0:00:02 > 0:00:04Out there somewhere is a Morgawr - Cornish for great serpent.
0:00:04 > 0:00:07Apparently, there have been many sightings.
0:00:07 > 0:00:11Some 50 years ago a fishing trawler landed a great 20-foot long beast
0:00:11 > 0:00:16with a beaky head and scaly legs and eight-foot long tail.
0:00:16 > 0:00:18That's the story, anyway.
0:00:18 > 0:00:20Welcome back to the home of seafaring mysteries -
0:00:20 > 0:00:24the National Maritime Museum Cornwall here in Falmouth.
0:00:24 > 0:00:25DING! DING!
0:01:07 > 0:01:10The National Maritime Museum Cornwall was established in Falmouth
0:01:10 > 0:01:15to bring to life stories of the sea in this part of the world.
0:01:16 > 0:01:19It couldn't be more appropriately placed.
0:01:21 > 0:01:23It's home to Ben Ainslie's gold-winning Olympic boats -
0:01:23 > 0:01:25both called Rita.
0:01:25 > 0:01:28And Falmouth is home to the record-breaking voyages
0:01:28 > 0:01:32of Sir Robin Knox-Johnston and Dame Ellen MacArthur.
0:01:32 > 0:01:34They both started and finished from here.
0:01:36 > 0:01:39But there's another quite remarkable story.
0:01:39 > 0:01:41A story of survival.
0:01:41 > 0:01:43And the sort of tale we love on the Roadshow.
0:01:45 > 0:01:47In 1971, the Robertson family and a friend
0:01:47 > 0:01:51embarked on the sailing trip of a lifetime across the Pacific Ocean
0:01:51 > 0:01:54when their boat was attacked and sunk by a group of killer whales.
0:01:54 > 0:02:00They abandoned ship with little food or water and no prospect of rescue.
0:02:00 > 0:02:04With only a bag of onions a tin of biscuits and ten oranges,
0:02:04 > 0:02:08they tried to quench their thirst drinking the blood of sea turtles.
0:02:08 > 0:02:10And to keep themselves hydrated,
0:02:10 > 0:02:14they took seawater enemas using a makeshift rubber tube.
0:02:14 > 0:02:18And they were so afraid of falling overboard they hardly slept.
0:02:20 > 0:02:22After 38 days their luck turned,
0:02:22 > 0:02:24when a Japanese fishing trawler picked them up.
0:02:24 > 0:02:27Dehydrated and emaciated,
0:02:27 > 0:02:30they clambered ashore to a hero's welcome.
0:02:33 > 0:02:35And this is the little boat that saved them -
0:02:35 > 0:02:37only nine feet in length,
0:02:37 > 0:02:39the Ednamair is proudly on display here
0:02:39 > 0:02:42at the National Maritime Museum Cornwall.
0:02:42 > 0:02:45And as our experts prepare for another busy day
0:02:45 > 0:02:47why not try our valuation game?
0:02:47 > 0:02:50To take part, press red on your remote control.
0:02:50 > 0:02:51We'll give you your final score
0:02:51 > 0:02:55and roadshow rating at the end of the programme. Good luck.
0:02:55 > 0:02:59What a perfect start to the programme on such a beautiful day,
0:02:59 > 0:03:02as having this painting done about 80 years ago
0:03:02 > 0:03:04of another perfect Cornish day.
0:03:04 > 0:03:07Yeah. I didn't realise it was that old.
0:03:07 > 0:03:09- I think it's about 1930.- OK.
0:03:09 > 0:03:13Because it's by Charles Walter Simpson.
0:03:13 > 0:03:16He was known actually as a animal and bird painter,
0:03:16 > 0:03:19and painted a lot of Cornish birds on the north coast.
0:03:19 > 0:03:21Very Cornish, lived at Lamorna,
0:03:21 > 0:03:24as did Laura Knight and Alfred Munnings.
0:03:24 > 0:03:26Very much an artists' community here.
0:03:26 > 0:03:30A kind of an offshoot, if you like, of the Newlyn school,
0:03:30 > 0:03:33or a little earlier - it started in the 1880s -
0:03:33 > 0:03:36and this picture is probably about 50 years after that.
0:03:36 > 0:03:40- OK.- Is this a place that you've ever lived?
0:03:40 > 0:03:45No, it was a place that my father grew up. And also his brother.
0:03:45 > 0:03:48And they spent lots of time down at Lamorna.
0:03:48 > 0:03:52And...I'm not quite sure whether my dad first had the painting
0:03:52 > 0:03:54or whether it was my grandfather's.
0:03:54 > 0:03:59But I remember it as a child and have always loved it.
0:03:59 > 0:04:02- And now it lives in my house, which is wonderful.- Lucky you.
0:04:02 > 0:04:05And did your father know the artist, then?
0:04:05 > 0:04:07I don't know. He knew Lamorna Birch
0:04:07 > 0:04:09but I don't know whether he knew Charles Simpson too.
0:04:09 > 0:04:12It's painted in this very Impressionistic manner
0:04:12 > 0:04:16which is one of the reasons I'm able to date it to the 1930s.
0:04:16 > 0:04:20You know, dabs of very quick paint, making a patchwork down here
0:04:20 > 0:04:25for all the foliage, and the occasional slab of white,
0:04:25 > 0:04:28or very bright paint, picking out the top of a wave,
0:04:28 > 0:04:30the roof of a beach hut
0:04:30 > 0:04:33sparkling across the whole picture
0:04:33 > 0:04:36and throwing all this stonework, down here of the jetty,
0:04:36 > 0:04:38into stark relief.
0:04:38 > 0:04:40Very Cornish light.
0:04:40 > 0:04:45The artist also lived in Lamorna. First, I think, about 1910 or 1915.
0:04:45 > 0:04:47And then later, having gone off to St Ives
0:04:47 > 0:04:50and done a lot of other things in Cornwall and elsewhere,
0:04:50 > 0:04:52came back to live there in the 1930s.
0:04:52 > 0:04:55And I think, looking at the sort of quite coarse canvas
0:04:55 > 0:04:58and the way that it's rather loosely and impressionistically painted,
0:04:58 > 0:05:00that this is from that later period.
0:05:00 > 0:05:04And he didn't die until about 1970, so it could be any time after that,
0:05:04 > 0:05:07but I think 1930s. It has that feel to it, certainly.
0:05:07 > 0:05:09Would that fit with your family history?
0:05:09 > 0:05:11Yes, it would.
0:05:11 > 0:05:14In which case, it may have been my grandfather, rather than my father.
0:05:14 > 0:05:17But Lamorna's just a very special place to the whole family really.
0:05:17 > 0:05:19- Yes.- And I just love this painting,
0:05:19 > 0:05:22because every time I look at it I see something different,
0:05:22 > 0:05:24even though I've known it since I was a child.
0:05:24 > 0:05:26- I love these beach huts. - Absolutely.- Great fun.
0:05:26 > 0:05:29And these umbrellas - they're very jolly.
0:05:29 > 0:05:31So, terrific picture, absolutely wonderful.
0:05:31 > 0:05:34And you've grown up with it, you live with it, you love it.
0:05:34 > 0:05:35I think if this was at auction,
0:05:35 > 0:05:38it would be between £10,000 and £15,000 - put it that way.
0:05:38 > 0:05:42OK. That's a bonus, I suppose. Thank you.
0:05:45 > 0:05:47At first sight, you might be forgiven for thinking this
0:05:47 > 0:05:51- was made of pewter, but it's absolutely black, this metal.- Right.
0:05:51 > 0:05:54But I've been looking at silver long enough to tell you that this
0:05:54 > 0:05:57is actually a silver-mounted claret jug,
0:05:57 > 0:05:59but how did it get into this sort of condition?
0:06:02 > 0:06:05Um, well we found it in a chest that had been
0:06:05 > 0:06:07left by my late great aunt and uncle.
0:06:07 > 0:06:11And the chest was in a bank and this was part of it,
0:06:11 > 0:06:14but since then I've acquired it and it's been on my mantelpiece.
0:06:15 > 0:06:19Right, so you've not been tempted to clean it?
0:06:19 > 0:06:23No, not really. I have other things that take priority.
0:06:23 > 0:06:27But also, we were wondering whether cleaning would be advantageous
0:06:27 > 0:06:30or whether it might affect the quality?
0:06:30 > 0:06:31Cleaning silver is important,
0:06:31 > 0:06:34because if you leave it dirty for too long,
0:06:34 > 0:06:38the tarnish will eat into the surface of the silver eventually,
0:06:38 > 0:06:40and it'll leave a sort of milky deposit
0:06:40 > 0:06:44- which really spoils the reflective surface of the silver.- Right.
0:06:44 > 0:06:46But you've got a beautiful,
0:06:46 > 0:06:50mid-Victorian, mounted glass, claret jug.
0:06:50 > 0:06:53It's got a full set of hallmarks round the front here
0:06:53 > 0:06:58and it's got the maker's mark for George and John Angell,
0:06:58 > 0:07:00and made in 1846.
0:07:00 > 0:07:06And this is typical, high Victorian silver, very naturalistic,
0:07:06 > 0:07:12very ornate, but the overall quality is there, it's very well made.
0:07:12 > 0:07:13Not only just the silver,
0:07:13 > 0:07:17but the glass is also beautifully etched and engraved.
0:07:17 > 0:07:23Got all the vines to give a good indication that it is made for wine.
0:07:23 > 0:07:25- This thing that's been lying in a bank...- Yeah.
0:07:25 > 0:07:28..is actually worth a bit.
0:07:28 > 0:07:30- Oh, right.- Yeah.
0:07:30 > 0:07:34I would think probably we've got to think of...
0:07:34 > 0:07:36£1,200 to £1,500.
0:07:38 > 0:07:41Ooh! Ooh!
0:07:41 > 0:07:43- Nice surprise?- Yeah, lovely.
