0:00:02 > 0:00:04Time and time again, Roadshow fans ask us the same thing -
0:00:04 > 0:00:07"Whatever happened to those much talked about items?
0:00:07 > 0:00:09"Did anyone get rich from their family heirloom?"
0:00:09 > 0:00:13Well, do we have a story or two for you, including a jaw-dropping
0:00:13 > 0:00:17discovery that's beaten every record in the programme's long history.
0:00:17 > 0:00:20Let's find out in this special episode of the Antiques Roadshow.
0:01:03 > 0:01:05From spooky Cawdor Castle in Scotland
0:01:05 > 0:01:09right down to the shingle shores of Southsea, we've been on another
0:01:09 > 0:01:13sweep of Britain in search of treasure over this last year.
0:01:13 > 0:01:16Well, I'm delighted. This is a proper mystery object.
0:01:16 > 0:01:17Right.
0:01:17 > 0:01:20I think you know what it might be for.
0:01:20 > 0:01:21Yes, I think so.
0:01:21 > 0:01:23But - any ideas, any ideas?
0:01:24 > 0:01:25Bowling ball.
0:01:25 > 0:01:27Bowling ball, not a bowling ball.
0:01:27 > 0:01:28Now I'm not entirely sure
0:01:28 > 0:01:35whether we've ever done a tiara on the Antiques Roadshow.
0:01:36 > 0:01:38You're looking around about £20,000.
0:01:38 > 0:01:39What?!
0:01:41 > 0:01:42£10,000.
0:01:44 > 0:01:47I think I need that brandy that I mentioned earlier on.
0:01:47 > 0:01:50This is a rat deterrent.
0:01:52 > 0:01:55Three to five thousand pounds.
0:01:55 > 0:01:58What? Oh, my God.
0:02:00 > 0:02:03You wouldn't get any change from £2,000.
0:02:04 > 0:02:05Oh, my!
0:02:05 > 0:02:07Who's a lucky lady?
0:02:07 > 0:02:09Well, if we just take the 500
0:02:09 > 0:02:12and we say an average of £200.
0:02:13 > 0:02:15OK, you'd better do the maths.
0:02:15 > 0:02:19That adds up to maybe £100,000.
0:02:19 > 0:02:23Oh, my goodness.
0:02:23 > 0:02:27Well, they're great diamonds, they're great turquoises,
0:02:27 > 0:02:29it's a big, splendid look.
0:02:29 > 0:02:30What do I think that would fetch?
0:02:30 > 0:02:32£25,000 to £30,000.
0:02:32 > 0:02:36Oh, my God, really?
0:02:36 > 0:02:40It's worth - I don't know - £4,000 to £6,000.
0:02:40 > 0:02:42Ooh, it's not.
0:02:42 > 0:02:44It's a good doorstop!
0:02:47 > 0:02:50That's amazing, isn't it? It's ugly as well.
0:02:54 > 0:02:58And our journey ends here, in a place we could not have predicted.
0:02:58 > 0:03:01So often we find surprising stories behind the objects we show.
0:03:01 > 0:03:05Who could know that one of them would bring us to a royal palace?
0:03:05 > 0:03:08This is Hampton Court Palace.
0:03:08 > 0:03:11And we've been brought here because of this item.
0:03:11 > 0:03:14Was furniture expert Christopher Payne right,
0:03:14 > 0:03:17in thinking that this chest, which we saw earlier this year
0:03:17 > 0:03:21in the north of Scotland, was once owned by a Queen of England?
0:03:21 > 0:03:25This is one of the most extraordinary things I've ever seen.
0:03:25 > 0:03:28It has always been known in the family as the Queen Anne chest.
0:03:28 > 0:03:31I mean she was queen, let's say circa 1700,
0:03:31 > 0:03:33- so that's a long time ago. - Yes.
0:03:33 > 0:03:35300 years ago.
0:03:35 > 0:03:38Researchers here at Hampton Court Palace were watching that programme
0:03:38 > 0:03:41and believe that the chest may have begun its life here,
0:03:41 > 0:03:43and possibly once belonged to a queen of England.
0:03:43 > 0:03:46Can that really be right? We'll find out.
0:03:47 > 0:03:51Also in this special edition, could this be the most valuable
0:03:51 > 0:03:54object to be sold after appearing on the Roadshow?
0:03:55 > 0:03:58Now hold your breath, because one of those,
0:03:58 > 0:04:02some years ago, sold for £30,000 at auction.
0:04:02 > 0:04:06A standard Leica II has a black body, and I have to be quite
0:04:06 > 0:04:10frank with you, I've never seen one with a gilded body like this.
0:04:10 > 0:04:14- Oh.- That's what makes this a particularly interesting camera.
0:04:15 > 0:04:18And we'll also find out how the prestigious Victoria and Albert
0:04:18 > 0:04:22Museum just had to acquire this curious piece from the Roadshow.
0:04:23 > 0:04:25Well, when it comes to wacky objects,
0:04:25 > 0:04:28this definitely wins the prize.
0:04:28 > 0:04:30I think it is the strangest,
0:04:30 > 0:04:33most over-the-top glass that I have seen in a very long time.
0:04:37 > 0:04:40Now, even I don't know the outcome of our first story.
0:04:40 > 0:04:43Remember the vicar's van Dyck?
0:04:43 > 0:04:46Father Jamie McCloud, who runs a religious retreat in Derbyshire.
0:04:46 > 0:04:50He brought along a painting to our show in Cirencester.
0:04:50 > 0:04:52And so where did you get it from?
0:04:52 > 0:04:53I bought it originally in Nantwich.
0:04:53 > 0:04:57In an antique shop there, and knew nothing about it.
0:04:57 > 0:04:59And how much did you pay for it?
0:04:59 > 0:05:01I spent 400 for it, and I bought it,
0:05:01 > 0:05:05not because of the picture as such, but I liked the frame.
0:05:05 > 0:05:09There was something about his ruffle, something about him telling a story.
0:05:09 > 0:05:14My work is in a Retreat House and we are an Ecumenical Community
0:05:14 > 0:05:19and we have it hanging, it's hanging there, for people to see.
0:05:19 > 0:05:21I mean it says here, "Sir Anthony van Dyck"
0:05:21 > 0:05:24- which obviously is a name to quicken the pulse.- Yes.
0:05:24 > 0:05:25As it happens, by coincidence,
0:05:25 > 0:05:28I was making a programme with our paintings expert,
0:05:28 > 0:05:31Philip Mould, about van Dyck and have spent nothing but weeks
0:05:31 > 0:05:36looking at van Dyck paintings and when I saw this, something about
0:05:36 > 0:05:40the eyes, and the way you can almost see the bone under the nose here,
0:05:40 > 0:05:44it just looked similar to the kind of paintings I've been looking at.
0:05:44 > 0:05:48But clearly I am no paintings expert and no van Dyck expert,
0:05:48 > 0:05:51and that's why we need Philip Mould to look at it.
0:05:51 > 0:05:53Philip, meet Father Jamie.
