from Customs
0:18:04 > 0:18:07and this strong box used to be in Customs House here, didn't it?
0:18:07 > 0:18:11Yes, Fiona. I worked here for 25 years as a Customs Officer
0:18:11 > 0:18:13and quite recently the office closed,
0:18:13 > 0:18:16so the artefacts from the office were donated to the Maritime Museum,
0:18:16 > 0:18:22but this chest sat in what was our rest room for many years.
0:18:22 > 0:18:24in fact we even had a TV sitting on top of it, at one stage.
0:18:24 > 0:18:27In the 25 years that I was there,
0:18:27 > 0:18:30there was one attempt to open it, and it failed,
0:18:30 > 0:18:34so as far as I'm aware, that has not been opened in living memory.
0:18:34 > 0:18:37Now it had to go up to ministerial level, didn't it?
0:18:37 > 0:18:40To get permission for us to open this box.
0:18:40 > 0:18:43Because we hadn't opened it, there was an old sort of caveat that
0:18:43 > 0:18:47if ever anybody attempted to open it, that we should be informed,
0:18:47 > 0:18:52and when yourselves came to say that you were going to open it,
0:18:52 > 0:18:54we had to take permission from our senior managers,
0:18:54 > 0:18:56and it went right the way up
0:18:56 > 0:19:00and even the ministers are aware that we're opening this today.
0:19:00 > 0:19:03- I sincerely hope there's something interesting inside, then!- So do I.
0:19:03 > 0:19:04And whatever's in here...
0:19:04 > 0:19:07does it automatically belong to you, then? To Customs.
0:19:07 > 0:19:09We'll have to wait and see what's in there.
0:19:09 > 0:19:12I'll make a judgement once we get in there and see what's in there.
0:19:12 > 0:19:15What will inform that judgement? Whether it's valuable enough?
0:19:15 > 0:19:18Yes, or of any significance to the Border Force.
0:19:18 > 0:19:19But, I mean, who knows?
0:19:19 > 0:19:22And what would be of significance to the Border Force?
0:19:22 > 0:19:24We're not expecting someone to be stowed away in there,
0:19:24 > 0:19:26so what kind of thing?
0:19:26 > 0:19:28Yeah, I would suggest primarily, cash.
0:19:28 > 0:19:32There may be cash because this was used to retain cash
0:19:32 > 0:19:33from duties paid, or fines.
0:19:33 > 0:19:36Any important documents
0:19:36 > 0:19:40perhaps relating to legislation or Acts of Parliament.
0:19:40 > 0:19:42And there's another way of looking at this.
0:19:42 > 0:19:44This could be the greatest anti-climax of all time.
0:19:44 > 0:19:46I mean there's something in there
0:19:46 > 0:19:49because I'm told something is rattling around.
0:19:49 > 0:19:52Ye-es, well, could be some officer's love letters! Who knows?
0:19:52 > 0:19:54- Treasure map... - That would be exciting!
0:19:54 > 0:19:56I don't know.
0:19:56 > 0:19:59Until we open that, it is pure speculation.
0:19:59 > 0:20:02- Are you curious? - I'm desperately curious, yes!
0:20:04 > 0:20:07It's quite appropriate to see a lifeboat board like this.
0:20:07 > 0:20:09Where did you get it from?
0:20:09 > 0:20:12Well, we went to see a house that was for sale
0:20:12 > 0:20:14and it was called The Old Coastguard Station
0:20:14 > 0:20:20and, believe it or not, it was in a skip, upside down
0:20:20 > 0:20:24and I love skips, so I jumped in it and picked it up
0:20:24 > 0:20:29and I couldn't believe to see "Lifeboat Station",
0:20:29 > 0:20:31everything else with it.
0:20:31 > 0:20:33And did you know what it was when you saw it?
0:20:33 > 0:20:40No, I had no idea, and eventually we bought the ex-Coastguard Station
0:20:40 > 0:20:44and I got in touch with a local historian
0:20:44 > 0:20:47and he told me that, actually, the abbreviation, what it means.
0:20:47 > 0:20:51Bad and thick weather watch.
0:20:51 > 0:20:56And we've got there "B" and "TWW". The thick weather presumably is fog.
0:20:56 > 0:20:59- Totally, because when it's thick it's like pea soup.- Yeah.
0:20:59 > 0:21:03And every time the station was on call,
0:21:03 > 0:21:09and the lifeboat had to be on a rescue,
0:21:09 > 0:21:11they would put "on" or "off".
0:21:11 > 0:21:14So if they're on duty, you'd have it set on, off duty.
0:21:14 > 0:21:17- And that showed everyone who was available.- Yes.
0:21:17 > 0:21:20Most of these don't exist any more, they sell them all off
0:21:20 > 0:21:23- and... Did you convert it to a house?- Yes.
0:21:23 > 0:21:25Which is what happens a lot now.
0:21:25 > 0:21:27And these were just thrown in the skip.
0:21:27 > 0:21:29They're not particularly well-made,
0:21:29 > 0:21:31but they're a real piece of local history.
0:21:31 > 0:21:33You can see these little peg holdings here.
0:21:33 > 0:21:35This is where pegs would have sat
0:21:35 > 0:21:38and that's where reports would have been hung, on those.
0:21:38 > 0:21:42Imagine all the different stories that have been on this board.
0:21:42 > 0:21:45And this would date from the early part of the 20th century
0:21:45 > 0:21:49and you just imagine how much more of a dangerous occupation
0:21:49 > 0:21:51- it was then. It's a lot safer now. - Oh, yes.
0:21:51 > 0:21:54And it's great to see all of the names down here,
0:21:54 > 0:21:55all of the stations.
0:21:55 > 0:21:57Most have gone because they were just sold off.
0:21:57 > 0:21:59I mean, it's not great quality.
0:21:59 > 0:22:02It never was meant to be something of great quality.
0:22:02 > 0:22:05It's a bit rough, it's had a bashing, but these were working boards.
0:22:05 > 0:22:10But people are starting to appreciate these things now,
0:22:10 > 0:22:13more than they were, and I think to a collector,
0:22:13 > 0:22:17it's tricky, but I would say around the £300 mark. But who cares?
0:22:17 > 0:22:22- It's not value. All these coastguards have saved people's lives.- Exactly.
0:22:22 > 0:22:27And we owe so much to the lifeboats, it's unbelievable,
0:22:27 > 0:22:29and we should celebrate them.
0:22:30 > 0:22:33A lot of people watching the show will recognise
0:22:33 > 0:22:35some of these from their own lives
0:22:35 > 0:22:39and you know precisely how they came to England, don't you?
0:22:39 > 0:22:41I do.