0:07:45 > 0:07:46You know,
0:07:46 > 0:07:48there's some boxes
0:07:48 > 0:07:50that you can't ever tell who the piece might be by,
0:07:50 > 0:07:52but for those people who might watch
0:07:52 > 0:07:57the Roadshow regularly, they look at this dark-red leather box
0:07:57 > 0:08:01with the gold tooling and the name is instantaneous
0:08:01 > 0:08:05and it's actually reinforced, because on the back - Cartier.
0:08:05 > 0:08:09And within, revealed,
0:08:09 > 0:08:15you've got this extraordinary Deco 1920s'-1930s' plaque.
0:08:15 > 0:08:21It was presented to my grandfather by King Alfonso of Spain,
0:08:21 > 0:08:25I think in recognition of his services
0:08:25 > 0:08:27when he was acting as chauffeur.
0:08:27 > 0:08:32And as far as we are aware - well, my mother told me, that it was...
0:08:32 > 0:08:36there are only about six commissions from Cartier -
0:08:36 > 0:08:38it was about the...
0:08:38 > 0:08:43must have been about the 1920s, I think that it was given to him.
0:08:43 > 0:08:45- So, it's very much of that period...- Yes.
0:08:45 > 0:08:51..with that very strong, linear, geometric-looking frame.
0:08:51 > 0:08:55The frame itself is pure Deco, lapis lazuli,
0:08:55 > 0:09:00enamelled panels going down the side in these little baton-like tubes.
0:09:00 > 0:09:03Lapis lazuli in these conical finials
0:09:03 > 0:09:06on each of these four corners.
0:09:06 > 0:09:10But then, that suggests to me that we might have something
0:09:10 > 0:09:15like a box or a photograph frame or somesuch piece, but it's not.
0:09:15 > 0:09:20And you see revealed on the back of the plaque, are four little screws.
0:09:20 > 0:09:24And that means that the back of the piece, quite clearly,
0:09:24 > 0:09:28was to be screwed into a framework to take it, as a plaque.
0:09:28 > 0:09:31- Yes.- Decorative plaque.
0:09:31 > 0:09:36And that story of yours about your grandfather being a chauffeur,
0:09:36 > 0:09:42and it's a decorative plaque, this is something of a car mascot.
0:09:42 > 0:09:46Now the main component here, apart from the frame,
0:09:46 > 0:09:49is this rather wonderful gold, solid gold plaque,
0:09:49 > 0:09:51with St Christopher,
0:09:51 > 0:09:54so there you've got the St Christopher,
0:09:54 > 0:09:55patron saint of travellers.
0:09:55 > 0:09:59- Yes.- And that dovetails in with the whole idea of the car mascot.
0:09:59 > 0:10:01- Yes. - But this is far too special
0:10:01 > 0:10:04and valuable to go on the outside of the car bonnet.
0:10:04 > 0:10:09This must have been screwed in, as a presentation plaque,
0:10:09 > 0:10:13- on the dashboard of a very smart car.- That's right.
0:10:13 > 0:10:18Such as a Rolls-Royce or a Bugatti or some such vehicle in the 1920s.
0:10:18 > 0:10:20Not easy to value something like that,
0:10:20 > 0:10:26but it's Cartier, it's lapis lazuli, it's Art Deco, it's gold,
0:10:26 > 0:10:30it's in this fabulous, original Cartier box.
0:10:30 > 0:10:31£5,000.
0:10:31 > 0:10:33Really?
0:10:33 > 0:10:35Why not? It's got to be.
0:10:35 > 0:10:39I think it's great. I really do.
0:10:39 > 0:10:43- Should up our insurance, I think. - You might consider it, possibly!
0:10:45 > 0:10:49Well, we're in the most marvellous maritime situation
0:10:49 > 0:10:52with the Maritime Museum behind and Falmouth harbour
0:10:52 > 0:10:54just in front of us, and it was a remarkable
0:10:54 > 0:10:59coincidence that the two of you, coming independently, queuing up,
0:10:59 > 0:11:03have brought today a story of life and death on the high seas.
0:11:03 > 0:11:08I'll start with your postcard, what looks a very ordinary postcard,
0:11:08 > 0:11:14and it is printed on one side with a view of RMS Titanic in mid-ocean.
0:11:14 > 0:11:18As soon as you turn it over, it's the postcard that's sent
0:11:18 > 0:11:24just before the RMS Titanic set sail and it carries the name Jenkin.
0:11:24 > 0:11:26- What's your relation to...? - Steven Jenkin
0:11:26 > 0:11:31was my great-great-great uncle and he wrote that
0:11:31 > 0:11:35at Queenstown before it set sail from there,
0:11:35 > 0:11:37the last port of call,
0:11:37 > 0:11:41and this is his watch also which has been handed down to me.
0:11:41 > 0:11:44OK, and the big question is, did he survive?
0:11:44 > 0:11:45No, he didn't.
0:11:45 > 0:11:50He went with a party of six and the three ladies survived
0:11:50 > 0:11:54- and the three gentlemen drowned, lost their lives.- Right.
0:11:54 > 0:11:56Including Steven Jenkin.
0:11:56 > 0:11:58Well, the postcard says it all.
0:11:58 > 0:12:01"Dear Father and Mother, I've already sent you
0:12:01 > 0:12:07"postcards from Southampton and from Cherbourg in France."
0:12:07 > 0:12:10Of course, the last port was Queenstown, it's now Cobh,
0:12:10 > 0:12:12in County Cork.
0:12:12 > 0:12:14And he goes on to say that,
0:12:14 > 0:12:17"I'm not seasick yet," and he says,
0:12:17 > 0:12:22"It's a really nice ship to ride on and I'll write to you
0:12:22 > 0:12:25"from New York, your loving son, Steven."
0:12:25 > 0:12:28I mean it's very touching and very, very moving,
0:12:28 > 0:12:30so it's a wonderfully powerful document.
0:12:30 > 0:12:35And this is Steven Jenkin's gold pocket watch,
0:12:35 > 0:12:37it's an American one,
0:12:37 > 0:12:41- and in this floral cartouche is engraved his initials.- Yes.
0:12:41 > 0:12:44- Now this didn't go, I understand. - He left it behind for some reason.
0:12:44 > 0:12:49- Yes, what a family heirloom, I mean bearing his initials.- Yes.
0:12:49 > 0:12:53Yes, marvellous, now having gone through a rather tragic tale,
0:12:53 > 0:12:57we turn to your item, which I'll quickly reveal,
0:12:57 > 0:13:00is a cigarette case which I understand
0:13:00 > 0:13:04- was a gift to your grandfather.- Yes.
0:13:04 > 0:13:06Who was captain of the SS Carpathia,
0:13:06 > 0:13:10the first ship to arrive after the Titanic had gone down.
0:13:10 > 0:13:12That's right, yes.
0:13:12 > 0:13:14What an incredible story.
0:13:14 > 0:13:16Yes, we're all very proud of him.
0:13:16 > 0:13:22And he, as soon as they got the message,
0:13:22 > 0:13:27- he made all haste to get there in time.- Yes.
0:13:27 > 0:13:29But, of course, it was far too late.
0:13:29 > 0:13:33Yes, and there's a little thank you note from Mrs Arthur Ryerson.
0:13:33 > 0:13:37- Yes, I think... - She survived the sinking.
0:13:37 > 0:13:40- Yes, and her... - Picked up by your grandfather...
0:13:40 > 0:13:43- That's correct, yes.- ..on board and safely taken to New York.
0:13:43 > 0:13:46- Yes.- Where she's obviously had this specially made
0:13:46 > 0:13:48and engraved with initials.
0:13:48 > 0:13:54The silver cigarette case, a gift to your grandfather.
0:13:54 > 0:13:59We have, "SS Carpathia, April 14th 1912". And it says:
0:14:06 > 0:14:09- Lucky survivor.- Oh, well yes.- Yes.
0:14:09 > 0:14:13There were 700 and something survivors, so, um,
0:14:13 > 0:14:161,400 perished I think.
0:14:16 > 0:14:19Yes, so two sides of the coin of fate.
0:14:19 > 0:14:24Your item because it's post tragedy and is more a thank you
0:14:24 > 0:14:26to your fantastic grandfather,
0:14:26 > 0:14:29that's probably just worth hundreds of pounds.
0:14:29 > 0:14:31- Perhaps, if I said £500 or £600.- Yes.
0:14:31 > 0:14:34But I know it's worth than that to you, your famous granddad.
0:14:34 > 0:14:36- Yes, we wouldn't sell it.- No.
0:14:36 > 0:14:40- Now, because yours is depicting Titanic...- Right.
0:14:40 > 0:14:43..and was posted by somebody who went down with the Titanic,
0:14:43 > 0:14:47it commands a pretty interesting value.
0:14:47 > 0:14:50I'd have said to buy this today, retail,
0:14:50 > 0:14:54you'd be looking at around £3,000 - something like that.
0:14:56 > 0:15:00- Thank you to you both.- Well, thank you very much.- A most moving tale.
0:15:00 > 0:15:02Thank you.
0:15:04 > 0:15:07- What does the little heart do? - Oh, this is great.- Show me.
0:15:07 > 0:15:11This says, "Love is in the air," and...
0:15:11 > 0:15:13Yeah, it flutters.
0:15:13 > 0:15:15- It's a heartbeat.- Yeah. - Isn't that wonderful?- Lovely.
0:15:15 > 0:15:19I am a real fan of automata,
0:15:19 > 0:15:20whenever it was made,
0:15:20 > 0:15:23whether it was 18th century, 19th century,
0:15:23 > 0:15:25or, in this case, 20th century.
0:15:25 > 0:15:29When I'm confronted with a table full of automaton
0:15:29 > 0:15:34made by a local hero, Paul Spooner, it's a great moment for me.
0:15:34 > 0:15:37I mean, these are very much things that will be collected,
0:15:37 > 0:15:41not only now - which they are, hugely - but in the future.