0:05:53 > 0:05:54Hello.
0:05:54 > 0:05:57And Father Jamie brought this painting along.
0:05:57 > 0:05:58I thought there could be something in it,
0:05:58 > 0:06:00but I want you to have a look at it.
0:06:00 > 0:06:03I've now had time to acquaint myself with it.
0:06:03 > 0:06:08At first this looks like an Old Master, it looks like a 17th century
0:06:08 > 0:06:14picture, it looks like something that you might think of as van Dyck.
0:06:14 > 0:06:18As you get closer though, second glance, there are some muddy areas.
0:06:18 > 0:06:21I don't like the way the beard is done.
0:06:21 > 0:06:24There are certain aspects of the background
0:06:24 > 0:06:28that look a bit sort of misty, not properly defined.
0:06:28 > 0:06:31And if we're looking for the work of van Dyck,
0:06:31 > 0:06:33it's all about clarity and lucidity.
0:06:34 > 0:06:38The third glance though is the most exciting,
0:06:38 > 0:06:41because as you move in to the features,
0:06:41 > 0:06:44look at that phenomenally bold highlight
0:06:44 > 0:06:47just to the left of his eye,
0:06:47 > 0:06:51and look at the sort of bony anatomy, the confidence
0:06:51 > 0:06:56with which the nose is done, and then as you work down,
0:06:56 > 0:06:59just have a look at those lips.
0:06:59 > 0:07:01It's done with shorthand,
0:07:01 > 0:07:03it's done with absolute certainty.
0:07:03 > 0:07:09But if this is to be by van Dyck, there's only one way of finding out,
0:07:09 > 0:07:14and this is the art world equivalent of excavation.
0:07:16 > 0:07:17The question is,
0:07:17 > 0:07:24are you prepared to commission a process of cleaning and restoration?
0:07:24 > 0:07:29By which paint is radically removed, but later paint,
0:07:29 > 0:07:35to reveal what I hope could be an original work beneath.
0:07:35 > 0:07:38And it's a harrowing experience, and you're going to need
0:07:38 > 0:07:40- to keep the faith, if you don't mind me saying.- Yes.
0:07:42 > 0:07:44What do you think?
0:07:44 > 0:07:48I think, yes, it would be a wonderful experience to go through that,
0:07:48 > 0:07:51and to see what happens.
0:07:52 > 0:07:54That was six months ago.
0:07:54 > 0:07:58Since then the painting has undergone extensive restoration
0:07:58 > 0:08:00in the hands of specialist Simon Gillespie.
0:08:00 > 0:08:05The painstaking process involved the use of solvents to gradually
0:08:05 > 0:08:08remove over-paint, added in the 18th century.
0:08:08 > 0:08:11It took the equivalent of three weeks' solid work
0:08:11 > 0:08:12to finish the clean.
0:08:12 > 0:08:15Simon had to be careful not to remove any
0:08:15 > 0:08:19of the original 17th century brush strokes, that would be so important
0:08:19 > 0:08:22in identifying the original artist.
0:08:22 > 0:08:24As the restoration reached a critical moment,
0:08:24 > 0:08:28Philip Mould decided to visit Simon in his studio to see how the process
0:08:28 > 0:08:33of removing the over-paint and centuries of dirt was progressing.
0:08:33 > 0:08:36In Cirencester, we just had to guess, really, didn't we,
0:08:36 > 0:08:38that there was evidence to suggest
0:08:38 > 0:08:40that there might be something exciting beneath.
0:08:40 > 0:08:44But what you have just done, what you have taken off, has really begun
0:08:44 > 0:08:48to show that our instincts perhaps are right,
0:08:48 > 0:08:51that there is something brilliant beneath.
0:08:51 > 0:08:54Something hidden and really vital and exciting.
0:08:54 > 0:08:59It is, it's a very exciting picture to be dealing with and revealing
0:08:59 > 0:09:06what is coming up and so evidently, so obviously of top quality.
0:09:06 > 0:09:12I'd be very interested to see what the experts are going to say.
0:09:12 > 0:09:15I'm really pleased that Father Jamie took the risk,
0:09:15 > 0:09:17because there is risk in restoration.
0:09:17 > 0:09:21I mean, just the process of taking off varnish and later paint
0:09:21 > 0:09:23can sometimes damage the layer beneath.
0:09:23 > 0:09:27And there's also the danger that you can reveal an area that is damaged.
0:09:27 > 0:09:30The picture would be better off not having been cleaned!
0:09:30 > 0:09:34But so far, the risk is paying off.
0:09:34 > 0:09:37What we've seen dramatically revealed today
0:09:37 > 0:09:40are the strokes of a great hand.
0:09:41 > 0:09:43Philip, there isn't much that you don't know about van Dyck
0:09:43 > 0:09:46and you've nursed this painting through restoration,
0:09:46 > 0:09:49through cleaning, how's it looking?
0:09:49 > 0:09:51- Well, shall we have a look? - Yes.
0:09:51 > 0:09:53Let us unveil it.
0:09:55 > 0:09:57Wow, it's completely different.
0:09:57 > 0:10:00All the dark gloominess round here has vanished
0:10:00 > 0:10:05and so now this is a preparatory sketch, is it?
0:10:05 > 0:10:09It's the beginning of a painting rather than the completed painting?
0:10:09 > 0:10:12Yeah, it would seem to be a first idea by an artist.
0:10:12 > 0:10:14When you first saw the painting, you thought there was a chance
0:10:14 > 0:10:17that it could be by van Dyck. Do you still think that now?
0:10:17 > 0:10:20Well, personally, I do. I mean, I've been following it through.
0:10:20 > 0:10:24I still think it is by the master, but as you know so well,
0:10:24 > 0:10:27we have to get the academic authority to say "yes"
0:10:27 > 0:10:31before in market terms it properly becomes a van Dyck.
0:10:31 > 0:10:33And have you found anyone to look at it?
0:10:33 > 0:10:37We have found the national expert, the great scholar
0:10:37 > 0:10:40on the subject of van Dyck and he has seen it and considered it.
0:10:41 > 0:10:43And?
0:10:43 > 0:10:46Well, at the risk of toying with your emotions, do you mind
0:10:46 > 0:10:48if we wait for Father Jamie?
0:10:50 > 0:10:54I really do mind, but I suspect I'm not going to win this argument.
0:10:54 > 0:10:55How frustrating.
0:10:55 > 0:10:58Father Jamie's coming along later, and if this painting really
0:10:58 > 0:11:02is by van Dyck, it could be seriously valuable.
0:11:02 > 0:11:05And we've witnessed some jaw-dropping valuations
0:11:05 > 0:11:08on this show, but, perhaps surprisingly,
0:11:08 > 0:11:10few people go on to sell their items.
0:11:10 > 0:11:14But recently we heard about a camera that first came along
0:11:14 > 0:11:18to the Roadshow 12 years ago and it was finally coming up for sale.
0:11:18 > 0:11:20- I've had it about 45 years. - Yes.
0:11:20 > 0:11:25And I acquired it then and I used to use it in my younger days.