0:22:41 > 0:22:45My father was a contracts manager for a company called Danesco,
0:22:45 > 0:22:49which imported Scandinavian things, mainly Denmark and Finland,
0:22:49 > 0:22:52and these were things that he imported.
0:22:52 > 0:22:58So if somebody owns one of these, Arabia crockery, Holmegaard glass,
0:22:58 > 0:23:02then it's pretty well down to your dad.
0:23:02 > 0:23:03It is, yes.
0:23:03 > 0:23:05So we're really dating,
0:23:05 > 0:23:09the earliest things here are Bent Severin's Princess glasses.
0:23:09 > 0:23:11And there they are.
0:23:11 > 0:23:14And I personally think, I think it's arguable
0:23:14 > 0:23:17that these are probably the most beautiful wine glasses ever made.
0:23:17 > 0:23:21I think they're absolutely gorgeous, I really do.
0:23:21 > 0:23:23Of course they're completely impractical
0:23:23 > 0:23:25because you come to pour this
0:23:25 > 0:23:30- and the pressure of the wine has the tendency to knock 'em over.- Yes.
0:23:30 > 0:23:33And the result is of course, that these are really quite sought-after
0:23:33 > 0:23:36because the casualty rate is so high.
0:23:36 > 0:23:38What's your favourite?
0:23:38 > 0:23:41Probably the Gulvvases.
0:23:41 > 0:23:45Gulvvases, Gulv vase. "Gulvvase" means floor vase.
0:23:45 > 0:23:47They weren't really vases to put things in,
0:23:47 > 0:23:50they were vases as objects in their own right.
0:23:50 > 0:23:53These are credited to Otto Brauer
0:23:53 > 0:23:58who was a glassblower at the Odense plant for Holmegaard.
0:23:58 > 0:24:01You also have this, by Chister Holmgren.
0:24:01 > 0:24:03This is a spirit decanter.
0:24:03 > 0:24:06And the last one, I don't recognise, but I suspect you do.
0:24:06 > 0:24:10I do, because this was a chalice that was given to my father
0:24:10 > 0:24:13in thanks for all the work he'd done,
0:24:13 > 0:24:17as part of their commemoration of being open for 150 years.
0:24:17 > 0:24:21- There we go, 1825-1975 - 150 years of Holmegaard Kastrup.- Yeah.
0:24:22 > 0:24:25So, 1957 is Bent Severin's Princess glass.
0:24:25 > 0:24:31Otto Brauer is, 1962 is the design date of the Gulvvase.
0:24:31 > 0:24:33And these are also contemporary with it,
0:24:33 > 0:24:37these are '50s into the '60s, the Arabia crockery.
0:24:37 > 0:24:40And what's happened is that these companies are gone.
0:24:40 > 0:24:42Everything has now closed.
0:24:42 > 0:24:45Anybody that isn't closed is in desperate trouble, really,
0:24:45 > 0:24:48because the imports from China
0:24:48 > 0:24:51of mass-made, mass-market stuff
0:24:51 > 0:24:57inspired entirely by these guys, and the girls,
0:24:57 > 0:24:59have completely wiped them out.
0:24:59 > 0:25:01So these are very fashionable items.
0:25:01 > 0:25:04The Princess glasses, this one,
0:25:04 > 0:25:08they're about £50 each, for the large claret.
0:25:08 > 0:25:10That's a lovely sized glass.
0:25:10 > 0:25:15The spirit decanter, £15,
0:25:15 > 0:25:20the ceramics, you know that sort of mark, but the money's here.
0:25:20 > 0:25:24This is probably...£150?
0:25:24 > 0:25:27The red one is probably worth more,
0:25:27 > 0:25:30£200, really, even though it's smaller
0:25:30 > 0:25:32because this is precisely where the market is.
0:25:32 > 0:25:37That's the object that is a dream object, if you like.
0:25:37 > 0:25:40Total value here, about £500 or £600.
0:25:40 > 0:25:42- But it's your life, isn't it? - It is, yes.
0:25:42 > 0:25:45- Fantastic, thank you very much.- Thank you.
0:25:51 > 0:25:55- So here we are, back in the days of the Music Hall.- Yes.
0:25:55 > 0:25:58- And the name is Harry Champion. - That was his stage name.
0:25:58 > 0:26:01Harry Champion, Royal Performance here, Royal Variety Performance.
0:26:01 > 0:26:03- That's it.- And what is he to you?
0:26:03 > 0:26:08Well, he's my grandfather, and my father worshipped him.
0:26:08 > 0:26:12Consequently Clive, we've got so much memorabilia about the Music Halls,
0:26:12 > 0:26:14I just didn't know what to bring.
0:26:14 > 0:26:15What was his act?
0:26:15 > 0:26:20His act was singing, mostly, between 50 and 60 songs he'd got.
0:26:20 > 0:26:23I think he'd do a little time-step at the end.
0:26:23 > 0:26:25So he was a song and dance, yes.
0:26:25 > 0:26:26And throw in a few gags as well.
0:26:26 > 0:26:30- And a few gags, so comedian, song and dance.- Yes.
0:26:30 > 0:26:32Very much in that tradition. What were his dates?
0:26:32 > 0:26:361865-1942.
0:26:36 > 0:26:37So he lived quite a long time.
0:26:37 > 0:26:39He did, through both World Wars, yes.
0:26:39 > 0:26:42This obviously was the Royal Variety Performance
0:26:42 > 0:26:44at the London Palladium, 1935.
0:26:44 > 0:26:48- He did three.- He did three? And this was the last one, obviously.
0:26:48 > 0:26:52Yes, and these command performances were before, as you see,
0:26:52 > 0:26:55- King George V and Queen Mary.- Yes.
0:26:55 > 0:26:58And I think he must have tickled the fancy of the King.
0:26:58 > 0:27:01No, I think he tickled the fancy of the Queen.
0:27:01 > 0:27:04She used to love The Crazy Gang.
0:27:04 > 0:27:07Yes, well he did a lot of shows with The Crazy Gang.
0:27:07 > 0:27:09So, Music Hall was really the precursor of television.
0:27:09 > 0:27:13This is what people entertained themselves with in the evening.
0:27:13 > 0:27:15- Exactly. - They didn't turn on EastEnders,
0:27:15 > 0:27:17they just went down to the East End and went to the Music Hall.
0:27:17 > 0:27:19Very, very popular.
0:27:19 > 0:27:21And here he is, Harry Champion again,
0:27:21 > 0:27:26"By the Royal Command performer" he's dated there, this is in 1937.
0:27:26 > 0:27:31- Yes.- Original singer of Any Old Iron and Henry VIII.
0:27:31 > 0:27:34Is that what he sang? So he was the first person to sing these songs.
0:27:34 > 0:27:37Yes. Any Old Iron, I think was his most popular song.