0:15:41 > 0:15:45He's a local man. Is he somebody that you know?
0:15:45 > 0:15:47Yes, he's a friend of the family.
0:15:47 > 0:15:49Originally, there was a shop called Cabaret
0:15:49 > 0:15:51that sold automatas on the high street here
0:15:51 > 0:15:54and my mother originally went there to buy these as presents
0:15:54 > 0:15:56for my father. So, this was the first piece. But then
0:15:56 > 0:15:59they got to know Paul Spooner and now he's a friend of the family.
0:15:59 > 0:16:03And he made this one for my parents' anniversary - wedding anniversary.
0:16:03 > 0:16:07What people love about Paul Spooner's work is this
0:16:07 > 0:16:10- combination of elegance and simplicity.- Yes.
0:16:10 > 0:16:13That he has come up with, and I think that he says that
0:16:13 > 0:16:19his automata are entertainments for people with short attention spans.
0:16:19 > 0:16:21- Oh, right.- Which I think is a...
0:16:21 > 0:16:23Which is a great way of describing it.
0:16:23 > 0:16:26Also, the motifs are very interesting,
0:16:26 > 0:16:28I mean, this one, which is Olympia.
0:16:28 > 0:16:30- Yes, Manet's Olympia. - Manet's Olympia.
0:16:30 > 0:16:33What... Is there a particular story to that?
0:16:33 > 0:16:36Yes, the story behind it was that this was a European courtesan
0:16:36 > 0:16:41and she was the courtesan to some Egyptian Pharaoh
0:16:41 > 0:16:44and she, unfortunately, got some sleeping disease
0:16:44 > 0:16:48and was very depressed, so her humble servant, Nubis,
0:16:48 > 0:16:51brought a coffee substitute called Camp Coffee -
0:16:51 > 0:16:54that was very popular after the Second World War -
0:16:54 > 0:16:56so he brought this to her to help her wake up.
0:16:56 > 0:16:59She doesn't look as if she's awake, she's certainly...
0:16:59 > 0:17:02She's doing... She's certainly doing something there.
0:17:02 > 0:17:03Um...
0:17:03 > 0:17:07Maybe she's got a touch of Cairo belly.
0:17:07 > 0:17:10When these pieces appear for sale,
0:17:10 > 0:17:14which they do very, very seldom, they command huge prices.
0:17:14 > 0:17:17- Really?- I mean, the Olympia I would put at between
0:17:17 > 0:17:22£2,500 and £3,500, without any question.
0:17:22 > 0:17:28The heart I would put at perhaps £300.
0:17:28 > 0:17:33So altogether, what's on the table, I would say £5,500.
0:17:35 > 0:17:39Mm, won't be selling them yet, but...
0:17:39 > 0:17:41It's a nice little nest egg to have up your sleeve.
0:17:41 > 0:17:42Yes, yes, exactly!
0:17:44 > 0:17:47The band and drums of any regiment marches at the head
0:17:47 > 0:17:49of the column of that regiment when it's on parade
0:17:49 > 0:17:52and it symbolises the regimental pride.
0:17:52 > 0:17:55It has the regiment's iconography on there, its badge,
0:17:55 > 0:17:58and we can see from this drum that it's got the badge
0:17:58 > 0:18:01of a very, very famous regiment - the Grenadier Guards.
0:18:01 > 0:18:06How did you manage to get this drum out of captivity of the regiment?
0:18:06 > 0:18:09Well, it was actually sold by the regiment.
0:18:09 > 0:18:11The story is quite simply that my father
0:18:11 > 0:18:13served in the 4th Battalion and he took part
0:18:13 > 0:18:15in what was considered to be one of
0:18:15 > 0:18:17the great feats of arms of the Grenadier Guards,
0:18:17 > 0:18:20it was at a place called Hazebrouck.
0:18:20 > 0:18:23- And in which war was that? - It was the First World War.
0:18:23 > 0:18:25Nearly all of them, 70% of the men were killed.
0:18:25 > 0:18:28So, effectively a battalion is wiped out with more than...
0:18:28 > 0:18:32- Just about. - And then your father survived it.
0:18:32 > 0:18:35- Well, yes, here I am. - Well, yes, that's always good proof.
0:18:35 > 0:18:38He did, he was very lucky, he was shot in the jaw
0:18:38 > 0:18:42and went sort of round the back and was fished out his back here,
0:18:42 > 0:18:43but he was shot through the foot
0:18:43 > 0:18:46while he was being carried away on the stretcher.
0:18:46 > 0:18:48When he was wounded? That's not very sporting, is it?
0:18:48 > 0:18:50Not in those days, I have to tell you.
0:18:50 > 0:18:54And because there was no safety net for the men,
0:18:54 > 0:18:58they sold off, or auctioned off, a lot of the regalia,
0:18:58 > 0:19:01really to raise money for the wives and children
0:19:01 > 0:19:03of the men who'd been killed.
0:19:03 > 0:19:08So, this is a sort of really early example of military self-help
0:19:08 > 0:19:10- welfare with... - Yes, I imagine so, yes.
0:19:10 > 0:19:15..with regimental property being sold to help those who were in need.
0:19:15 > 0:19:19This is an absolutely fantastic collection of a group of medals -
0:19:19 > 0:19:22a Military Cross, the two First World War medals
0:19:22 > 0:19:24and then particularly interesting at the end
0:19:24 > 0:19:27is a Second World War Defence Medal. What was that for?
0:19:27 > 0:19:32I've no idea. The only one really that matters is the MC.
0:19:32 > 0:19:34The rest was actually for turning up, I think.
0:19:34 > 0:19:36I think you're a bit cruel.
0:19:36 > 0:19:39The Defence Medal was actually a thanks for being there
0:19:39 > 0:19:41on the Home Front and supporting Britain
0:19:41 > 0:19:43on that very, very important front.
0:19:43 > 0:19:46I wondered if he was in the Home Guard or something like that.
0:19:46 > 0:19:47- In the Second World War he was.- Yes.
0:19:47 > 0:19:48He commanded a Home Guard.
0:19:48 > 0:19:51Right, in that case that's what he would have got that for.
0:19:51 > 0:19:52Perhaps that's what it was.
0:19:52 > 0:19:54So he has this wonderful medal for gallantry
0:19:54 > 0:19:58and the two for turning up - as you put it - and then
0:19:58 > 0:20:03if that's not enough, a good dose of it in the Second World War, as well.
0:20:03 > 0:20:04Your father got the MC
0:20:04 > 0:20:07so I'm guessing that this is after he'd been to see
0:20:07 > 0:20:11the King at Buckingham Palace and that's him and family members?
0:20:11 > 0:20:14Yes, that was after his investiture, coming away
0:20:14 > 0:20:17from Buckingham Palace and on the right, of course, is his father,
0:20:17 > 0:20:18on the left his mother,
0:20:18 > 0:20:21and on the very left is, I think, his youngest sister.
0:20:21 > 0:20:23This is an absolutely fantastic collection,
0:20:23 > 0:20:26it's a great treasure to you and if anybody wanted it
0:20:26 > 0:20:30for their collection they would think it is also a great treasure
0:20:30 > 0:20:33because this lot together is worth between £3,000 and £4,000.
0:20:33 > 0:20:38It's a fantastic story and I hope one day it might speak again.
0:20:38 > 0:20:40Thank you very much.
0:20:40 > 0:20:43This is my favourite thing that's been brought in today
0:20:43 > 0:20:47and I've had beautiful, big laborious stuff.
0:20:47 > 0:20:53This is just so idiosyncratic, so, where does it come into your life?
0:20:53 > 0:20:55Well, I keep poultry, I breed poultry,
0:20:55 > 0:20:57and I collect any items related to poultry,
0:20:57 > 0:21:02so I saw that years and years ago and I couldn't resist it really.
0:21:02 > 0:21:04How many chickens have you got then?
0:21:04 > 0:21:06- Probably about 40, between 40 and 50. - Different varieties?
0:21:06 > 0:21:09Different varieties yes.
0:21:09 > 0:21:16So, what we have here is the Trebmall Age Egg Gauge,
0:21:16 > 0:21:18and the idea is... You explain it to us.
0:21:18 > 0:21:21- How does this work?- Well, I think you fill it with water
0:21:21 > 0:21:24and you put eggs in it, and if the egg is three weeks old
0:21:24 > 0:21:26then it'll stand in a certain direction,
0:21:26 > 0:21:30or if it's a very elderly egg, then it will float very high
0:21:30 > 0:21:32because of the egg space in the egg.
0:21:32 > 0:21:35- OK.- So it's quite a useful object really.- Amazing.
0:21:35 > 0:21:38Well, I mean, just the idea that there was room
0:21:38 > 0:21:41in the modern kitchen, in the '30s, I suppose, for this...
0:21:41 > 0:21:43- Yes, yes.- ..is brilliant.
0:21:43 > 0:21:46I mean, just such a wacky thing and the idea that,
0:21:46 > 0:21:47you know, I've heard of breweriana,
0:21:47 > 0:21:50where people collect stuff from pubs, and stuff,
0:21:50 > 0:21:54but you are the first poultriana collector I've ever met.
0:21:54 > 0:21:57- OK.- What's it worth? It's probably worth £15.
0:21:57 > 0:22:01OK, thank you. It's just a quirky object that I'm fond of.
0:22:01 > 0:22:03It's funny, that's exactly what my wife says about me.
0:22:03 > 0:22:04LAUGHTER
0:22:06 > 0:22:08Now, I hope I won't cause any offence
0:22:08 > 0:22:11if I say I can see a family similarity here.
0:22:11 > 0:22:13- Brothers?- Yes.
0:22:13 > 0:22:17Right, so now, is this an inherited table
0:22:17 > 0:22:19that one of you has ended up with or...?
0:22:19 > 0:22:24I've actually ended up with it, but Joe was more involved with it
0:22:24 > 0:22:27coming into the family in the first place, which was nearly 50 years ago.