0:11:25 > 0:11:27Yes.
0:11:27 > 0:11:30But haven't used it for years and years,
0:11:30 > 0:11:31I just left it in the drawer.
0:11:31 > 0:11:35The story began back in Wales in 2001 when Mostyn,
0:11:35 > 0:11:39the owner of this camera, brought it in to show expert Marc Allum.
0:11:39 > 0:11:41It was a typically busy day, really.
0:11:41 > 0:11:44It was one of those kind of days that I didn't feel
0:11:44 > 0:11:48was rather fateful, but suddenly this gentleman arrived at my table
0:11:48 > 0:11:50and put this thing in front of me and I looked at it
0:11:50 > 0:11:53and I could see that it was a crocodile case.
0:11:53 > 0:11:56I knew that it was going to be a camera.
0:11:56 > 0:11:59I wasn't quite sure what was going to come out,
0:11:59 > 0:12:03but when this camera did come out, then my whole world sort of changed.
0:12:03 > 0:12:06Essentially, I was faced with something that
0:12:06 > 0:12:08I kind of felt didn't really exist.
0:12:08 > 0:12:13Leica made a camera called the Leica I in 1931
0:12:13 > 0:12:15and they produced very, very few,
0:12:15 > 0:12:18and in fact they were called the Luxus range.
0:12:18 > 0:12:21'I saw that it was a Leica, and not just an ordinary Leica,'
0:12:21 > 0:12:23it was a Leica Luxus - a gold Leica.
0:12:23 > 0:12:25I looked at the serial number.
0:12:25 > 0:12:2788840 - now that to me
0:12:27 > 0:12:29is a Leica II.
0:12:29 > 0:12:34That is 1932 for this particular model.
0:12:34 > 0:12:37'I used to carry round a list of Leica serial numbers'
0:12:37 > 0:12:40so I looked it up, saw that it was a Leica II.
0:12:40 > 0:12:44In fact, I didn't know that they'd made a Leica II Luxus
0:12:44 > 0:12:48and that's when it started to get really interesting.
0:12:48 > 0:12:54'I rang up an authority, basically, on cameras, and he was able
0:12:54 > 0:12:58'to say to me, "This is one of only four that was ever made."'
0:12:58 > 0:13:00Upon her father's death,
0:13:00 > 0:13:04his daughter, Sue, decided to get in touch with Marc.
0:13:04 > 0:13:08My father passed away in early 2012 and there was quite a lot
0:13:08 > 0:13:10to sort out with the house etc.
0:13:10 > 0:13:13You know, we knew that he had the camera, and at that time we knew it
0:13:13 > 0:13:17was valuable, but we didn't really appreciate how special it was.
0:13:17 > 0:13:20My father said if ever I should want to sell the camera
0:13:20 > 0:13:22to contact Marc Allum.
0:13:22 > 0:13:25'Out of the blue came an e-mail from his daughter and I was able'
0:13:25 > 0:13:29to give her impartial advice on where she might potentially
0:13:29 > 0:13:33sell the camera, and in doing that she was able to make her own choice.
0:13:33 > 0:13:37This is potentially one of the most valuable items
0:13:37 > 0:13:40to come to sale from the Antiques Roadshow.
0:13:40 > 0:13:44Now, the camera is worth a huge amount of money
0:13:44 > 0:13:47and it's like many areas of the market that have been fuelled
0:13:47 > 0:13:53by the Eastern market and Eastern buyers, particularly the Chinese.
0:13:53 > 0:13:54Mostyn and myself,
0:13:54 > 0:13:58we had no idea what could possibly happen to the value.
0:13:58 > 0:14:01With the auction house estimating the camera could
0:14:01 > 0:14:04sell for hundreds of thousands of pounds, it could break our
0:14:04 > 0:14:09highest record for an object sold after appearing on the Roadshow.
0:14:09 > 0:14:12That's currently held by a painting by William Orpen that sold
0:14:12 > 0:14:15five years ago for £300,000.
0:14:16 > 0:14:20I mean, it's history making as well as breaking other records too.
0:14:20 > 0:14:25That's the incredible, you know, thing about it.
0:14:25 > 0:14:27It's absolutely tremendous.
0:14:27 > 0:14:32I think it's terribly exciting and I'm sure my husband and my son,
0:14:32 > 0:14:35and probably my daughter, will be around the computer
0:14:35 > 0:14:39with our dressing gowns on, looking at the auction and hoping,
0:14:39 > 0:14:42fingers crossed, that it goes well for everybody.
0:14:42 > 0:14:45Of course, the anticipation is almost killing me.
0:14:45 > 0:14:48I've kept quiet about this for months and months,
0:14:48 > 0:14:51and, um, I'm obviously looking forward to the sale.
0:14:51 > 0:14:52I can't go to Hong Kong,
0:14:52 > 0:14:56but, of course, I'm going to watch it on the live feed.
0:14:56 > 0:15:00I feel as if Marc and I have been pen pals for the past five months
0:15:00 > 0:15:03because I initially sent him an e-mail back in June.
0:15:03 > 0:15:05When his reply did come back,
0:15:05 > 0:15:08he was so friendly and willing to help
0:15:08 > 0:15:11that I almost felt as if I'd already met him
0:15:11 > 0:15:15and so it's going to be a great thrill to meet him.
0:15:15 > 0:15:17I feel as if we're pals in a way.
0:15:17 > 0:15:21The owner's daughter, Sue, felt she wanted to express her thanks
0:15:21 > 0:15:23to Marc and arranged to meet him in London,
0:15:23 > 0:15:26where the camera was on show prior to its sale in November
0:15:26 > 0:15:27in Hong Kong.
0:15:27 > 0:15:28Hello, Sue.
0:15:28 > 0:15:30Hello. I'm going to give you a hug.
0:15:30 > 0:15:33I'm not going to shake hands after five months.
0:15:33 > 0:15:35No, it's really good to finally meet you.
0:15:35 > 0:15:37I know, exactly, oh, my goodness.
0:15:37 > 0:15:39And here she is, in all her majesty.
0:15:39 > 0:15:42I know, can you believe it? It looks absolutely beautiful.
0:15:42 > 0:15:43Is she a she?
0:15:43 > 0:15:45Of course, of course.
0:15:45 > 0:15:48Well, this is the culmination of it all, isn't it?
0:15:48 > 0:15:49Yes, it is. Indeed, it is.
0:15:49 > 0:15:53And I have to say it's been quite a long journey actually.
0:15:53 > 0:15:55So, it looks like we're both going to be watching this
0:15:55 > 0:15:57- from different parts of the world. - Indeed.
0:15:57 > 0:16:00And, you know, I wish you every success with it.
0:16:00 > 0:16:01I really do.
0:16:01 > 0:16:03Thank you.
0:16:03 > 0:16:04Lot number 1681.
0:16:04 > 0:16:07A Leica Luxus number II, 1932,
0:16:07 > 0:16:11with its extraordinary original pretty box, and already
0:16:11 > 0:16:15I seem to have three million Hong Kong dollars bid for it.