0:27:37 > 0:27:39Any Old Iron, yes.
0:27:39 > 0:27:42I love this picture here.
0:27:42 > 0:27:44This is by Bruce Bairnsfather
0:27:44 > 0:27:47who did all the First World War pictures that we see.
0:27:47 > 0:27:50You know, he did the pictures of "If you knows of a better 'ole"
0:27:50 > 0:27:52those ones, that series.
0:27:52 > 0:27:54Yes. Well, he was standing in the wings
0:27:54 > 0:27:57when Harry was on the stage, and he just did that quickly.
0:27:57 > 0:28:00- And that's a picture of his back? - Yes.
0:28:00 > 0:28:04With this wonderful hat, batty hat, and all these buttons down the back.
0:28:04 > 0:28:06And "Wood Green, November 1938".
0:28:06 > 0:28:08That would be Wood Green Empire.
0:28:08 > 0:28:11Wood Green Empire, yes. And this one here which I think is rather,
0:28:11 > 0:28:15a rather sad photograph here, this one.
0:28:15 > 0:28:17- This is of the dog.- It was his...
0:28:17 > 0:28:21..in front of the sideboard, in front of a picture of him.
0:28:21 > 0:28:23- It was his beloved Bill, the dog. - The dog was Bill?
0:28:23 > 0:28:27Yes, and when he died, the photographer came round
0:28:27 > 0:28:30and they headed it in the paper,
0:28:30 > 0:28:33"Waiting for a call that will not come".
0:28:33 > 0:28:37- Waiting, yes.- Yes, waiting for his boss's call.
0:28:37 > 0:28:42Well, I would have thought, I mean I can't value things individually,
0:28:42 > 0:28:44but you have a collection here
0:28:44 > 0:28:47that is certainly worth £5,000, if not considerably more.
0:28:47 > 0:28:49Really?
0:28:49 > 0:28:52But, I wouldn't part with it for any less.
0:28:52 > 0:28:54And I'm sure you wouldn't either.
0:28:57 > 0:28:59# Any old iron, any old iron
0:28:59 > 0:29:02# Any, any, any old iron
0:29:02 > 0:29:04# You look neat, talk about a treat
0:29:04 > 0:29:06# You look a dapper from your napper to your feet
0:29:06 > 0:29:08# Dressed in style with a brand new tile
0:29:08 > 0:29:10# And your father's old green tie on
0:29:10 > 0:29:13# I wouldn't give you tuppence for an old watch chain
0:29:13 > 0:29:16# Old iron, iron! #
0:29:18 > 0:29:21Ha-ha!
0:29:21 > 0:29:24How much of a challenge is a lock like this, Chris?
0:29:24 > 0:29:25Well, it's not too much of a challenge.
0:29:25 > 0:29:28You've got to have a certain amount of skill of hand
0:29:28 > 0:29:30and fairly good eyesight.
0:29:30 > 0:29:33And how many hours has it taken to get,
0:29:33 > 0:29:38to establish the shape of the lock, to create the keys, file them down
0:29:38 > 0:29:41and get them to the point where we could open this strong box?
0:29:41 > 0:29:44The actual hours I put in to making the keys for this thing,
0:29:44 > 0:29:48probably in the region of ten, actually doing it.
0:29:48 > 0:29:49- Ten hours just to make one key? - Yeah.
0:29:49 > 0:29:53And what does it tell you about the age of this, the mechanism itself?
0:29:53 > 0:29:57I would put this at around 1820.
0:29:57 > 0:30:00- So 19th century? - Just into the 19th century.
0:30:00 > 0:30:03Looking at this box, and the mechanism, is there anything
0:30:03 > 0:30:07about this that can give us any clue as to what might be inside
0:30:07 > 0:30:11or whether there might be something valuable inside, or not?
0:30:12 > 0:30:14There's no clue whatsoever.
0:30:14 > 0:30:17You can only go by what it would be used for,
0:30:17 > 0:30:21and it would be used for carrying valuables of some description.
0:30:21 > 0:30:24- Well, I'm told it's not been opened in living memory.- That's right.
0:30:24 > 0:30:27So your keys will unlock the mystery. That's correct.
0:30:27 > 0:30:29No pressure, then.
0:30:29 > 0:30:31No pressure, none at all!
0:30:32 > 0:30:35Now looking at this mask closely, I can see two names.
0:30:35 > 0:30:39We've got a name most people know, Clarice Cliff,
0:30:39 > 0:30:42but there's also this other name, "modelled by Esme M Bailey".
0:30:42 > 0:30:45Now, you can tell me who that is, can't you?
0:30:45 > 0:30:49- Yes, that is my mother in fact.- Oh!
0:30:49 > 0:30:51Yes, she was 18 when she modelled this.
0:30:51 > 0:30:56She went to art college, and her father, my grandfather,
0:30:56 > 0:31:02had a shop in Bristol, which sold Clarice Cliff wares.
0:31:02 > 0:31:08And so she was taken up to Stoke-on-Trent for about two weeks
0:31:08 > 0:31:11and went to Clarice Cliff's workshop
0:31:11 > 0:31:16and was given a lump of clay and said "get on and make something".
0:31:16 > 0:31:20And she made four masks and then came back home
0:31:20 > 0:31:26and about two or three months later it arrived back with the other three
0:31:26 > 0:31:29and Mum looked at them in the box
0:31:29 > 0:31:36and thought that they were awful, because of the bright colours!
0:31:36 > 0:31:41She thought the colours were so garish, she just didn't like them.
0:31:41 > 0:31:43So she was responsible for the model.
0:31:43 > 0:31:46Well, she modelled... Clarice Cliff then chose the colours.
0:31:46 > 0:31:49- Did the colours, finished them for her.- And Mother didn't approve?
0:31:49 > 0:31:51Not at all, she wanted more subdued colours.
0:31:51 > 0:31:54So what happened to the ones Clarice Cliff sent?
0:31:54 > 0:31:57- Mum put them in a jumble sale.- OK!
0:31:57 > 0:32:00Yes, so they...I've grown up with this story all my life.
0:32:00 > 0:32:03I think you've got a picture of her, haven't you?
0:32:03 > 0:32:05And I've got a photograph of her here, this is in 1931.
0:32:05 > 0:32:07Well, she's quite a glamour puss.
0:32:07 > 0:32:10She was, yes. She was 18 at the time.
0:32:10 > 0:32:13So your mum must have been quite a groovy lady,
0:32:13 > 0:32:16to have been given what we would call an internship today,
0:32:16 > 0:32:19because Clarice Cliff was really, at that time,
0:32:19 > 0:32:21very famous, very fashionable.