0:22:27 > 0:22:30Yeah, father, he used to go to all the local farm sales
0:22:30 > 0:22:33and he used to love it.
0:22:33 > 0:22:34And he went to this sale,
0:22:34 > 0:22:38only about three or four miles away from the home farm,
0:22:38 > 0:22:40and he came back and he said,
0:22:40 > 0:22:46"Oh, I've bought a whole load of old junk." So he paid ten bob
0:22:46 > 0:22:49for this load of junk, get it home and sort it all out.
0:22:49 > 0:22:51So, I went and said to Mother,
0:22:51 > 0:22:53I said, "There's a table in that lot Father got!"
0:22:53 > 0:22:55So we brought it in and it was a bit wobbly
0:22:55 > 0:22:58and the legs weren't very good so we put a block underneath
0:22:58 > 0:23:02one of the legs and it served us as the family table for years.
0:23:02 > 0:23:04When Father died, Nick's inherited the table
0:23:04 > 0:23:08and, at that time, I think you did quite a lot of refurbishing to it.
0:23:08 > 0:23:10Well, yeah, it was quite ropy underneath,
0:23:10 > 0:23:12had a bit of woodworm and was very wobbly,
0:23:12 > 0:23:15so didn't cost us a lot and we had it tidied up.
0:23:15 > 0:23:19And you use it...a lot?
0:23:19 > 0:23:22Yes, we use it for our evening meal every day
0:23:22 > 0:23:23and we put hot plates on it,
0:23:23 > 0:23:26we don't bother protecting it in any way at all, abuse it terribly,
0:23:26 > 0:23:28and, yeah, we enjoy it immensely.
0:23:28 > 0:23:31I love to hear that something like this
0:23:31 > 0:23:33is really being used all the time.
0:23:33 > 0:23:36Stylistically, it is stunning.
0:23:36 > 0:23:40You've got these cartouches of scrolls and flowers
0:23:40 > 0:23:44and very, sort of, naturalistic. You can identify most of the flowers
0:23:44 > 0:23:46here and what's quite unusual, too,
0:23:46 > 0:23:48is having this undulating edge to it.
0:23:48 > 0:23:49You see lots of circular tables
0:23:49 > 0:23:54but the undulation goes with the scrolling bits of the cartouches.
0:23:54 > 0:23:56And if you look underneath,
0:23:56 > 0:24:01you've got all the carving and flowers carrying on in the pedestal
0:24:01 > 0:24:03and these extraordinary feet which to me always look as if they're
0:24:03 > 0:24:07kind of glooping their way across the floor, and in fact there are
0:24:07 > 0:24:11feet like this shown, very similar,
0:24:11 > 0:24:14on a table by Holman Hunt in The Awakening Conscience,
0:24:14 > 0:24:18which is a Pre-Raphaelite painting of, I think, 1856
0:24:18 > 0:24:23or thereabouts, and that really helps give us a date for this table.
0:24:23 > 0:24:26It's absolutely characteristic of that period, very naturalistic.
0:24:26 > 0:24:31They made very similar sorts of table in Austria.
0:24:31 > 0:24:34Sometimes you have to look quite closely to think, "Well, now,
0:24:34 > 0:24:36"is this English?" And the base of this, particularly,
0:24:36 > 0:24:39makes me think English because it relates to
0:24:39 > 0:24:43the shapes that you see
0:24:43 > 0:24:46in illustrations of the time, in the catalogues of the time.
0:24:46 > 0:24:49There are obviously quite a lot of different woods in the top
0:24:49 > 0:24:51of the table here, and interestingly, where there's a split
0:24:51 > 0:24:55and it's been repaired, you can see that there's a difference in colour.
0:24:55 > 0:24:57Yeah, bit darker there.
0:24:57 > 0:25:01Yeah, and this is more the colour of the original table.
0:25:01 > 0:25:04And I can't quite see the figuring behind here
0:25:04 > 0:25:07but it looks like a very dark rosewood,
0:25:07 > 0:25:11but on the other hand here, in behind the flowers,
0:25:11 > 0:25:15- this is rosewood, you can see it's bleached-out rosewood.- Yeah.
0:25:15 > 0:25:18It's got these dark stripes in it which is very characteristic.
0:25:18 > 0:25:21Elsewhere, the green-stained leaves would probably have been
0:25:21 > 0:25:23something like sycamore.
0:25:23 > 0:25:30Ten years ago, a table like this would have been £3,000 to £4,000.
0:25:30 > 0:25:34Now, because of the way everything's changed,
0:25:34 > 0:25:37- you might have trouble getting £1,500 for it.- Yeah.
0:25:37 > 0:25:41Which is awful when you think of the amount of work that's in it.
0:25:41 > 0:25:44It allows us to enjoy it more, though, cos it's less valuable!
0:25:44 > 0:25:47- Exactly, that's... - It'll remain a family piece.
0:25:47 > 0:25:48You won't say, "It's worth so much money
0:25:48 > 0:25:51"we'll have to insure it and we'll never use it again."
0:25:51 > 0:25:54- Thank you. - Thank you very much.
0:26:02 > 0:26:05Our Basic, Better, Best Challenge this week
0:26:05 > 0:26:07is a bit of a teddy bears' picnic.
0:26:07 > 0:26:10Our specialist, Bunny Campione, has brought along three teddy bears,
0:26:10 > 0:26:16the basic one worth £80, the better one £600 and the best £4,000.
0:26:16 > 0:26:19I don't know about you, but I think they all look lovely.
0:26:19 > 0:26:22Let's try and find out which is which.
0:26:22 > 0:26:27# Today's the day that teddy bears have their picnic... #
0:26:27 > 0:26:30- How do you say teddy in Italian? - Orsacchiotto.
0:26:30 > 0:26:35- Orsacchiotto.- Orsacchiotto, or orsetto, if it's a little one.
0:26:35 > 0:26:40I think that's the basic because of the stitching in the hand.
0:26:40 > 0:26:44I'd say the middle one's the best and that one's the better one.
0:26:44 > 0:26:50# ..Every teddy bear who's been good is sure of a treat today... #
0:26:50 > 0:26:53He's not so worn so he must be the newest.
0:26:53 > 0:26:54- So, he's basic?- Yeah.
0:26:54 > 0:26:56Better and best...
0:26:56 > 0:26:59I would go for this one because he's got a worn nose
0:26:59 > 0:27:01and that means everybody's kissed him
0:27:01 > 0:27:04every night to say goodnight, so he must be the oldest.
0:27:04 > 0:27:08Now he looks really old and well loved,
0:27:08 > 0:27:11but this one I think could be a Steiff.
0:27:12 > 0:27:14There we go.
0:27:14 > 0:27:16Sorry about this. You're still pretty!
0:27:16 > 0:27:19# ..For every bear that ever there was
0:27:19 > 0:27:22# Will gather there for certain because
0:27:22 > 0:27:26# Today's the day the teddy bears have their picnic... #
0:27:31 > 0:27:37So here we are inside the Maritime Museum surrounded by all the boats
0:27:37 > 0:27:41and you've brought something else very local to us, these tin ingots.
0:27:41 > 0:27:43How did you get them?
0:27:43 > 0:27:46Yes, these have been in the family for about hundred years.
0:27:46 > 0:27:48My grandfather collected these in the 1920s
0:27:48 > 0:27:51after he was invalided out of the First World War.
0:27:51 > 0:27:54He was an accountant of a Cornish tin smelting company,
0:27:54 > 0:27:58and as a family we're not quite sure exactly why he collected these,
0:27:58 > 0:28:00because these were...
0:28:00 > 0:28:02When consignments of tin were produced from the mine,
0:28:02 > 0:28:06they produced traditionally an ingot, exactly as you'd see an ingot of gold
0:28:06 > 0:28:09or iron ore. But at the same time they produce these more,
0:28:09 > 0:28:12not quite ceremonial but more sort of fancy stamps.
0:28:12 > 0:28:16The problem with these, though, of course, is that these are currency,
0:28:16 > 0:28:19so when they were actually sold as part of a consignment,
0:28:19 > 0:28:21we think a lot of these were just smelted down and sold.
0:28:21 > 0:28:23These were effectively money in those days.
0:28:23 > 0:28:27The other thing was, which I always find amazing, is that people
0:28:27 > 0:28:32- were paid in tin or in copper and then they had to spend it...- Yes.
0:28:32 > 0:28:36- ..in the local shop that was owned by the mill owner.- That's correct.
0:28:36 > 0:28:38So it was a really great way of actually not...
0:28:38 > 0:28:41It was a continuous circle, the metal was constantly being changed hands.
0:28:41 > 0:28:44Exactly, and you'd have to pronounce this for me
0:28:44 > 0:28:46- because I'm going to get it. - Yeah, that one's Bolitho.
0:28:46 > 0:28:49- Bolitho.- Bolitho tin.- Because they were the biggest smelters.
0:28:49 > 0:28:51- Yes.- And they went on till 1912. - Something like that.
0:28:51 > 0:28:55I think the last tin smelting company was probably slightly later
0:28:55 > 0:28:58than that, but as you see, there's quite a selection here.
0:28:58 > 0:29:01There's the Pinfold tin smelting company, the Bolitho itself,
0:29:01 > 0:29:03and then of course you have a selection of the mines
0:29:03 > 0:29:05themselves, which carried their own crest.
0:29:05 > 0:29:08This one here, Trereife, that's an individual mine,
0:29:08 > 0:29:10so's Chyandour here, a separate mine,
0:29:10 > 0:29:14whereas the tin smelting works here were almost like communal areas
0:29:14 > 0:29:18which the tin was brought to before it was processed.
0:29:18 > 0:29:20- How many do you have? - We have 20 altogether.
0:29:20 > 0:29:25And there are two types, the bar type or the more sort of plaque type.
0:29:25 > 0:29:29Of course, we forget today just how important production of tin was
0:29:29 > 0:29:32- to Cornwall, particularly in the 18th century.- Absolutely.