0:16:15 > 0:16:19Three million dollars to me. Three million two.
0:16:19 > 0:16:20Three million five.
0:16:20 > 0:16:23Three million eight. Three million eight down here.
0:16:23 > 0:16:253,800,000.
0:16:25 > 0:16:29Three million nine against that.
0:16:29 > 0:16:333,900,000. Over here?
0:16:33 > 0:16:34Four million dollars.
0:16:34 > 0:16:37What's yours on the main line, telephone bidder?
0:16:37 > 0:16:41Yours in the room, sir, four million. Anyone going on?
0:16:42 > 0:16:44I'm going to sell it. Here we are.
0:16:44 > 0:16:48You're all quite sure. Your bid, sir, four million dollars.
0:16:48 > 0:16:50That is sold to you,
0:16:50 > 0:16:54thanks very much. Four million.
0:16:54 > 0:16:57Sue was watching the auction online at home in America,
0:16:57 > 0:17:00and I caught up with her after the auction at the end of our day.
0:17:00 > 0:17:02Susan, hi, it's Fiona Bruce.
0:17:02 > 0:17:04Hi, nice to meet you.
0:17:04 > 0:17:07Very nice to meet you, since I haven't met you in person,
0:17:07 > 0:17:10to meet you, albeit over the internet, and congratulations.
0:17:10 > 0:17:12Thank you very much.
0:17:12 > 0:17:15Who would have known it would have ended like this?
0:17:15 > 0:17:18It's been tremendous and the help we've received from everybody,
0:17:18 > 0:17:20from Marc Allum on the Antiques Roadshow,
0:17:20 > 0:17:22has just been absolutely superb.
0:17:22 > 0:17:24And what did you think, as you saw the value creeping up?
0:17:24 > 0:17:28We were all kind of quite anxious. We didn't have any audio feed
0:17:28 > 0:17:33and we didn't have any visual feed, so we were just watching the numbers
0:17:33 > 0:17:37at the bottom of our screen, and then suddenly it's, what,
0:17:37 > 0:17:40over 350,000, so it's just staggering, really.
0:17:40 > 0:17:43Yeah, 350,000, or, in your money,
0:17:43 > 0:17:44half a million dollars.
0:17:44 > 0:17:46Yes, that's right.
0:17:46 > 0:17:47So it's a heck of a result, isn't it?
0:17:47 > 0:17:51Yes, I mean, it's quite staggering, I don't know many...
0:17:51 > 0:17:53many objects or whatever
0:17:53 > 0:17:56that you could get that sort of return in 12 years.
0:17:56 > 0:17:58And now you've sold it,
0:17:58 > 0:18:01do you have any idea what you're going to do with the money?
0:18:01 > 0:18:03Have you got any projects planned?
0:18:03 > 0:18:07Um, well our youngest son is going off to college
0:18:07 > 0:18:09and college here is really quite expensive,
0:18:09 > 0:18:13so I'm sure some of it will be used towards that.
0:18:13 > 0:18:15But, you know, we just intend to look after it
0:18:15 > 0:18:18and make sure that it's a nice legacy for our children.
0:18:18 > 0:18:21And what do you think your father would have made of it all?
0:18:21 > 0:18:25I think he would have been delighted.
0:18:25 > 0:18:28I mean, I'm just so thankful that I was able to, you know,
0:18:28 > 0:18:30fulfil his wish.
0:18:33 > 0:18:35So, still emotional, even now.
0:18:38 > 0:18:41Yeah. He would have been delighted, I'm sure.
0:18:41 > 0:18:44I'm sure he would have been thrilled, as you say.
0:18:44 > 0:18:47Susan, thank you so much, it's been so lovely to talk to you in person.
0:18:47 > 0:18:50And enjoy it, and thank you for letting us share the journey.
0:18:50 > 0:18:52Oh, you're very welcome.
0:18:52 > 0:18:55Thank you for all the help that the Antiques Roadshow has given
0:18:55 > 0:18:57and Marc Allum too, it's been wonderful.
0:19:04 > 0:19:08What incredibly good news for Sue and her family.
0:19:08 > 0:19:11And, you know, that's not the only item that's recently gone on to sell
0:19:11 > 0:19:14after first coming to light at a Roadshow.
0:19:14 > 0:19:17Remember this bamboo pot, once used by Chinese scholars
0:19:17 > 0:19:19we first saw at our Chatham show early this year?
0:19:19 > 0:19:22Do you know what it is?
0:19:22 > 0:19:25No, that's exactly why I brought it today.
0:19:25 > 0:19:28But you have a penchant for brown pots.
0:19:28 > 0:19:30- I love wood.- OK, so, you like it because it's wood.
0:19:30 > 0:19:33- Yes. - Do you know what kind of wood it is?
0:19:33 > 0:19:36- No.- It's bamboo, and in Chinese it's called a bitong,
0:19:36 > 0:19:39and it's a brush pot.
0:19:39 > 0:19:43The owner was astonished by its value.
0:19:43 > 0:19:47It's nice. I suppose it's worth £6,000 to £8,000.
0:19:51 > 0:19:52I don't believe it.
0:19:54 > 0:19:57Well, it nearly went to the charity shop last week.
0:19:57 > 0:20:01Imagine how she felt when it went on to sell for a cool £20,000.
0:20:02 > 0:20:04We understand it went back to China.
0:20:06 > 0:20:10You've got a print here signed with some very celebrated initials.
0:20:10 > 0:20:13Yes. Of Durer, yes.
0:20:13 > 0:20:16- Albrecht Durer. - Yes.
0:20:16 > 0:20:17We were all agog when a print,
0:20:17 > 0:20:21brought into our Roadshow from Stowe, shown earlier this year,
0:20:21 > 0:20:23was valued for a considerable amount.
0:20:23 > 0:20:28And I have to say, from what I can see,
0:20:28 > 0:20:31this is an original Albrecht Durer print.
0:20:31 > 0:20:34- So it comes to value. - Yes.
0:20:34 > 0:20:39Well, I have to say, subject to just a few checks,
0:20:39 > 0:20:43- given that prints are a complex area...- Yes.
0:20:43 > 0:20:46..and Durer in particular, I think this could be worth
0:20:46 > 0:20:50- up to about £20,000. - That's really good news.
0:20:50 > 0:20:52Was Philip Mould right?
0:20:52 > 0:20:55Well, his valuation was tested when that print by Durer,
0:20:55 > 0:20:58produced in the early 16th century,
0:20:58 > 0:21:00went on to sell for £19,000.
0:21:00 > 0:21:04We were delighted to be able to tell the owner, Mary, that after
0:21:04 > 0:21:07she sold it, the print was taken to the other side of the world, to
0:21:07 > 0:21:11an art gallery in New Zealand where it is now proudly on display.
0:21:11 > 0:21:15And if you've ever wondered what people spend their money on
0:21:15 > 0:21:18after selling their objects, here's a great example.
0:21:18 > 0:21:21If this were a copy of the Kangxi period,
0:21:21 > 0:21:25then £2,500 is an extremely generous offer.