0:32:21 > 0:32:25It was the contact with my grandfather. They were quite friendly
0:32:25 > 0:32:29and, you know, he was selling a lot of the Bizarre ware at the time.
0:32:29 > 0:32:31How come you've got this one?
0:32:31 > 0:32:36She regretted, all her life, not actually keeping them.
0:32:36 > 0:32:41And in 1998, she had a phone call from a friend
0:32:41 > 0:32:45saying one of the masks was in an auction.
0:32:45 > 0:32:48So my brothers and myself said, "You've got to go down,
0:32:48 > 0:32:52"you've got to buy it, no matter what it costs, you've got to buy it."
0:32:52 > 0:32:57So, in other words, 67 years later, Mum went, in her wheelchair,
0:32:57 > 0:32:59with a friend, and bought this mask back in auction.
0:32:59 > 0:33:01What did she pay?
0:33:01 > 0:33:03£1,000.
0:33:03 > 0:33:08Well, I think £1,000 is a fair price,
0:33:08 > 0:33:11but how can you put money on those memories?
0:33:11 > 0:33:13Not at all, you can't. It is just so magical, really.
0:33:13 > 0:33:15That's a very magical, special object.
0:33:15 > 0:33:18And thank you for sharing the story with us.
0:33:18 > 0:33:21Thank you very much, thank you.
0:33:21 > 0:33:26I love the way that the light drifts across this picture.
0:33:26 > 0:33:28It's a silvery, pervasive light,
0:33:28 > 0:33:33and it's thrown this old lady's face, into the most wonderful relief
0:33:33 > 0:33:37and elderly faces are much more interesting than young faces.
0:33:37 > 0:33:40I'll agree to that one, yes!
0:33:40 > 0:33:42So will I. And who's it by?
0:33:42 > 0:33:44- Walter Osborne.- Ah!
0:33:44 > 0:33:46Who I know very little about.
0:33:46 > 0:33:49And this is the very first time I've seen the old lady outside
0:33:49 > 0:33:52and the light is totally different to what it is at home -
0:33:52 > 0:33:55the light is flatter, more subdued.
0:33:55 > 0:33:58so I'm now seeing highlights and textures I've never noticed before.
0:33:58 > 0:34:02That's very interesting, because that's exactly what he does.
0:34:02 > 0:34:05That's Walter Osborne. Born in Dublin and working,
0:34:05 > 0:34:07I think this is about, this is early for him...
0:34:07 > 0:34:10he died young, aged 40-something
0:34:10 > 0:34:16but this is about 1882-3, which is very early for him.
0:34:16 > 0:34:18Yes, because he was quite young at that point.
0:34:18 > 0:34:20Yes, very young.
0:34:20 > 0:34:25And up here, actually, we've got his signature, which is rather useful.
0:34:25 > 0:34:27It's very hard to read
0:34:27 > 0:34:30but there are four letters after his name
0:34:30 > 0:34:32which I think say "ARHA"
0:34:32 > 0:34:37which means Associate of the Royal Hibernian Academy.
0:34:37 > 0:34:41- Hibernian, OK.- Yes, so that of course is Dublin.- Yeah.
0:34:41 > 0:34:44And it tells us it's before he was elected a full member,
0:34:44 > 0:34:48which I think was in 1880... mid-1880s anyway.
0:34:48 > 0:34:51so it's definitely before then.
0:34:51 > 0:34:55And when he was at art college in Antwerp, he was studying there,
0:34:55 > 0:34:58and there is a very Dutch feel about this picture.
0:34:58 > 0:35:01That drifting light comes straight out of the tradition of Vermeer,
0:35:01 > 0:35:03really, doesn't it?
0:35:03 > 0:35:05I've looked at her ever since I was a small child.
0:35:05 > 0:35:09In fact, it's the first image I can remember as a tiny toddler.
0:35:09 > 0:35:11And I've lived with it all my life.
0:35:11 > 0:35:14I knew nothing about her until recently.
0:35:14 > 0:35:18I found a book on her, and it came from my grandfather,
0:35:18 > 0:35:24so going back to 1920-24, and I've admired and loved her all my life.
0:35:24 > 0:35:28I just feel she's lived a good, hard life, and worked
0:35:28 > 0:35:31and there's a feeling of serenity and content
0:35:31 > 0:35:36and she's seen it all around her. A pastoral life.
0:35:36 > 0:35:39- Yes.- And she's lovely, and comforting.
0:35:39 > 0:35:42What you were saying about textures and colours, this is what I love
0:35:42 > 0:35:45about Walter Osborne, this is what he was so good at.
0:35:45 > 0:35:48I'm not quite sure what material we'd call that,
0:35:48 > 0:35:50but somebody who knows about clothes
0:35:50 > 0:35:53would certainly know what that was made of, and that was made of.
0:35:53 > 0:35:56He's identified the textures so well.
0:35:56 > 0:36:01And this lovely dab of light along the edge of the saucer.
0:36:01 > 0:36:04This little still life, that's perfection in itself, isn't it?
0:36:04 > 0:36:08It's beautiful. I mean that's very small and yet it stands out clearly.
0:36:08 > 0:36:11He hasn't bothered at all with the background, but it works very well,
0:36:11 > 0:36:15just to throw her out at us, in this light, it's terrific, and her face.
0:36:15 > 0:36:18I mean, that is a map of experience, isn't it?
0:36:18 > 0:36:22I agree with you, totally. Yes, a lifetime of love and...
0:36:22 > 0:36:25I think she's actually probably just dozing off!
0:36:25 > 0:36:29The end of a session, yes, just had a long artist's session.
0:36:29 > 0:36:31I think that this early work
0:36:31 > 0:36:34is one of the nicest things I've ever seen by him.
0:36:34 > 0:36:37Now, what's it worth?
0:36:37 > 0:36:43I really have no clue, but it was valued for us in 1990, I think,
0:36:43 > 0:36:45round about £7,000-ish.
0:36:45 > 0:36:50- Well, I think probably about £40,000.- Four zero?
0:36:50 > 0:36:53Four zero, zero, zero, zero.
0:36:53 > 0:36:55OK, thank you very, very much!
0:36:55 > 0:36:57Well, hello dear, welcome back!
0:36:57 > 0:36:59My God!
0:36:59 > 0:37:02What a lovely old lady!
0:37:05 > 0:37:08We found them in a local antique shop.
0:37:08 > 0:37:10I think they'd been in there for a little while
0:37:10 > 0:37:13and people just by-passed them.
0:37:13 > 0:37:15The only thing they could really tell us
0:37:15 > 0:37:18was that they think they're about 100 years old
0:37:18 > 0:37:23and they think they could have come from Belgium or Germany,
0:37:23 > 0:37:25possibly from a fairground,
0:37:25 > 0:37:28but they didn't, not really much information on them.