0:29:32 > 0:29:35And a lot of these ingots date to that period.
0:29:35 > 0:29:39They are very difficult to value, but the collection you have
0:29:39 > 0:29:45is going to be worth somewhere between £5,000 and £10,000.
0:29:45 > 0:29:48We live locally and obviously it's kept with the family
0:29:48 > 0:29:50and, you know, we've no intention of selling it.
0:29:50 > 0:29:53This will go to the museum at the end of our days.
0:29:53 > 0:29:56It's just to keep because they look so tactile and interesting,
0:29:56 > 0:29:58- which they are.- Fabulous.
0:30:00 > 0:30:02What an amethyst!
0:30:02 > 0:30:03Isn't it beautiful?
0:30:03 > 0:30:04Look at those amethysts,
0:30:04 > 0:30:06look at the colour purple.
0:30:08 > 0:30:14Look at the whole splendid formal corsage quality of this piece.
0:30:14 > 0:30:16That's quite a serious piece of jewellery, isn't it?
0:30:16 > 0:30:18It certainly is, yes, it is.
0:30:18 > 0:30:21So do I assume it's been passed through the family,
0:30:21 > 0:30:22generation after generation to you?
0:30:22 > 0:30:26It has, it was originally a love token to a member of my family
0:30:26 > 0:30:29and then it's been handed down through the female side of the family
0:30:29 > 0:30:30and ended up with me.
0:30:30 > 0:30:32Can you imagine the sort of time
0:30:32 > 0:30:35that something like this was made and worn?
0:30:35 > 0:30:39It's very different from now. This is the kind of jewellery which you
0:30:39 > 0:30:41- really don't have the occasion to wear.- Not really.
0:30:41 > 0:30:44But you would wear such a thing when this was first made,
0:30:44 > 0:30:47at the time when there were grand balls and ladies wore
0:30:47 > 0:30:51totally different dresses that would have been compatible with the colour
0:30:51 > 0:30:53- and doesn't the purple go well with the gold?- Beautiful.
0:30:53 > 0:30:57- This is made at the start of the 19th century.- Right.
0:30:57 > 0:30:58So this is going to be something like
0:30:58 > 0:31:01around about 1815.
0:31:01 > 0:31:03- Right. - And it's called cannetille work.
0:31:03 > 0:31:08Cannetille work is a rather attractive name
0:31:08 > 0:31:11that we use to describe very fine-spun gold,
0:31:11 > 0:31:13which... Look, it's like filigree,
0:31:13 > 0:31:15but it sounds a lot better when you
0:31:15 > 0:31:16call it cannetille, doesn't it?
0:31:16 > 0:31:18- Yes.- Cannetille.
0:31:18 > 0:31:22Now the stones themselves are graduated in formation
0:31:22 > 0:31:27in these wire work frames, and then to reinforce the kind of
0:31:27 > 0:31:34femininity of the piece, the extension pieces are very fine mesh.
0:31:34 > 0:31:35Yes.
0:31:35 > 0:31:41With a gold clasp and then the centrepiece is enamelled
0:31:41 > 0:31:47with individual little flowers, suspending these little drops.
0:31:47 > 0:31:50- Beautiful, isn't it, yes? - It's very nice work.
0:31:50 > 0:31:54Now, something that's not quite right about it is that,
0:31:54 > 0:31:58- can you see the way that these drops here are suspended?- Yes, right.
0:31:58 > 0:32:01- I don't think they're meant to be worn at the end like that.- Right.
0:32:01 > 0:32:04I think that they're supposed to be hooked into the ears,
0:32:04 > 0:32:06- they're drops for the ears. - Yes, they would be.
0:32:06 > 0:32:10And if I may say further, I think that there's a strong possibility
0:32:10 > 0:32:14- that these are of a different date from the main necklace.- Oh, OK.
0:32:14 > 0:32:18I think this has been very creatively put together.
0:32:18 > 0:32:22- Mm-hm.- Another little problem. - Oh, dear!
0:32:22 > 0:32:27When we just turn it over and hold it up...
0:32:28 > 0:32:30..there's the problem -
0:32:30 > 0:32:36- the centrepiece has been converted to be worn as a brooch.- Right.
0:32:36 > 0:32:41Not good. Why? Because obviously you are then removing the integrity
0:32:41 > 0:32:44of the original design by so doing.
0:32:44 > 0:32:47And the people that buy these things look at these things,
0:32:47 > 0:32:50and these are the factors that affect the individual value,
0:32:50 > 0:32:53they can really reduce the value quite badly
0:32:53 > 0:32:57if it turns out that the fitting has been done in a clumsy way.
0:32:57 > 0:33:01- Right.- But it's not too bad.- OK. - But it ain't good -
0:33:01 > 0:33:04- I'd rather not see it there. - OK.- Right. Price.
0:33:04 > 0:33:08OK, well now, if this were in tip-top condition, which it's not,
0:33:08 > 0:33:12it would be worth about something like £8,000.
0:33:12 > 0:33:14- Right.- Well, it's not.
0:33:14 > 0:33:19- I think as a set it's probably going to be worth about £4,000.- OK.
0:33:19 > 0:33:21- Thank you very much.- You're welcome.
0:33:23 > 0:33:28I always had a desire to have, in fact, a ship's figurehead,
0:33:28 > 0:33:31living in this lovely part of Cornwall,
0:33:31 > 0:33:34but I soon found out they were way beyond my reach.
0:33:34 > 0:33:38It appeared that when they finished doing ship's figureheads,
0:33:38 > 0:33:41they started doing cigar store Indians. The carving shops
0:33:41 > 0:33:46in New York went over to.. And so I then thought, "Well, perhaps
0:33:46 > 0:33:48- "I could find a cigar store Indian." - And you did.
0:33:48 > 0:33:53I got to talk to a guy in America that collected them,
0:33:53 > 0:33:56and he'd got, I got quite friendly with him
0:33:56 > 0:33:59and he was kind of advising me what to look for
0:33:59 > 0:34:02and I persuaded him eventually, and it took me two years,
0:34:02 > 0:34:04- to sell me one of his. - Oh, from his collection?
0:34:04 > 0:34:05- From his collection.- Wow!
0:34:05 > 0:34:09It's interesting you mention New York because that was pretty much
0:34:09 > 0:34:12the centre of where you would buy something like this.
0:34:12 > 0:34:14I mean, Indian chiefs, they were carved wooden figures
0:34:14 > 0:34:18and you'd wheel them out in front of the shop to basically advertise
0:34:18 > 0:34:21the fact that you were selling tobacco and cigars.
0:34:21 > 0:34:24They're so well collected but I think I can actually put a name
0:34:24 > 0:34:28to this guy. Samuel Anderson Robb - have you heard of him?
0:34:28 > 0:34:31I have, yes. It was suggested,
0:34:31 > 0:34:36when we had to sort the feet out, the Metropolitan Museum of New York
0:34:36 > 0:34:39- seemed to think that that's where... - It was by Robb.- By Robb.
0:34:39 > 0:34:45He was New York-based, I think he was 1850 to 1920s,
0:34:45 > 0:34:48or around that date, when he was working.
0:34:48 > 0:34:51And if anyone wanted one of these figures,
0:34:51 > 0:34:54they had to have a Robb, you know, but there are problems with it.
0:34:54 > 0:34:55There are some things
0:34:55 > 0:34:58which you'd think would be a problem, like the nose.
0:34:58 > 0:35:01- Yeah.- I mean, the story is, and whether it's true or not,
0:35:01 > 0:35:04is that children would knock the noses off. Have you heard that one?
0:35:04 > 0:35:07I have. Children used to run down the street
0:35:07 > 0:35:10and because the grain runs that way, they'd whack the noses off.
0:35:10 > 0:35:16The production of these finished in about 1910, that's when this style
0:35:16 > 0:35:19of advertising figure faded away and they just stopped doing them.
0:35:19 > 0:35:20So this, I would have thought,
0:35:20 > 0:35:24- is the last quarter of the 19th century, 1870-1880.- Really?
0:35:24 > 0:35:27- That sort of date.- Really? - But there are problems,
0:35:27 > 0:35:31I mean, it's got goodness knows how many layers of paint.
0:35:31 > 0:35:34The trouble is, they stood outside and although it's all hand-carved,
0:35:34 > 0:35:38they were open to the elements and the paint would just be worn away,
0:35:38 > 0:35:41worn away, and you wouldn't want a tatty figure, so they were repainted
0:35:41 > 0:35:45- and repainted. The base looks new to me...- Yeah.
0:35:45 > 0:35:48..and along with the feet don't look quite up to scratch.
0:35:48 > 0:35:50I don't know quite where the restoration stops
0:35:50 > 0:35:54- and the real thing begins.- Yeah. - But just one last fact,
0:35:54 > 0:35:58there are only about 1,000 known recorded Robb figures around.
0:35:58 > 0:36:02- Really?- Which is quite unbelievable that you've actually got one of them
0:36:02 > 0:36:04and he's here in Falmouth.
0:36:04 > 0:36:07I mean, it's bizarre because most of them would be collected in New York.
0:36:07 > 0:36:10All that considered, I mean the good news is,
0:36:10 > 0:36:11these are still really collected
0:36:11 > 0:36:15and I would have thought an auction estimate of 15,000 to 20,000.
0:36:16 > 0:36:18Really? Wow!
0:36:18 > 0:36:21Well, that's... I'm really pleased.
0:36:30 > 0:36:33These three gorgeous teddy bears are our Basic, Better, Best Challenge
0:36:33 > 0:36:36this week. One teddy bear, the basic, worth £80,
0:36:36 > 0:36:41the better £600, and the best a whopping £4,000.
0:36:41 > 0:36:43I talked to our visitors and, to be honest,
0:36:43 > 0:36:45no-one could really make up their minds.
0:36:45 > 0:36:47We didn't come up with a definitive answer.