0:21:25 > 0:21:28- Oh, really.- Yeah. However, it is actually of the period it says,
0:21:28 > 0:21:31so it's probably worth between £5,000 and £10,000.
0:21:32 > 0:21:35The owner here, Iona, tells us that she's very happy
0:21:35 > 0:21:38with the new car sitting on her drive.
0:21:38 > 0:21:41Her vase sold for an impressive £22,000
0:21:41 > 0:21:43following its visit to the show.
0:21:43 > 0:21:46Iona now has what she calls "a nippy little number"
0:21:46 > 0:21:49parked on her drive, all down to an old pot.
0:21:51 > 0:21:55Now, some objects arriving at a Roadshow defy even our experts.
0:21:55 > 0:22:00One mystery, which was recently solved, arose when our glass expert,
0:22:00 > 0:22:03Andy McConnell, found an object at Chepstow Racecourse.
0:22:03 > 0:22:07Well, when it comes to wacky objects,
0:22:07 > 0:22:09this definitely wins the prize.
0:22:09 > 0:22:13I think it is the strangest, most over-the-top glass that
0:22:13 > 0:22:17I have seen in a very long time, I'm delighted to say.
0:22:17 > 0:22:19One of the things about the Roadshow,
0:22:19 > 0:22:22one of the great buzzes, really, one of the dangers,
0:22:22 > 0:22:24is, of course, you've never seen this stuff before.
0:22:24 > 0:22:27You open for business, as it were,
0:22:27 > 0:22:30and the owners turn up bearing their stuff, and, well,
0:22:30 > 0:22:3495% of it, you take in your stride, but there's always going
0:22:34 > 0:22:39to be 5%, that, you know, leaves you scratching your head.
0:22:39 > 0:22:44And this one fell into this category.
0:22:44 > 0:22:47What you have is a hybrid, but they are a lamp.
0:22:47 > 0:22:52What you'd do is, you'd fill them, these two reservoirs,
0:22:52 > 0:22:55which are separated within, with lamp oil,
0:22:55 > 0:22:58and then you had tapers that were pushed in through the mouth.
0:22:58 > 0:23:02- They're obviously flexible - and down into the body here.- Yes.
0:23:02 > 0:23:05I was about one inch out of the gig
0:23:05 > 0:23:08when I started having misgivings about my recording.
0:23:08 > 0:23:11I got home and I think, "Who's going to know about this?"
0:23:11 > 0:23:14Well, Reino Liefkes, senior curator of glass and ceramics
0:23:14 > 0:23:17at the Victoria and Albert Museum, is a kind of glass mate.
0:23:17 > 0:23:23You know, we know each other, and he knows... And he's Dutch,
0:23:23 > 0:23:28so he's European, you see, and his knowledge of Central European glass
0:23:28 > 0:23:31is way in excess of mine, and he was the man I chose to defer to.
0:23:31 > 0:23:34Yes, I was extremely excited when Andy rang,
0:23:34 > 0:23:36and they also sent me some footage,
0:23:36 > 0:23:38and he did that because he was a bit worried that he'd actually
0:23:38 > 0:23:42maybe given it a wrong attribution. It's such a difficult object.
0:23:42 > 0:23:46In literature, they're invariably described as either an oil lamp,
0:23:46 > 0:23:49and that's actually what Andy thought on the Antiques Roadshow
0:23:49 > 0:23:52that it might be, or it's a perfumed sprinkler.
0:23:52 > 0:23:56When we look at the object, I think neither of those theories
0:23:56 > 0:23:57are really very strong.
0:23:57 > 0:24:00But he also added that the owner of the object might be
0:24:00 > 0:24:04interested in actually donating the object to our museum,
0:24:04 > 0:24:07which was a very exciting prospect.
0:24:07 > 0:24:10The owner, John Desmond, was true to his word
0:24:10 > 0:24:14and arranged for the piece to join the glass collection at the V&A,
0:24:14 > 0:24:17much to expert Andy McConnell's delight.
0:24:17 > 0:24:20I'll tell you what. See that?
0:24:20 > 0:24:23That's my hair standing on end.
0:24:23 > 0:24:28It really is, because, I mean, you know, how good does life get?
0:24:28 > 0:24:32You know, to be able to... It's just the complete package.
0:24:32 > 0:24:35We have pleased owners, they're delighted where it is.
0:24:35 > 0:24:39We've got a pleased museum, the whole thing is the complete package.
0:24:39 > 0:24:42It just ends up where it should be.
0:24:42 > 0:24:43And I've played a role in it.
0:24:46 > 0:24:50I think the object is unique as far as I know. It's not really...
0:24:50 > 0:24:54I don't know of any parallel of that period.
0:24:54 > 0:24:58I think if you look at the way it's made and the material,
0:24:58 > 0:25:04it's probably made in Bohemia, probably around 1700 to 1750.
0:25:04 > 0:25:09Bohemia is in the Czech Republic and there's nothing from that period
0:25:09 > 0:25:13which really compares to this very complex object.
0:25:13 > 0:25:15So that solved part of the mystery -
0:25:15 > 0:25:20when it was made and where it was produced. But Reino recognised it
0:25:20 > 0:25:25as an important object, a rare 18th century drinking vessel.
0:25:25 > 0:25:26Almost certainly is.
0:25:26 > 0:25:31It's a trick glass and so it's two bottles that will be filled up
0:25:31 > 0:25:35with liquid and I think in this case it would be water and wine.
0:25:35 > 0:25:39Wine wasn't drunk straight in that time, so you actually want
0:25:39 > 0:25:43to mix them to make it palatable, and so if you tip the glass
0:25:43 > 0:25:46towards you, you can actually cover the two spouts,
0:25:46 > 0:25:48on the back of the two animals,
0:25:48 > 0:25:52with your thumbs and you can actually regulate the flow.
0:25:52 > 0:25:54And then that would be very exciting to do that today,
0:25:54 > 0:25:59for the first time in maybe 250 years.
0:25:59 > 0:26:01Andy recently went along to the Victoria and Albert Museum
0:26:01 > 0:26:04to meet up with Reino and to play a vital part
0:26:04 > 0:26:07in learning how this trick glass works.
0:26:10 > 0:26:12So, hello, Andy.
0:26:12 > 0:26:15- Hi.- Very nice to see you and at a very special occasion.
0:26:15 > 0:26:18I mean, we normally don't fill up our historic glasses
0:26:18 > 0:26:22and actually try them out in this museum, but as we wanted
0:26:22 > 0:26:23to do this from the start,
0:26:23 > 0:26:26to find out the proper function of this object,
0:26:26 > 0:26:29we're going to do this in a controlled environment.
0:26:29 > 0:26:33We also are so excited, because this is probably the first time since
0:26:33 > 0:26:37250 years that this object is used correctly.
0:26:37 > 0:26:40And you're going to be the guinea pig.
0:26:40 > 0:26:42- So, how exciting is that? - Oh, I'm blessed.