0:37:28 > 0:37:29Where do you keep them?
0:37:31 > 0:37:34He lives in our bedroom, and he lives in our front room.
0:37:34 > 0:37:37- You have this clown in your bedroom?- Yeah.- OK.
0:37:37 > 0:37:42I'm not 100%, but I don't think these are 100 years old.
0:37:42 > 0:37:47- I think that the chances are, they may date from around about 1960.- OK.
0:37:47 > 0:37:51And I say that purely from a stylistic point of view.
0:37:51 > 0:37:53I wouldn't necessarily have said Germany.
0:37:53 > 0:37:56I can't rule it out, because they've got more of an Italian look to them.
0:37:56 > 0:38:01- OK.- So I think that just might be where they started off life.
0:38:01 > 0:38:04Do you know, when it comes to what were they used for,
0:38:04 > 0:38:07I think they're the obvious thing for a fairground, aren't they?
0:38:07 > 0:38:10So I think they are, they are props.
0:38:10 > 0:38:14- I have to say, by the way, that they are ceramic.- Oh, right.
0:38:14 > 0:38:17Because I tapped this one and it gave a funny metallic feel to it,
0:38:17 > 0:38:20but they are ceramic. And do you know what?
0:38:20 > 0:38:23I like these clowns, and I'll tell you why I like them,
0:38:23 > 0:38:26because they make me smile.
0:38:26 > 0:38:30And anything that can lift your spirits in this day and age,
0:38:30 > 0:38:33- is worth having in your home.- Yes.
0:38:33 > 0:38:35Because I've never seen a pair before sold.
0:38:35 > 0:38:38How much did they ask you, when you had to buy them?
0:38:38 > 0:38:40- 700 for the two. - For the two?- Yes.
0:38:40 > 0:38:43I think that's a pretty good investment.
0:38:43 > 0:38:45I don't think you'd have any problems
0:38:45 > 0:38:50finding somebody prepared to pay £1,000.
0:38:50 > 0:38:52- Find me another pair.- Yeah.
0:38:52 > 0:38:55- That's the interesting question, isn't it?- Yeah.
0:38:56 > 0:38:58The moment to open this strong box has arrived.
0:38:58 > 0:39:00I don't know why, I feel a bit nervous about it.
0:39:00 > 0:39:02And what do you think? Are you excited?
0:39:02 > 0:39:04- AUDIENCE:- Yes!
0:39:04 > 0:39:07Let's hope there's something in there, then!
0:39:07 > 0:39:09- Do you think you can open it? - Of course.
0:39:09 > 0:39:12I like your confidence. off you go, then.
0:39:24 > 0:39:26Oh, my goodness!
0:39:26 > 0:39:29- Well! - It's empty!
0:39:29 > 0:39:33CROWD GASP AND LAUGH
0:39:36 > 0:39:39At least I know, for 25 years, I wasn't sitting on a treasure trove!
0:39:39 > 0:39:42And do you want to know what was making that rattling noise?
0:39:44 > 0:39:46The lid of a Biro!
0:39:46 > 0:39:48CROWD LAUGH AND CLAP
0:39:52 > 0:39:57This could possibly be the worst moment of my entire career!
0:39:57 > 0:39:59Trevor, would Customs be interested in this?
0:39:59 > 0:40:02I'll inform the Minister.
0:40:24 > 0:40:29This is a toy that combines two of my favourite elements.
0:40:29 > 0:40:32One is magic,
0:40:32 > 0:40:38and the other is the very earliest use of entertainment for children.
0:40:38 > 0:40:40Now, how did you get it?
0:40:40 > 0:40:45Well, it's been passed down from my husband's grandmother.
0:40:45 > 0:40:48- Yes.- And that's all we know about it.
0:40:48 > 0:40:54We have called it "the toy" but we don't know anything about it,
0:40:54 > 0:40:58the age, or in fact whether it was a children's toy
0:40:58 > 0:41:02or amusements for adults.
0:41:02 > 0:41:06I don't know and we'd just like to know more about it.
0:41:06 > 0:41:10Well, is it a toy? Is it demonstrating a scientific property?
0:41:10 > 0:41:14Is it a piece of mystery? It's a bit of everything.
0:41:14 > 0:41:15Let me show what it does.
0:41:15 > 0:41:19There is a wonderful piece of magic because on the easel at the moment
0:41:19 > 0:41:24is this portrait that he's completed, a portrait of a lady,
0:41:24 > 0:41:27but we might say, "We're rather bored with that,
0:41:27 > 0:41:31"what we'd really like is a naval battle scene,"
0:41:31 > 0:41:36so we put that coaster underneath the box
0:41:36 > 0:41:40and suddenly that scene appears on the artist's easel.
0:41:40 > 0:41:42How does it happen?
0:41:42 > 0:41:46Now, a magician should never give away the secret of the trick.
0:41:46 > 0:41:52However, underneath here is a circle, a disc of paper
0:41:52 > 0:41:57and on the disc is painted all the different scenes
0:41:57 > 0:42:01that you see here, in miniature,
0:42:01 > 0:42:06and as you put the scene underneath the box,
0:42:06 > 0:42:11so through magnets, inside the box and on the picture itself,
0:42:11 > 0:42:17- so the right little version of that painting appears on his easel.- Yes.
0:42:17 > 0:42:19I mean, it's simple when you know how,
0:42:19 > 0:42:23but if you didn't know about magnets, gosh, that's exciting.
0:42:24 > 0:42:27Looking at the prints on it,
0:42:27 > 0:42:32they look almost 1720s-1750s,
0:42:32 > 0:42:34and you think to yourself,
0:42:34 > 0:42:38- "Well, I wonder if it could be dating from that period."- Mm, yes.
0:42:38 > 0:42:41- But actually I think it's a good deal later than that.- Yes.
0:42:41 > 0:42:45My own feeling is that it's dating from perhaps 1810-1820.
0:42:45 > 0:42:50So this artist with his various different scenes,
0:42:50 > 0:42:52what's he going to be worth?
0:42:52 > 0:42:56I'm going to put a value of between £500 and £700 on it.
0:42:56 > 0:42:58Right, yes.
0:42:58 > 0:43:02And I have a feeling people might be queuing up to pay that for it.
0:43:04 > 0:43:08Well, now, you've brought along this brooch which,
0:43:08 > 0:43:12I have to be honest with you, is pretty distressed.
0:43:12 > 0:43:17This is broken off and in the normal scheme of things,
0:43:17 > 0:43:21I doubt very much I would have given it a second look.
0:43:21 > 0:43:22It's designed as a hoop
0:43:22 > 0:43:27and then the top of it is designed as a sort of a stylised ram's head.
0:43:27 > 0:43:29Any idea where it came from?