0:36:47 > 0:36:51Bunny Campione, you are our specialist in all things toys,
0:36:51 > 0:36:53teddies, automata, that kind of thing.
0:36:53 > 0:36:56Before we start, I've got ask you -
0:36:56 > 0:37:00we've worked together for five years now - where does "Bunny" come from?
0:37:00 > 0:37:04It comes from a very long time ago when I was about two,
0:37:04 > 0:37:08two-and-a-half, and my parents gave me a little bunny fur,
0:37:08 > 0:37:12rabbit-fur coat with a hood and ears, and the moment I put it on,
0:37:12 > 0:37:16I was Bunny from then on, and even my chequebooks are Bunny Campione.
0:37:16 > 0:37:20- Are they?- Yes.- So can we ask, what's your real name?
0:37:20 > 0:37:22You can ask.
0:37:22 > 0:37:24SPECTATORS LAUGH
0:37:24 > 0:37:27- Anastasia.- Is it?
0:37:27 > 0:37:33Anastasia Campione. What do we prefer, Bunny or Anastasia?
0:37:33 > 0:37:36- PEOPLE ANSWER - Oh, it's a bit mixed there!
0:37:36 > 0:37:38It's Bunny this side, Anastasia that side.
0:37:38 > 0:37:41- If it's on your chequebooks, we'd better call you Bunny!- Definitely.
0:37:41 > 0:37:44And why teddy bears and dolls and all that kind of thing?
0:37:44 > 0:37:47I was in the furniture department in one of the big auction houses
0:37:47 > 0:37:51and for some reason or other, the dolls and automata
0:37:51 > 0:37:55were being included in the furniture catalogues, and I got interested
0:37:55 > 0:37:57in those. And then one day they said,
0:37:57 > 0:37:59"Would you like to open the doll department on its own?"
0:37:59 > 0:38:04And I did, and the first sale had a very expensive black bear,
0:38:04 > 0:38:06which happened to be an American one, but I didn't know anything
0:38:06 > 0:38:11in those days, and that made 460 in 1982, which was a lot,
0:38:11 > 0:38:14hit the headlines, so every three or four months
0:38:14 > 0:38:20I had a new teddy bear sale, and then in 1994 the still auction record,
0:38:20 > 0:38:24which is now in a Japanese museum, 110,000.
0:38:24 > 0:38:25- For a teddy bear?- Yeah.
0:38:25 > 0:38:29Well, looking at these, what should we be looking for?
0:38:29 > 0:38:32Because so many of us have got teddy bears at home, I know I have.
0:38:32 > 0:38:36- How can we tell if it has any value? - It's a very, very difficult one.
0:38:36 > 0:38:39The most important thing is to have all its fur,
0:38:39 > 0:38:44so the more pristine condition the better, but then it's the make.
0:38:44 > 0:38:48Steiff is the name I hear you talk about time and time again.
0:38:48 > 0:38:50Yes, yes. So have you spotted one here?
0:38:50 > 0:38:53Er, well...
0:38:54 > 0:38:56I was just wondering whether to make it up or not.
0:38:56 > 0:38:59I'm assuming at least one of them is, but I'm not quite sure.
0:38:59 > 0:39:03I mean, I thought this was the basic because actually he's got
0:39:03 > 0:39:05the most hair, so I thought he must be the most modern.
0:39:05 > 0:39:07I couldn't really decide between these two.
0:39:07 > 0:39:10This one's lost a lot of hair, very sweet bow,
0:39:10 > 0:39:13- this is a lovely one with a lovely shaped face.- Yes.
0:39:13 > 0:39:18So I went - this is the best. So I went, basic, better and best.
0:39:18 > 0:39:21- Well, that's not bad.- Right.
0:39:21 > 0:39:23So, that is the basic.
0:39:23 > 0:39:28- Why is that one the most basic? - Right. He is by an unknown maker,
0:39:28 > 0:39:32circa 1910, probably English, could be American,
0:39:32 > 0:39:34but nobody absolutely definite.
0:39:34 > 0:39:37No-one knows. It's before they put on their names, basically,
0:39:37 > 0:39:40- but that's the sort of price he would make.- So about £80?
0:39:40 > 0:39:42Yes. That's at auction.
0:39:42 > 0:39:45- And then the better? - He's the better.
0:39:47 > 0:39:52Now, he's by the firm of JK Farnell, John Kirby Farnell.
0:39:52 > 0:39:59They started in 1897, making little sort of toys of material,
0:39:59 > 0:40:05and this one dates to 1912
0:40:05 > 0:40:07and this is their signature tune,
0:40:07 > 0:40:11if you like, the way the stitching goes on the paw.
0:40:11 > 0:40:15He's in very, very good condition and so he's the better one.
0:40:15 > 0:40:18- And by sheer fluke, I seem to have got this right.- Yes.
0:40:18 > 0:40:21To be honest, I couldn't decide between these two
0:40:21 > 0:40:23but this is the best. I'd like to say I knew
0:40:23 > 0:40:27why I was choosing it, but I didn't, I just guessed.
0:40:27 > 0:40:28Well, you chose right.
0:40:28 > 0:40:32- So, is he the best teddy bear simply because he is by Steiff?- Yes.
0:40:32 > 0:40:36Because he's by Steiff. It's rather like a Dior dress
0:40:36 > 0:40:39having a label in it, and without the label it's lost its value.
0:40:39 > 0:40:43But in the same way you can tell, even though he hasn't got a button
0:40:43 > 0:40:46in his ear, it's been wrenched out and so there's a hole.
0:40:46 > 0:40:49So that's how you can tell a Steiff bear?
0:40:49 > 0:40:52So this lovely teddy bear £4,000 and the record is...?
0:40:52 > 0:40:55- £110,000. - So we've got a way to go.
0:40:55 > 0:40:58If you think you've got a teddy bear that could beat that record,
0:40:58 > 0:41:01- we'd like to see it, wouldn't we, Bunny?- Oh, we would.
0:41:01 > 0:41:03Have a look on our website
0:41:03 > 0:41:06because there are tips on there about what to look for
0:41:06 > 0:41:09if you want to look at your teddy bear to see if it might be valuable.
0:41:09 > 0:41:12Otherwise, bring it along to a Roadshow. That's:
0:41:15 > 0:41:18SEAGULLS SQUAWKING OVERHEAD
0:41:18 > 0:41:23People who collect medical instruments are sometimes doctors,
0:41:23 > 0:41:25which helps me because some of these instruments,
0:41:25 > 0:41:27I'm not quite sure how they work. Are you a medical man?
0:41:27 > 0:41:32I'm a medical man, yes, I've been a doctor since 1976.
0:41:32 > 0:41:33Brilliant.
0:41:33 > 0:41:39So I've been fascinated by the quality of what was done
0:41:39 > 0:41:42in the sort of pre-anaesthetic era, I think.
0:41:42 > 0:41:45And what was the instrument that first started your collecting habit?
0:41:45 > 0:41:50So we go back to 1979 and a friend rings me up and says
0:41:50 > 0:41:54he'd been to an auction saleroom and in the sale, advertised,
0:41:54 > 0:41:57was a medical field officer's set of the First World War.
0:41:57 > 0:42:01He described it, I thought, "That probably isn't First World War,"
0:42:01 > 0:42:03so I went to see it, and I thought it was wonderful.
0:42:03 > 0:42:05And I didn't really know an awful lot about it,
0:42:05 > 0:42:09but there was something about the quality I loved. And I left a bid,
0:42:09 > 0:42:12and I didn't get it, I missed it by one bid,
0:42:12 > 0:42:16and my wife very kindly pursued and found out who'd bought it
0:42:16 > 0:42:20and rang him up and said, "My husband's talked of nothing else,"
0:42:20 > 0:42:22and he very kindly said,
0:42:22 > 0:42:25"Well, if I gave him a little bit of profit, I could have it."
0:42:25 > 0:42:29And when I got it home, he said he'd discovered a small piece of paper -
0:42:29 > 0:42:33in the paper it said, "This surgical set belonged to Wolfe's surgeon
0:42:33 > 0:42:37"and was used at Quebec." And so Wolfe died in 1759
0:42:37 > 0:42:39and this started this sort of interest,
0:42:39 > 0:42:42and the thing I love about it is the pure quality.
0:42:42 > 0:42:44The fact that somebody would go to the trouble
0:42:44 > 0:42:46of making things out of silver.
0:42:46 > 0:42:49I agree with you. I mean, it just breathes quality, doesn't it?
0:42:49 > 0:42:53Shagreen, it's ray skin and it would have been made to go in the pocket
0:42:53 > 0:42:58and didn't he die? Wasn't he shot by a musket ball?
0:42:58 > 0:43:01- Yes.- And could you have used that to extract?- Yes.
0:43:01 > 0:43:04- And that is a bullet extract. - That's a bullet extract
0:43:04 > 0:43:08and that started this interest in things that relate to bleeding,
0:43:08 > 0:43:11because a lot of these are lancet cases, a scarificator.
0:43:11 > 0:43:14So explain to me, why did you bleed your patients?
0:43:14 > 0:43:19They had a belief in those days that people suffered from things
0:43:19 > 0:43:22called bad humours and there were different sorts of humours
0:43:22 > 0:43:25and sometimes people were bled for all sorts of reasons,
0:43:25 > 0:43:31even anaemia they were bled for, and so these cases reflect that time.
0:43:31 > 0:43:35This is probably mid- 19th century. This is called the mechanical leech
0:43:35 > 0:43:39or scarificator, and it's got the name of the maker here.
0:43:39 > 0:43:44It says what it is - Weiss's New Invented Scarificator,
0:43:44 > 0:43:4862 Strand, London. And it has a trigger here, which I'll demonstrate.
0:43:48 > 0:43:49Carefully.
0:43:49 > 0:43:53See all the blades there? Can you just see as they come up?
0:43:53 > 0:43:56They just come up and you go like that.