0:26:42 > 0:26:46Oh, this is a perk of the job, to have the freedom
0:26:46 > 0:26:49to make a complete idiot of yourself.
0:26:49 > 0:26:53It's not often you get this chance, so clearly what I'm going to try
0:26:53 > 0:26:57and do is get the liquid up into the kind of schweinhund's mouths
0:26:57 > 0:27:00and then into the plate and see how we go.
0:27:09 > 0:27:10Ahh!
0:27:10 > 0:27:15We would have made a mess of the Archduke's table, wouldn't we?
0:27:15 > 0:27:17But I think there could be an additional trick.
0:27:17 > 0:27:21I think if you tried to cover the both spouts with your thumbs
0:27:21 > 0:27:25- then you actually might be able to control the liquid flow.- OK.
0:27:25 > 0:27:28So try that and see if it goes a bit more subtly.
0:27:28 > 0:27:30Yes!
0:27:31 > 0:27:35- There we go. - Here we go, let's try it like this.
0:27:35 > 0:27:37Let's just see it coming up.
0:27:37 > 0:27:41Oh, look! A gentle sip.
0:27:45 > 0:27:47- Another gentle sip. - Fantastic.
0:27:47 > 0:27:49I think it's a superior method, I have to admit it.
0:27:52 > 0:27:56Well, it's so exciting to see it actually working, it's wonderful.
0:27:56 > 0:27:58- This makes a huge difference. - Oh, really?
0:27:58 > 0:28:01- Having the fingers, it's like having a tap, it really is.- Oh, good.
0:28:01 > 0:28:04And it's clearly what the owner would have known, wouldn't he?
0:28:04 > 0:28:07The owner of the original would have practised this.
0:28:07 > 0:28:09He would have got it down to a fine art.
0:28:09 > 0:28:10Absolutely, yes.
0:28:10 > 0:28:13And then passed it to his neighbour at dinner and said, "You have a go".
0:28:13 > 0:28:16Absolutely, and they would have completely failed.
0:28:16 > 0:28:18And they would have...
0:28:18 > 0:28:20Messed everything up. Fantastic.
0:28:22 > 0:28:24So, does the V&A have a laundry?
0:28:26 > 0:28:28And if you want to see the trick glass,
0:28:28 > 0:28:31it will be on display in the Glass Gallery
0:28:31 > 0:28:35at the Victoria and Albert Museum in London from New Year's Day onwards.
0:28:35 > 0:28:38Earlier, we saw that remarkable chest that was first seen
0:28:38 > 0:28:42on the programme in Scotland by our furniture expert, Christopher Payne.
0:28:42 > 0:28:46It's thought to have started life here, at Hampton Court Palace.
0:28:46 > 0:28:48Christopher will be joining us in a moment to find out.
0:28:50 > 0:28:54It was bought by two spinster great aunts of my mother
0:28:54 > 0:28:58and they, we think, bought it in about 1880 through a friend
0:28:58 > 0:29:00who was a Quaker in Birmingham.
0:29:00 > 0:29:03It's always been known in the family as the Queen Anne chest.
0:29:03 > 0:29:08Now, I have no idea whether it genuinely is or not,
0:29:08 > 0:29:10but I have known it all my life.
0:29:10 > 0:29:13I mean, she was Queen let's say circa 1700,
0:29:13 > 0:29:16- so that's a long time ago.- Yes. - 300 years ago.
0:29:16 > 0:29:19It is the most extraordinary thing.
0:29:19 > 0:29:21I've never seen one.
0:29:21 > 0:29:24The next stage is to try and research this.
0:29:24 > 0:29:27Christopher, earlier on this year, you saw at Cawdor Castle
0:29:27 > 0:29:31- a piece of furniture that you described as "the ultimate research project."- Yes.
0:29:31 > 0:29:34- Rachel, this is your chest, in a manner of speaking.- It is indeed.
0:29:34 > 0:29:38- And you've come all the way down from Scotland...- Yes. - ..to Hampton Court Palace.
0:29:38 > 0:29:40- Potentially rather exciting. - It is indeed.
0:29:40 > 0:29:44I might finally find out the reality of it, so I'm very excited.
0:29:44 > 0:29:47And Christopher, what is it that you'd really like to know, then?
0:29:47 > 0:29:51Well, I think the most important thing is, was it actually used or made for Queen Anne?
0:29:51 > 0:29:54I'm sure it must have been, but can we prove it?
0:29:54 > 0:29:57We know so little about her. We know that this was one of her palaces,
0:29:57 > 0:30:01Hampton Court, so she came here, she lived here, she went on the royal progress here.
0:30:01 > 0:30:03Was this trunk used for that purpose?
0:30:03 > 0:30:07She's extraordinary. She was the last of the Stuart monarchs,
0:30:07 > 0:30:10had 17 children in 17 years, but none survived,
0:30:10 > 0:30:12so the end of the line.
0:30:12 > 0:30:14And we'd love to know more about this.
0:30:14 > 0:30:16Was it used for her on her royal progress?
0:30:16 > 0:30:18There's questions just coming out all the time.
0:30:18 > 0:30:21Well, I think today you're going to find out,
0:30:21 > 0:30:23because we've arranged for Dr Olivia Fryman,
0:30:23 > 0:30:26of Historic Royal Palaces, to be here to meet you both.
0:30:26 > 0:30:28The chest is here, as well, and she's waiting for you
0:30:28 > 0:30:30on the King's Staircase, no less,
0:30:30 > 0:30:35- which is that way. So, go and find out.- Let's go and have a look.
0:30:47 > 0:30:52Hello. So lovely to see you at Hampton Court.
0:30:52 > 0:30:55We're here in the King's Great Staircase,
0:30:55 > 0:31:00painted for William III, so it's a room that Queen Anne herself would have known.
0:31:00 > 0:31:03So, Rachel, you said you'd always known this as the Queen Anne chest
0:31:03 > 0:31:07and I think absolutely we can associate this with Queen Anne.
0:31:07 > 0:31:11- That's wonderful news. - Anne reigned from 1702 to 1714.
0:31:11 > 0:31:15She was the last of a long line of Stuart monarchs
0:31:15 > 0:31:18and Anne regularly travelled between her palaces.
0:31:18 > 0:31:20We know that she stayed here at Hampton Court.
0:31:20 > 0:31:24She also stayed at Kensington, St James's and Windsor.
0:31:24 > 0:31:27She also went on progresses where she would visit
0:31:27 > 0:31:29the towns and cities, the provinces
0:31:29 > 0:31:31or the households of noble courtiers.
0:31:31 > 0:31:35And on occasions like this, this kind of chest would have been used
0:31:35 > 0:31:37to transport the Queen's possessions.
0:31:37 > 0:31:39Well, I can imagine it being manhandled, literally.
0:31:39 > 0:31:43These two big handles on the side being carried in by porters,
0:31:43 > 0:31:46dumped in the main hall possibly, and, you know, Queen Anne wanting
0:31:46 > 0:31:50her night shift or gloves or something because she's cold, or changing garments.