0:43:29 > 0:43:34Yes. A maiden aunt of mine gave it to me many years ago.
0:43:34 > 0:43:39I don't know where she had it from. I kind of thought it was Victorian.
0:43:39 > 0:43:41Well, I would agree with you, it's 19th century,
0:43:41 > 0:43:45made in around about 1865, that sort of period.
0:43:45 > 0:43:48It's a good example of what we call revivalist jewellery.
0:43:48 > 0:43:52But it's in worse than good condition, it's broken off,
0:43:52 > 0:43:55it's a bit worn, it's a bit bent, it's a bit tired, bit miserable.
0:43:55 > 0:43:57Sorry about that, John.
0:43:57 > 0:44:00LAUGHTER
0:44:00 > 0:44:03But, a feature that needs to be pointed out.
0:44:03 > 0:44:05Did you happen to see that there?
0:44:05 > 0:44:08There's two little tiny back-to-back letter Cs.
0:44:08 > 0:44:11- Did you ever see that? - No, I didn't.- You didn't, did you?
0:44:11 > 0:44:12No, I didn't.
0:44:12 > 0:44:14Well, now I'm going to tell you something.
0:44:14 > 0:44:17Those back-to-back Cs are the monogram
0:44:17 > 0:44:20of someone called Fortunato Pio Castellani.
0:44:20 > 0:44:22One of the great names.
0:44:22 > 0:44:2619th century revivalist goldsmith working in Rome,
0:44:26 > 0:44:28producing this kind of jewellery
0:44:28 > 0:44:31that looks as if it was sort of Roman or Etruscan
0:44:31 > 0:44:35and his jewellery is incredibly collectable today.
0:44:35 > 0:44:38So in spite of the damage, I know it's in less than perfect condition,
0:44:38 > 0:44:41but get that restoration done, you're talking about
0:44:41 > 0:44:44the best part of £1,000 for it.
0:44:44 > 0:44:47Really? Oh, goodness.
0:44:47 > 0:44:50Just because of that Castellani mark.
0:44:50 > 0:44:52Oh, and I lost it some years ago.
0:44:52 > 0:44:55I put an ad in the local press with a reward
0:44:55 > 0:44:58- and somebody rang and they'd found it.- Meant to be.
0:44:58 > 0:45:02- So it was, wasn't it? Thank you, John.- What a find, thank you.
0:45:05 > 0:45:08Do you know, when I was asked to come down to Falmouth
0:45:08 > 0:45:10to do the Roadshow, who's the artist I really wanted to see?
0:45:10 > 0:45:13Henry Scott Tuke, and here we have three.
0:45:13 > 0:45:17I looked at these and I thought, "Mm, somebody must have stolen them
0:45:17 > 0:45:21"from Falmouth Polytechnic," or are you from Falmouth Polytechnic?
0:45:21 > 0:45:23I am from Falmouth Polytech, yes,
0:45:23 > 0:45:27I'm one of the joint curators of this marvellous collection.
0:45:27 > 0:45:31We have 279 Tukes, it's the largest collection in public hands
0:45:31 > 0:45:35in this country and it's a living collection.
0:45:35 > 0:45:37Although a bulk were given to us in the '60s by someone
0:45:37 > 0:45:40who also persuaded his friends to give further paintings,
0:45:40 > 0:45:44it's still, we're still collecting.
0:45:44 > 0:45:47We have a catalogue of 277
0:45:47 > 0:45:49which was only done about two or three years ago
0:45:49 > 0:45:54and now we have already received two more Tukes to add to the collection.
0:45:54 > 0:45:57I think it's fantastic, and especially down in Cornwall.
0:45:57 > 0:46:00You know, dear old Tuke, he's been a hero of mine for years
0:46:00 > 0:46:01and if you said to me,
0:46:01 > 0:46:04"Who of The Newlyn School do you really admire?"
0:46:04 > 0:46:08Stanhope Forbes, yeah, but Tuke is the one I absolutely love
0:46:08 > 0:46:11because he went through these various periods
0:46:11 > 0:46:14and you've got three pictures here from sort of different periods.
0:46:14 > 0:46:17And so we'll start from the more modern one here
0:46:17 > 0:46:21which is a sketch for Morning Splendour.
0:46:21 > 0:46:23Yes, study for Morning Splendour.
0:46:23 > 0:46:25And the original of that is in Baden Powell House.
0:46:25 > 0:46:28Baden Powell House, it was bought for the Scout Movement, yes.
0:46:28 > 0:46:31Because you know, when these were originally shown,
0:46:31 > 0:46:35the type with the nudes in and the naked boys,
0:46:35 > 0:46:37it was very, in Edwardian times, you know,
0:46:37 > 0:46:39it was a bit frowned on at the RA.
0:46:39 > 0:46:42You know, this was breaking new ground.
0:46:42 > 0:46:45And, you know, people sort of tended to raise an eyebrow.
0:46:45 > 0:46:48But the one thing that he does, that a lot of the other artists
0:46:48 > 0:46:50of that period don't, he gets the light.
0:46:50 > 0:46:53The light on the backs of their shoulders, the light on the sea,
0:46:53 > 0:46:58and this wonderful... It's that Edwardian period, it's early 1900s,
0:46:58 > 0:47:01and he did that right up to the 1920s, those sort of pictures.
0:47:01 > 0:47:03Yes, and it's an idyllic period
0:47:03 > 0:47:05and when you think what's going to come,
0:47:05 > 0:47:09- the First World War...- Absolutely. - ..it makes it even more idyllic.
0:47:09 > 0:47:11- Absolutely, and it's Cornwall at its best.- Yes.
0:47:11 > 0:47:15Then we come down here to the harbour scene in Falmouth
0:47:15 > 0:47:18with the fisherman in his rowing boat.
0:47:18 > 0:47:20A large example.
0:47:20 > 0:47:23- It appears to be the only one in the original Tuke frame.- Yes.
0:47:23 > 0:47:25- This is the standard Tuke frame.- Yes.
0:47:25 > 0:47:28I'm a bit of a fusspot because I love them in this sort of frame.
0:47:28 > 0:47:32And the wet watercolour look, this wet look you get,
0:47:32 > 0:47:34he was so good in oil and in watercolour,
0:47:34 > 0:47:37and you've really got the movement of the boat here,
0:47:37 > 0:47:40and I love all the moored boats here. It's just fantastic.
0:47:40 > 0:47:43That is quite interesting because this is actually painted
0:47:43 > 0:47:46- from his studio on Castle House Quay.- Oh, yes.
0:47:46 > 0:47:48And the building is still there.
0:47:48 > 0:47:50How interesting. And he also worked from a boat, didn't he?
0:47:50 > 0:47:52He did, but that was painted from a boat.