0:43:56 > 0:43:59And then if I was doing it for real,
0:43:59 > 0:44:02I would put it against your skin and just hit the trigger.
0:44:04 > 0:44:06- Bet you didn't see it.- No, no.
0:44:06 > 0:44:09And you would've had all those blades going through your skin
0:44:09 > 0:44:12- and you'd have bled profusely. - Beautiful thing, isn't it?
0:44:12 > 0:44:15- Wonderful bit of engineering. - Fantastic.
0:44:15 > 0:44:17I think it's an enchanting collection.
0:44:17 > 0:44:19I just love the quality of all the pieces.
0:44:19 > 0:44:22- And you obviously do. - Thank you very much. Very much so.
0:44:22 > 0:44:25I think that purchase was the best by far.
0:44:25 > 0:44:30I mean, it is that date, you know, 1760, 1759 he died.
0:44:30 > 0:44:31If you could make the connection
0:44:31 > 0:44:34it would make a huge difference to the price.
0:44:34 > 0:44:38As it stands, today you'd be talking about £1,500 to £2,000.
0:44:38 > 0:44:41- God.- So go back and do some research.
0:44:41 > 0:44:44The other pieces, enchanting, we're looking at a group here.
0:44:44 > 0:44:49We're probably thinking of well in excess of £2,500 to £3,000.
0:44:49 > 0:44:51Wow! As much as that?
0:44:53 > 0:44:59We must see lots of crinoline ladies on Antiques Roadshow
0:44:59 > 0:45:02But there's something different about these.
0:45:02 > 0:45:04These are meticulously made
0:45:04 > 0:45:07and beautifully painted. Who did it?
0:45:07 > 0:45:09- My grandmother, Ida Fox.- Right.
0:45:09 > 0:45:14And did she just decide, one day, to..."Let's make a crinoline lady"?
0:45:14 > 0:45:17Erm, I suppose it's a long story.
0:45:17 > 0:45:20My grandfather came back from the war.
0:45:20 > 0:45:24She wasn't too happy about some of the things that she thought
0:45:24 > 0:45:27- he'd got up to during the war. - OK, can you tell us?
0:45:27 > 0:45:29- They divorced...- OK.
0:45:29 > 0:45:33..and she was cut off without a penny, so the story goes.
0:45:33 > 0:45:38And she had to do something, so she, first of all, learned to weave
0:45:38 > 0:45:39and then she learnt
0:45:39 > 0:45:42to paint china - Limoges china -
0:45:42 > 0:45:49and my mother, at that time, was having lessons in modelling,
0:45:49 > 0:45:52with clay, and my grandmother
0:45:52 > 0:45:55picked up the clay and decided
0:45:55 > 0:45:58that maybe she could do something with it.
0:45:58 > 0:46:00And this is what resulted.
0:46:00 > 0:46:03These are really little works of art, in clay.
0:46:03 > 0:46:08She so beautifully captured the face, the spirit of movement in the hair.
0:46:08 > 0:46:11I mean, nobody's hair's like sausages, really,
0:46:11 > 0:46:15but she's just captured the essence. The lace, the little bow, the way
0:46:15 > 0:46:18the movement is coming through the skirt.
0:46:18 > 0:46:21Even the way she's painted this quite rudimentary pattern on the dress.
0:46:21 > 0:46:24Look how it just captures the sweeps and the folds.
0:46:24 > 0:46:28- Did she have any artistic training or...?- No. Well, she did have,
0:46:28 > 0:46:31I think, ten lessons in firing.
0:46:31 > 0:46:34She had a friend who had a kiln.
0:46:34 > 0:46:36- So, some basic lessons... - Very basic.
0:46:36 > 0:46:40..and then, basically, grabbed some clay and then made
0:46:40 > 0:46:42these amazingly beautiful things.
0:46:42 > 0:46:45I think it's a remarkable story. Did she sell many of them?
0:46:45 > 0:46:46No, none.
0:46:46 > 0:46:47THEY LAUGH
0:46:47 > 0:46:50Well, it leaves me with a slight difficulty,
0:46:50 > 0:46:54because they're almost impossible to value. To you, they're priceless.
0:46:54 > 0:46:56I'm really going to give you two valuations, I suppose -
0:46:56 > 0:46:59them as a work of art and, then,
0:46:59 > 0:47:03as what they would cost to make. I think if something like this
0:47:03 > 0:47:04came to the market,
0:47:04 > 0:47:07we'd be looking at £500-£600.
0:47:07 > 0:47:10However, if you had to pay somebody to sit down and make one,
0:47:10 > 0:47:13as your grandmother did, you'd be looking at thousands of pounds.
0:47:13 > 0:47:16- My goodness. - I think it's a marvellous tribute
0:47:16 > 0:47:18and good for the family she never sold any,
0:47:18 > 0:47:20because they're lovely little works of art
0:47:20 > 0:47:23- and thank you so much for sharing them with me.- Not at all.
0:47:26 > 0:47:28This is how I like to see a picture,
0:47:28 > 0:47:31delivered here in totally original condition.
0:47:31 > 0:47:33Original frame, rather dirty glass.
0:47:33 > 0:47:36Where on earth have you been hanging this?
0:47:36 > 0:47:38It's been in my morning room for the past 19 years.
0:47:38 > 0:47:41I'm the fourth member of our family to own it.
0:47:41 > 0:47:43I've owned it for about 35 years.
0:47:43 > 0:47:47My mother gave it to me because she hadn't got room for it.
0:47:47 > 0:47:50But she's always been a favourite of mine. I love the colour of the sea
0:47:50 > 0:47:54in the background and there's
0:47:54 > 0:47:58just a gentle hint of the poppies and she's got poppies in her hair.
0:47:58 > 0:47:59And the lovely,
0:47:59 > 0:48:02almost Italianate landscape in the background.
0:48:02 > 0:48:04- Yes. - It's a very, very pleasing subject.
0:48:04 > 0:48:09I believe she was painted in about 1890, by Robert Fowler.
0:48:09 > 0:48:14It's signed down on the bottom right, "Robert Fowler". Robert Fowler is
0:48:14 > 0:48:16a Liverpool painter and very well known to me
0:48:16 > 0:48:19for doing classical subject matter.
0:48:19 > 0:48:24And here we have a sexy maiden - Grecian or Roman, possibly.
0:48:24 > 0:48:26And he was very much
0:48:26 > 0:48:28a follower of the famous artist, Alma-Tadema,
0:48:28 > 0:48:33or Sir Frederic Leighton, as well. And they were the big classical
0:48:33 > 0:48:36painters of the 19th century and he was very much in that
0:48:36 > 0:48:39sort of mould. And it is oil on canvas.
0:48:39 > 0:48:41And when you look at the style of this,
0:48:41 > 0:48:44it's very late Victorian, almost Edwardian style.
0:48:44 > 0:48:49It gets away from that stiffness of the mid-Victorian period.
0:48:49 > 0:48:52It's quite loosely painted. He sold very well
0:48:52 > 0:48:56in his time. And it's fairly marked this picture.
0:48:56 > 0:48:59When you look around her head here, you see this white
0:48:59 > 0:49:02and you probably think that's paint. But it's not,
0:49:02 > 0:49:05it's discolouration of the varnish. It's bloomed.
0:49:05 > 0:49:08But it's fantastic. Where did this originate from?
0:49:08 > 0:49:12Well, it belonged to my great-grandfather
0:49:12 > 0:49:18and he died in about 1914. His name was John Dempster and he was,
0:49:18 > 0:49:22- I think, he was quite well-heeled. - Where did he live?
0:49:22 > 0:49:25He lived in Birkenhead, at a place called Noctorum.
0:49:25 > 0:49:30Now that fits, you see, because he's a Liverpool artist and probably
0:49:30 > 0:49:33Fowler would have exhibited at somewhere like the Walker Art Gallery
0:49:33 > 0:49:36and well-heeled people would go to the Royal Academy
0:49:36 > 0:49:38and the Walker and buy pictures,
0:49:38 > 0:49:42And this was very fashionable, in its day. You know, if this
0:49:42 > 0:49:47came up for auction today, it would make probably about £4,000-£6,000.
0:49:47 > 0:49:51- I see. Oh, thank you.- So, you know,
0:49:51 > 0:49:55- worth looking after.- Yes. - I think I might have it cleaned.- Yes.
0:49:55 > 0:49:59Thank you. Thank you very much. That's most interesting.
0:50:03 > 0:50:06This bronze horse is a remarkable survivor
0:50:06 > 0:50:09from the ashes and destruction of Hiroshima.
0:50:09 > 0:50:13It belonged to your father. What was he doing in Hiroshima?
0:50:13 > 0:50:18He was part of a forces' crew that were breaking into
0:50:18 > 0:50:23the Japanese bank vaults, to get the currency and bullion away
0:50:23 > 0:50:26before any villains got there before them.
0:50:26 > 0:50:31The British Navy went in to help the Japanese government after Hiroshima?
0:50:31 > 0:50:33They did, yes. There was all sorts of assistance
0:50:33 > 0:50:37given to the Japanese government at that time. And this was in
0:50:37 > 0:50:42some rubble. He saw it poking out, picked it up and brought it back.
0:50:42 > 0:50:46When you think about Hiroshima, you think about a city
0:50:46 > 0:50:53flattened to the ground, houses totally destroyed.
0:50:53 > 0:50:55And yet this survives somehow.
0:50:55 > 0:50:58Yeah, it was so bad, my father had a job
0:50:58 > 0:50:59to talk about it.
0:50:59 > 0:51:02He couldn't because of the total devastation -
0:51:02 > 0:51:03it left a mark on him
0:51:03 > 0:51:06and, I suspect, anybody that had been there
0:51:06 > 0:51:10- it would have the same effect. - And who knows if the people
0:51:10 > 0:51:15that owned this horse survived. Quite likely, they didn't.