0:31:50 > 0:31:54It's extraordinary. It would have been wheeled into this house somewhere,
0:31:54 > 0:31:56if not the Great Hall, perhaps.
0:31:56 > 0:31:59Absolutely. When the court moved, all of her belongings were packed up
0:31:59 > 0:32:02and put on wagons and taken with her.
0:32:02 > 0:32:05So I've also been able to identify some potential makers
0:32:05 > 0:32:09- for this piece.- Right. - At the national archives,
0:32:09 > 0:32:12we have all of the bills relating to the furniture that was provided
0:32:12 > 0:32:15for the royal household and I think it's very likely that this piece
0:32:15 > 0:32:18was made by one of the coffer makers to the great wardrobe.
0:32:18 > 0:32:21Now, there are two coffer makers during Anne's reign,
0:32:21 > 0:32:23Richard Peak and William Johnson.
0:32:23 > 0:32:25We know from their bills that they were providing
0:32:25 > 0:32:29leather-covered furniture that was very similar to this piece.
0:32:29 > 0:32:32Now, I've brought one of Johnson's bills along to show you today.
0:32:32 > 0:32:35This one dates from 1713 and as you can see here,
0:32:35 > 0:32:38Johnson is providing a large cabinet,
0:32:38 > 0:32:42a large trunk, and a trunk with drawers.
0:32:42 > 0:32:44And these are all covered in Russia leather
0:32:44 > 0:32:48and garnished with gilt nails, the brass studs.
0:32:48 > 0:32:50So, in terms of their description,
0:32:50 > 0:32:52they're very, very similar to this piece.
0:32:52 > 0:32:55We know from the accounts that they were intended for storing
0:32:55 > 0:32:58the Queen's body linen. So, her bed sheets, her pillowcases
0:32:58 > 0:33:00and her undergarments.
0:33:00 > 0:33:04I've also been able to identify some other examples.
0:33:04 > 0:33:08This particular piece is perhaps the closest match we can find.
0:33:08 > 0:33:10This is now at Scotney Castle in Kent.
0:33:10 > 0:33:15So, in terms of the design, you can see here, the tulip design
0:33:15 > 0:33:17in the brass studding which is very similar
0:33:17 > 0:33:20and also the lock plate is very similar to the one in your piece.
0:33:20 > 0:33:23And on the top here, there's also "AR",
0:33:23 > 0:33:25so we can certainly say that this one was also made
0:33:25 > 0:33:27during the reign of Queen Anne.
0:33:27 > 0:33:30And is it right that one opens at the top and then has two drawers
0:33:30 > 0:33:32- at the bottom?- Yes, absolutely.
0:33:32 > 0:33:35What we've not been able to find is an exact match for your piece.
0:33:35 > 0:33:38Yours has four drawers, whereas this one has two drawers
0:33:38 > 0:33:42- and a trunk top. This seems to be the more typical arrangement.- Right.
0:33:42 > 0:33:45But in terms of the design and everything, of course,
0:33:45 > 0:33:48- very, very similar.- Yes. - I think it makes yours much rarer.
0:33:48 > 0:33:51I've just never heard or seen of one as a chest of drawers.
0:33:51 > 0:33:54It just is simply drawers. Yes, yes.
0:33:54 > 0:33:58So, Rachel, that's amazing. It's so exciting.
0:33:58 > 0:34:00You keep this in the hall or the landing somewhere?
0:34:00 > 0:34:03- It lives on my landing, yes. - Doing nothing in particular?
0:34:03 > 0:34:07I mean, what was just a piece of household furniture,
0:34:07 > 0:34:10as far as we was concerned, one that I'd known all my life
0:34:10 > 0:34:15and I loved, but nothing to me particularly considered to be
0:34:15 > 0:34:19particularly special. I just wanted to know if there was a connection to Queen Anne
0:34:19 > 0:34:22and I seem to have found out a great deal more than I expected.
0:34:22 > 0:34:26- And me. And I think it's come home, don't you?- Absolutely.
0:34:26 > 0:34:29It feels rather like it. I certainly never thought,
0:34:29 > 0:34:32when it went to the Roadshow 18 months ago,
0:34:32 > 0:34:35no way did I think that I was going to be, 18 months later,
0:34:35 > 0:34:39standing in Hampton Court with experts looking at it
0:34:39 > 0:34:41and telling me so much about it.
0:34:41 > 0:34:44I just rather wish my mother was still alive to know that
0:34:44 > 0:34:47because I think she'd have been thrilled as well.
0:34:47 > 0:34:50Following filming, Rachel decided that she would like to leave
0:34:50 > 0:34:52the chest at Hampton Court Palace
0:34:52 > 0:34:56where further research by their team can now be undertaken.
0:34:56 > 0:34:59And that chest isn't the only object we've learnt more about
0:34:59 > 0:35:02following its appearance on the Antiques Roadshow this year.
0:35:02 > 0:35:05So, what do you know about HM Young?
0:35:05 > 0:35:09- HM Young was in the Dam Busters. - Exactly.
0:35:09 > 0:35:12This oar, apparently from the 1938 Boat Race,
0:35:12 > 0:35:15appeared at our show in Stowe recently.
0:35:15 > 0:35:18The theory being that it was owned by a man who famously went on to play
0:35:18 > 0:35:22a vital role in the Dam Busters raid in World War II.
0:35:22 > 0:35:26Henry Melville Young, born 1915.
0:35:26 > 0:35:31He was recruited to join 617, the Dam Busters' Squadron.
0:35:31 > 0:35:35He was one of the crack pilots brought in, with his crew,
0:35:35 > 0:35:39to join that elite squadron to do that very particular thing.
0:35:39 > 0:35:44And in May, 1943, they all set off on Operation Chastise,
0:35:44 > 0:35:47- which, of course, was the famous dams raid.- Yes.
0:35:47 > 0:35:50Well, sharp-eyed viewers contacted us after the broadcast
0:35:50 > 0:35:53to point out that the oar, which had been found in a skip,
0:35:53 > 0:35:55looked remarkably similar to a prop
0:35:55 > 0:35:59featured in the 1955 Dam Busters film.
0:35:59 > 0:36:01But even though it's not the original,
0:36:01 > 0:36:04it still has value as a piece of movie memorabilia.
0:36:05 > 0:36:09It's 50 years since the notorious Great Train Robbery
0:36:09 > 0:36:11and this Monopoly board was brought into our show
0:36:11 > 0:36:14with a remarkable link to the event.
0:36:14 > 0:36:19It's a very important board because it forms part of history.
0:36:19 > 0:36:26- In 1963, a Royal Mail train was held up in Buckinghamshire.- Indeed.
0:36:26 > 0:36:32£2.5 million was stolen and the train robbers went to a farmhouse
0:36:32 > 0:36:35and whilst they were there, to bide their time away,
0:36:35 > 0:36:39they played Monopoly and this is the actual Monopoly board
0:36:39 > 0:36:41of the Great Train Robbery. Well, it's reputed that
0:36:41 > 0:36:45- they actually played with real money as opposed to Monopoly money.- Right.