0:47:52 > 0:47:54- Yeah, and this is on Lily, he painted on Lily?- Yes.
0:47:54 > 0:48:00We come to this picture and to me, this is, of all Tukes,
0:48:00 > 0:48:04the iconic Tuke. I remember buying cards of this in the 1970s
0:48:04 > 0:48:09because I just thought it was just so fantastic. Our Jack.
0:48:09 > 0:48:11Our Jack, of course, is Jack Rowland,
0:48:11 > 0:48:14the model that he used a lot, but it's just the natural look,
0:48:14 > 0:48:17the way he's looking out at you, with Falmouth in the background,
0:48:17 > 0:48:23the sails. Tuke understood about water and about the feeling,
0:48:23 > 0:48:25you know, of sail,
0:48:25 > 0:48:28and the interesting thing about the dates on these.
0:48:28 > 0:48:34You've got this one which was done 1920s, 1921 as a sketch.
0:48:34 > 0:48:39The one down here which is 1904,
0:48:39 > 0:48:44and then the one of Jack Rowland
0:48:44 > 0:48:47- which is in the 1880s.- Yeah.
0:48:47 > 0:48:49And to me, that's the crucial period for him.
0:48:49 > 0:48:52Absolutely fantastic, so we've got the two oils
0:48:52 > 0:48:55and the watercolour, and even though it's a sketch and it's unsigned,
0:48:55 > 0:49:01that is worth certainly £20,000 to £30,000 for that one.
0:49:01 > 0:49:03This one here, the watercolour,
0:49:03 > 0:49:06I think it's an exceptionally big one for him and it's really good.
0:49:06 > 0:49:09I think that could make £20,000, the watercolour,
0:49:09 > 0:49:13which is a lot of money for one like that.
0:49:13 > 0:49:17But now we come to Our Jack, the iconic picture.
0:49:17 > 0:49:21Now, you know, people say, "Oh, if it's big, a big nude,
0:49:21 > 0:49:24"we know that they make, can make £100,000."
0:49:24 > 0:49:25But I look at this
0:49:25 > 0:49:27and it's got everything good in the right size picture
0:49:27 > 0:49:31and I know that if that came up,
0:49:31 > 0:49:35that's a £200,000 painting in auction.
0:49:35 > 0:49:37It is that iconic.
0:49:37 > 0:49:41So, when you add the whole lot up, you're getting up from £240,000
0:49:41 > 0:49:47to £300,000 so then you have to add more on for replacement because,
0:49:47 > 0:49:51you know, and to replace these you'd probably have to put
0:49:51 > 0:49:53at least £500,000 on those three.
0:49:53 > 0:49:55And how fantastic the Falmouth Polytechnic has them
0:49:55 > 0:50:00and they're on view to the public and long may everybody enjoy them.
0:50:00 > 0:50:02Thank you and I hope they will.
0:50:06 > 0:50:09- When I was about your age... - Yeah.
0:50:09 > 0:50:12..in my grandfather's shed was a little mower quite similar to that.
0:50:12 > 0:50:15- Oh, right.- And I used to cut the grass with it.
0:50:15 > 0:50:17Yes, what manufacturer was it?
0:50:17 > 0:50:21- What manufacturer? I think it was Webb.- Oh, right.
0:50:21 > 0:50:23Um, that would probably be a Whippet,
0:50:23 > 0:50:26might have been a Wasp or maybe a Witch.
0:50:26 > 0:50:30Goodness me, so this is a subject about which you know
0:50:30 > 0:50:31an awful lot by the sound of it.
0:50:31 > 0:50:34Yeah, I mean I've got a collection, roughly 30 of them,
0:50:34 > 0:50:36and I obviously collect them,
0:50:36 > 0:50:41I've been collecting them about four years and learning about them.
0:50:41 > 0:50:43And it's just my hobby, really.
0:50:43 > 0:50:47- Goodness me. So, 30 lawn mowers in only four years.- Yeah.
0:50:47 > 0:50:52- Where do you store them? - I keep six of them in my bedroom.
0:50:52 > 0:50:56- Right!- And I keep all the rest in my shed.
0:50:56 > 0:50:59OK, well, again when I was your age,
0:50:59 > 0:51:04- I collected things in a really crazy way.- Right.
0:51:04 > 0:51:07And I think the human race is divided into two types.
0:51:07 > 0:51:11- There are those of us who collect and those of us who don't.- Yeah.
0:51:11 > 0:51:13- And we're both collectors.- OK.
0:51:13 > 0:51:15Can you tell me something about these?
0:51:15 > 0:51:17Well, that one at the back there, I've refurbished that.
0:51:17 > 0:51:22- You did this yourself? - Yeah, with another collector.
0:51:22 > 0:51:23Good Lord. It looks beautiful.
0:51:23 > 0:51:27It's an 1898 Green Salenz Metal,
0:51:27 > 0:51:32they made roughly a million of them between 1869 and 1939.
0:51:32 > 0:51:36This is obviously the eight inch cut and one of the things
0:51:36 > 0:51:41that I find interesting about it is this casting on the side here,
0:51:41 > 0:51:45- that's unique, that particular piece of handle.- Right.
0:51:45 > 0:51:46But that number, as far as I know,
0:51:46 > 0:51:49- that's unique to that mower. - Wow. And this one?
0:51:49 > 0:51:54This one, this is an 1880s, I believe, or maybe 1890s,
0:51:54 > 0:51:58- it's a Follows and Bates Manchester. - Right.
0:51:58 > 0:52:01And I only know of seven of these in existence.
0:52:01 > 0:52:03Where did you get that?
0:52:03 > 0:52:06I got this online, on an online auction site, about...
0:52:06 > 0:52:09I think it must have been three months ago.
0:52:09 > 0:52:10Good Lord.
0:52:10 > 0:52:14- Well, in this strange reversal of roles, you are the expert.- Right.
0:52:14 > 0:52:18- So instead of telling you, because I don't know.- Yes.
0:52:18 > 0:52:20I'm going to ask you to tell me what it's worth.
0:52:20 > 0:52:22Would you have any idea on what it's worth?
0:52:22 > 0:52:25I haven't got a clue, I just haven't got a clue.
0:52:25 > 0:52:28OK, this one at the back here, one of these recently sold
0:52:28 > 0:52:31on an online auction site, three months back,
0:52:31 > 0:52:34- for I believe it was around £300. - Wow.
0:52:34 > 0:52:38And then this one at the front here, very rare, only seven of them,
0:52:38 > 0:52:43- as far as I know, so that might be more like £500.- Good Lord.
0:52:43 > 0:52:47So altogether this is maybe £800 worth of lawnmowers.