0:51:15 > 0:51:18Where do you keep it? Keep it on the mantelpiece?
0:51:18 > 0:51:19No, I keep it on top
0:51:19 > 0:51:22of a bow-fronted chest, on one side of the chimney breast.
0:51:22 > 0:51:28The other side is a beautiful model of HMS Triumph, from the 1700s.
0:51:28 > 0:51:30So when I sit in the settee,
0:51:30 > 0:51:33I'm looking at these two beautiful things!
0:51:33 > 0:51:36Well, it's... I find it quite moving to see it.
0:51:36 > 0:51:38I never thought I would see something
0:51:38 > 0:51:42from Hiroshima - and something as beautiful as this,
0:51:42 > 0:51:43and that is intact.
0:51:43 > 0:51:46- It's a lovely thing to see. - Thank you.
0:51:50 > 0:51:53This is a doll after my own heart and don't tell me that
0:51:53 > 0:51:57you played with it, because you're too young! So, tell me, whose was it?
0:51:57 > 0:51:59- No, it belonged to my mother.- Yes.
0:51:59 > 0:52:03And I've looked after it since my mother passed away.
0:52:03 > 0:52:05- Her name's Snoozelums.- What?!
0:52:05 > 0:52:08- Snoozelums.- What a lovely name, why?
0:52:08 > 0:52:11I'm not sure. Mum just called her Snoozelums
0:52:11 > 0:52:13and she's lived in a giant, silk Easter egg
0:52:13 > 0:52:16- under my bed for about 25 years. - Have you brought the egg?
0:52:16 > 0:52:19- No, that's at home. - Oh, my word.- It's about this big...
0:52:20 > 0:52:23It has to be, doesn't it, to get her in it?
0:52:23 > 0:52:25I took her out, because she's getting
0:52:25 > 0:52:26curvature of the spine,
0:52:26 > 0:52:29- so I decided to...- Ha-ha-ha! - She's in a flat box now.
0:52:29 > 0:52:32Now, do you know who she's by?
0:52:32 > 0:52:33I think she's a Steiff.
0:52:33 > 0:52:36How do you know that?
0:52:36 > 0:52:39When I saw the Roadshow was coming, I thought, "I'll take the doll".
0:52:39 > 0:52:43I looked at her and found the button in her ear.
0:52:43 > 0:52:46I suddenly thought, "Oh, dear, she might be worth more than I thought".
0:52:46 > 0:52:49- Right there. - Yeah. I never saw it before.
0:52:49 > 0:52:53Well, it's of a Dutch doll, with the right gear, if you like.
0:52:53 > 0:52:55Made by Steiff in Germany.
0:52:55 > 0:52:58Very, very southern Germany - Giengen.
0:52:58 > 0:53:02And she was made in around 1912.
0:53:03 > 0:53:06- That's before my mum.- Well, then, it could have been your grandmother's.
0:53:06 > 0:53:10- Yes, yes.- And she is in
0:53:10 > 0:53:13such good condition and all her clothes are right.
0:53:13 > 0:53:18She's been loved, but not loved and rubbed. So Snoozelums...
0:53:18 > 0:53:21- Yes.- ...is going to be worth around £2,000.
0:53:21 > 0:53:23AUDIENCE MEMBER GASPS
0:53:26 > 0:53:27Oh, dear.
0:53:29 > 0:53:31Making me cry.
0:53:33 > 0:53:36£2,000? Goodness, gracious.
0:53:36 > 0:53:37It's easy to forget
0:53:37 > 0:53:41that, here in Cornwall, we're actually at the cutting edge
0:53:41 > 0:53:45of modernism. We are in St Ives and that's where this is from.
0:53:45 > 0:53:46And who's it by?
0:53:46 > 0:53:49- It's Barbara Hepworth. - Absolutely is.
0:53:49 > 0:53:53It is the most amazing thing. Oval Form,
0:53:53 > 0:53:58it's called. 1965. And is it yours?
0:53:58 > 0:54:02No, unfortunately not. It belongs to the school where I work,
0:54:02 > 0:54:05- at St Ives. - How come it ended up in a school?
0:54:05 > 0:54:08We believe Barbara Hepworth was one of the governors,
0:54:08 > 0:54:11for a short time, and she donated it to the school.
0:54:11 > 0:54:13Just for decoration?
0:54:13 > 0:54:18No, I'm led to believe that it was a prize for a house that had
0:54:18 > 0:54:21won the most merits and was given termly, as the prize.
0:54:21 > 0:54:25- Oh, like, "Gryffindor, ten points"? - Yes. That sort of thing, yes.
0:54:25 > 0:54:28Collegiate competition. I've got you.
0:54:28 > 0:54:30- And is it still used for that? - No, we have got a new house system
0:54:30 > 0:54:34at the school, at the moment, and our houses are named after St Ives'
0:54:34 > 0:54:37artists, like Hepworth and Wallace.
0:54:37 > 0:54:41- But, no, it sits in the headmaster's office.- Safely there.- Yeah.
0:54:41 > 0:54:42It's very nice to feel, isn't it?
0:54:42 > 0:54:45There's a lovely sense to it and even though it's got a bit
0:54:45 > 0:54:48of a problem with the patination and things, none of this is a real
0:54:48 > 0:54:52problem and turning it around is fun, because it looks completely
0:54:52 > 0:54:56different from all angles. So it's got a little broken string here,
0:54:56 > 0:54:59but it can be easily mended and there, it's very nicely signed,
0:54:59 > 0:55:03"BH - Barbara Hepworth, Number 9 of 9".
0:55:03 > 0:55:05So it's the last cast in the edition.
0:55:05 > 0:55:08- What do you know about Barbara Hepworth?- Not a lot.
0:55:08 > 0:55:11You know, that she was in St Ives in the '60s.
0:55:11 > 0:55:15- Yeah, married to Ben Nicholson. - Yes, yes.
0:55:15 > 0:55:19Barbara Hepworth, of course, was that very powerful character
0:55:19 > 0:55:24and she was really at the forefront of British modernism.
0:55:24 > 0:55:27And together with Henry Moore and Herbert Read,
0:55:27 > 0:55:29they really carried the flag of modernism to England.
0:55:29 > 0:55:33It's easy to forget, actually, that the centre of it was St Ives,
0:55:33 > 0:55:37not so far from here. She knew, and had met, all the people
0:55:37 > 0:55:39on the Continent, in Paris,
0:55:39 > 0:55:42who were very much at the forefront of modernism.
0:55:42 > 0:55:46For example she met and knew Brancusi, she met Modigliani,
0:55:46 > 0:55:49she met Picasso. She went to the studio of Arp.
0:55:49 > 0:55:52I mean, it's extraordinary what she knew, who she knew,
0:55:52 > 0:55:53and she brought these ideas back
0:55:53 > 0:55:59and then they're very much her own. This is English modernism, you know.
0:55:59 > 0:56:01You cannot confuse it with anything else.
0:56:01 > 0:56:04And it's quite interesting, when we were setting this up,
0:56:04 > 0:56:06everyone said, "Oh, look, Barbara Hepworth."
0:56:06 > 0:56:09- It's an immediately recognisable thing, isn't it?- Definitely.
0:56:09 > 0:56:11The other great exponent of 20th-century sculpture
0:56:11 > 0:56:13- was Henry Moore, wasn't he?- Yep.
0:56:13 > 0:56:16He was much more about the human form, but this is about
0:56:16 > 0:56:19abstract form, really, and holding it's rather nice.
0:56:19 > 0:56:23- Yeah, I like to... It's tactile, isn't it?- Very tactile.
0:56:23 > 0:56:26And made of bronze, of course. and I suppose it would have been
0:56:26 > 0:56:31an edition and I suppose, too, that you must know what it's worth.
0:56:31 > 0:56:34- No, I'm sorry, I haven't got a clue. - You haven't got a clue?- No.
0:56:34 > 0:56:37It's sat in the headmaster's study for all this time and...
0:56:37 > 0:56:38Lots of people have guessed.
0:56:38 > 0:56:41- Do you want me to tell you? - Yes, please.- £60,000-£80,000.
0:56:41 > 0:56:43Oh, my goodness!
0:56:44 > 0:56:47We were wrong. We did have a little guess, of around ten.
0:56:47 > 0:56:51Ten?! No, no, no. She's very important.
0:56:51 > 0:56:52This is a wonderful thing.
0:56:52 > 0:56:57And, also, its domestic scale. You know, anybody could have that.
0:56:57 > 0:57:00It's not a huge thing in the garden. That's going to work anywhere
0:57:00 > 0:57:02- and it's lovely.- Wow. Beautiful.
0:57:02 > 0:57:04And it's a very important thing.
0:57:04 > 0:57:06A seriously exciting find, I have to tell you.
0:57:06 > 0:57:10- Wow.- It's great that you brought it. - Lovely, thank you very much.
0:57:10 > 0:57:11Thank you.
0:57:12 > 0:57:17And yet another whopping value for a local work of art.
0:57:17 > 0:57:22Talking of local treasures, this intriguing piece has been
0:57:22 > 0:57:26brought along by a chap from Newlyn and it's a serpent.
0:57:26 > 0:57:28And this was used in churches around the country,
0:57:28 > 0:57:32if a church either didn't have, or couldn't afford, an organ.
0:57:32 > 0:57:35It was used in services. I imagine it makes a rather lovely sound,
0:57:35 > 0:57:37so I thought I'd give it a go. Here we go.
0:57:39 > 0:57:42TUNELESS PARP WHICH TAILS OFF
0:57:42 > 0:57:44LAUGHTER AND APPLAUSE
0:57:44 > 0:57:45Well done!
0:57:46 > 0:57:48That sounds like some...
0:57:48 > 0:57:52Sounds rather more like some distressing bodily function!
0:57:52 > 0:57:58From the Antiques Roadshow - and the serpent - until next time, bye-bye.
0:58:21 > 0:58:24Subtitles by Red Bee Media Ltd