0:52:47 > 0:52:50Wowee, you're a rich young man. Well, I have to say,
0:52:50 > 0:52:54I'm completely bowled over by how much you know about these things.
0:52:54 > 0:52:58You know everything there is to be known by the sounds of it.
0:52:58 > 0:53:01You are a true expert and a true collector.
0:53:04 > 0:53:08I've seen a few standing cups in my time, but I've never seen
0:53:08 > 0:53:13anything quite as impressive and magnificent as this.
0:53:13 > 0:53:18Standing cups developed in Germany in the 16th and 17th centuries
0:53:18 > 0:53:22and were relatively common there, but over here they're much rarer.
0:53:22 > 0:53:26But apart from the obvious magnificence of the size,
0:53:26 > 0:53:29this has got a very curious inscription,
0:53:29 > 0:53:33which I'm going to take the lid off and read.
0:53:33 > 0:53:39It says "1633, from mayor to mayor,
0:53:39 > 0:53:41"to the town of Penmarrin,
0:53:41 > 0:53:46"when they received me, it was in great misery. Jane Killigrew."
0:53:46 > 0:53:48What's all that about?
0:53:48 > 0:53:51Well, Jane Killigrew was married - Lady Jane Killigrew -
0:53:51 > 0:53:55was married to Sir John Killigrew and they lived in Falmouth.
0:53:55 > 0:53:59She was a bit of a naughty girl and not very happy in her marriage
0:53:59 > 0:54:04and she had an affair with the governor of Pendennis Castle,
0:54:04 > 0:54:09in Falmouth, and as a result of this, Sir John sued for divorce.
0:54:09 > 0:54:15- She ran away and hid in Penryn, took refuge in Penryn.- Yes.
0:54:15 > 0:54:18- Which is a town about a mile up the road.- Yes.
0:54:18 > 0:54:22She stayed with us for about 20 years
0:54:22 > 0:54:25and she finally got her divorce
0:54:25 > 0:54:30and as part of her marriage portion,
0:54:30 > 0:54:35when she got her divorce, she apparently bought this cup
0:54:35 > 0:54:40and presented it to the town of Penryn and we've had it since 1633.
0:54:40 > 0:54:44And to bring it up to the modern days,
0:54:44 > 0:54:48- every time we have a new mayor go into office...- Yes.
0:54:48 > 0:54:52The outgoing mayor passes it to the incoming mayor for safe keeping.
0:54:52 > 0:54:55- Very unique. - Well, absolutely unique.
0:54:55 > 0:54:59Interestingly enough, it was made in London
0:54:59 > 0:55:04because on here we've got a lovely set of hallmarks.
0:55:04 > 0:55:09It has a date letter here which is actually for one year earlier, 1632,
0:55:09 > 0:55:11but the date letters ran from May to May
0:55:11 > 0:55:15rather than January to January, so that doesn't surprise me
0:55:15 > 0:55:18that the date is engraved one year later,
0:55:18 > 0:55:21and it also has the maker's mark, RS.
0:55:21 > 0:55:25He is a known maker, but we don't know what his name is,
0:55:25 > 0:55:30but he is recorded as making mainly church silver, so he's gone out
0:55:30 > 0:55:34of his comfort zone here and made something quite spectacular.
0:55:34 > 0:55:38And the only ones I've really seen that are vaguely similar to this
0:55:38 > 0:55:41are what are called steeple cups
0:55:41 > 0:55:46and on the lid of a steeple cup would be literally a silver steeple.
0:55:46 > 0:55:51But I can't remember ever picking up a cup of this date,
0:55:51 > 0:55:54- and we're talking of a period of Charles I.- Mm-hmm.
0:55:54 > 0:55:57One of such fantastic size.
0:55:57 > 0:56:02It's a great colour and the story behind it is just superb
0:56:02 > 0:56:06and she must have been one very, very grateful lady
0:56:06 > 0:56:11- because this was an expensive piece of silver in its day.- Yes, yes.
0:56:11 > 0:56:14Now the Killigrews, from what I've heard,
0:56:14 > 0:56:19some of them were almost near pirates and isn't Jane supposedly...
0:56:19 > 0:56:22Was she a pirate or was she muddled up with somebody else or...?
0:56:22 > 0:56:23What's the story about that?
0:56:23 > 0:56:26- Well, I think she's much maligned, I don't think she was a pirate.- No.
0:56:26 > 0:56:29But I do think that her mother-in-law, Mary Killigrew,
0:56:29 > 0:56:32was a pirate because she was nearly sent to the gallows
0:56:32 > 0:56:36for her pirate's... I think she raided some ships,
0:56:36 > 0:56:40- some Spanish ships and took them to Ireland.- Yes.
0:56:40 > 0:56:42And she got into big trouble and they nearly hung her.
0:56:42 > 0:56:46She got pardoned but I think Jane is always looked on as a pirate
0:56:46 > 0:56:48but I don't think she was a pirate. I don't know.
0:56:48 > 0:56:51It can only happen in Cornwall, you can have lady pirates.
0:56:51 > 0:56:55Oh, yes, yes, yes. They're still around, yeah.
0:56:55 > 0:57:00Well, this is an exceptional object, absolutely exceptional,
0:57:00 > 0:57:06and it's such a real pleasure for me to even see something,
0:57:06 > 0:57:09let alone handle it like this, and because of that,
0:57:09 > 0:57:12we're looking at something that's pretty valuable.
0:57:12 > 0:57:18I'm thinking it's got to be worth between £100,000 and £150,000.
0:57:18 > 0:57:20GASPS OF ASTONISHMENT
0:57:22 > 0:57:24Gosh.
0:57:24 > 0:57:27Well, that's really good news.
0:57:27 > 0:57:29Penryn's very proud of its cup and that will be...
0:57:29 > 0:57:32- I think they should be. - It's wonderful to know.
0:57:32 > 0:57:38The story, the object, everything about it is magical,
0:57:38 > 0:57:43so I doubt if I'll ever see a cup like this again on the Roadshow.
0:57:43 > 0:57:46Yes, I doubt if it will ever come out of Penryn again,
0:57:46 > 0:57:48it hasn't been out since 1633 so...
0:57:48 > 0:57:51Yeah, but thank you so much for bringing it along.
0:57:51 > 0:57:53It's been a pleasure, thank you very much, thank you.
0:57:55 > 0:57:59And what an amazing way to end our show.
0:57:59 > 0:58:01We've seen some marvellous items today.
0:58:01 > 0:58:03The strong box was one of them, its contents sadly are not.
0:58:03 > 0:58:07From the Antiques Roadshow in Falmouth
0:58:07 > 0:58:11and our strong box and our team, until next time, bye-bye.
0:58:18 > 0:58:22Subtitles by Red Bee Media Ltd