0:36:45 > 0:36:51- But eventually, they discovered where they'd been hiding out...- Yes.
0:36:51 > 0:36:53..so they had to make a quick get away.
0:36:53 > 0:36:57I understand that somebody was paid a great deal of money
0:36:57 > 0:36:59to rid the farmhouse of evidence,
0:36:59 > 0:37:04and the man took the money, but he didn't get rid of the evidence.
0:37:04 > 0:37:10The money which we have on display was also treated for fingerprints,
0:37:10 > 0:37:13and on this particular one here,
0:37:13 > 0:37:17we've got fingerprints from one of the train robbers.
0:37:17 > 0:37:22Ken, who looks after the board on behalf of the Thames Valley Police Museum,
0:37:22 > 0:37:25tells us that after the Roadshow, they were offered
0:37:25 > 0:37:26thousands of pounds for the game,
0:37:26 > 0:37:29offers they've refused, especially after seeing the queues
0:37:29 > 0:37:33that lined up to see it when they put it on show after its TV appearance.
0:37:33 > 0:37:35That piece has the honour of being
0:37:35 > 0:37:37the most infamous object we've screened.
0:37:39 > 0:37:43Meanwhile, at our Chatham show, Hilary Kay met a man who was
0:37:43 > 0:37:46inspired by a very different historical event.
0:37:46 > 0:37:48Well, here we are in the County of Kent.
0:37:48 > 0:37:51I didn't know what I'd see today, but I wasn't expecting to see
0:37:51 > 0:37:54a copy of the Bayeux Tapestry. How long is it?
0:37:54 > 0:37:55It's approximately 40 ft.
0:37:55 > 0:37:59Presumably, you went to Bayeux where you were completely inspired
0:37:59 > 0:38:02- and got home and got out your needle and thread.- No.
0:38:02 > 0:38:04- Oh. So, what happened? - Sorry to disappoint you!
0:38:04 > 0:38:07I've never been to Bayeux. I've never seen the original.
0:38:07 > 0:38:11I started it about 17 years ago, but I've actually done
0:38:11 > 0:38:15probably the best part of 14 years, a couple of hours every day.
0:38:15 > 0:38:19This replica of the Bayeux Tapestry created by a visitor, Andy,
0:38:19 > 0:38:22caused quite a stir after appearing on the show.
0:38:22 > 0:38:25He's had offers to display it in exhibitions across the UK
0:38:25 > 0:38:29and was even invited out to the Bayeux Tapestry Museum in Normandy
0:38:29 > 0:38:32where he tells us he enjoyed comparing it to the original.
0:38:34 > 0:38:37And finally, our programme from Newstead Abbey,
0:38:37 > 0:38:39which is looked after by Nottingham City Council,
0:38:39 > 0:38:43saw this rare medal arrive, won by a racing pigeon called Cologne
0:38:43 > 0:38:47that had played a valuable role in World War II.
0:38:47 > 0:38:50Since showing the item, the owner, Sarah, tells us
0:38:50 > 0:38:53she's received new information from family members
0:38:53 > 0:38:55who recall the brave bird returning from his mission
0:38:55 > 0:38:59exhausted and wounded. Dramatically, they had to perform
0:38:59 > 0:39:02an operation to remove shrapnel from his chest.
0:39:02 > 0:39:05Cologne was my grandfather's pigeon.
0:39:05 > 0:39:10My grandfather was the pigeon service officer
0:39:10 > 0:39:12during the Second World War for the East Midlands
0:39:12 > 0:39:16and he was in charge of the pigeons that went up on the bombers
0:39:16 > 0:39:21during the war. Cologne had been on over 100 sorties
0:39:21 > 0:39:26and he was on a flight in June, 1943,
0:39:26 > 0:39:29and the plane crashed over Cologne,
0:39:29 > 0:39:31hence why the pigeon was named Cologne.
0:39:31 > 0:39:33The plane and the crew were lost,
0:39:33 > 0:39:37but Cologne managed to arrive back at my grandfather's house
0:39:37 > 0:39:41a fortnight later, very badly injured
0:39:41 > 0:39:43with his breast bone completely broken
0:39:43 > 0:39:46and the feathers had started to grow over it
0:39:46 > 0:39:52and he was awarded the Dickin Medal, the animals' VC, for his bravery.
0:39:52 > 0:39:56After appearing on the Roadshow, Sarah and her brother were invited
0:39:56 > 0:39:58to attend the Remembrance Day commemorations.
0:39:58 > 0:40:00There, they marched past the Cenotaph,
0:40:00 > 0:40:02proudly holding Cologne's medal
0:40:02 > 0:40:05as part of the tributes to animals in war.
0:40:08 > 0:40:12Next year marks the anniversary of the outbreak of the First World War.
0:40:12 > 0:40:14You may recall our appeal for your family stories
0:40:14 > 0:40:18connected to those years between 1914 and 1918.
0:40:18 > 0:40:21We received over 3,000 responses
0:40:21 > 0:40:24and earlier this year, we selected a small group of visitors
0:40:24 > 0:40:27to join us at the Somme battlefields in Northern France
0:40:27 > 0:40:30to record a special programme which will be shown next year.
0:40:30 > 0:40:32Here's a flavour of that visit.
0:40:34 > 0:40:37The name Edith Cavell resonates
0:40:37 > 0:40:39and for what reason?
0:40:39 > 0:40:42She was a British nurse in Belgium
0:40:42 > 0:40:47during the time of the First World War who was executed by the Germans
0:40:47 > 0:40:51- and your grandmother worked alongside her.- She did.
0:40:51 > 0:40:56- Edith Cavell knowingly broke some of the rules.- Yes.
0:40:56 > 0:41:01But, as she said, patriotism is not enough
0:41:01 > 0:41:03- and she paid the ultimate price for that.- She did.
0:41:10 > 0:41:12We're looking at Alec here.
0:41:12 > 0:41:15- Now, this is his father grieving for his son...- Yeah.
0:41:15 > 0:41:18..painting him as he saw him...
0:41:18 > 0:41:21- Oh, yes. There's a lot of feeling in that.- ..having been through that loss,
0:41:21 > 0:41:25every brush stroke, thinking about that lost son.
0:41:29 > 0:41:32Well, this is a tin whistle
0:41:32 > 0:41:36and it's perfectly ordinary except that it tells a story
0:41:36 > 0:41:38and the story it tells is of Joe.
0:41:38 > 0:41:42And this is Joe, our Joe, Joseph Thomas Clucas, a corporal
0:41:42 > 0:41:45in the Royal Field Artillery, 57th Ammunition Column,
0:41:45 > 0:41:48who joined as a boy soldier,
0:41:48 > 0:41:50joined the Territorial Army, at the age of 14...
0:41:52 > 0:41:55..and was enlisted at the start of the war,
0:41:55 > 0:41:56as many Territorials were,
0:41:56 > 0:42:01was killed at Passchendaele on 21st October, 1917.
0:42:01 > 0:42:05But between the start of the war, through to 1917,
0:42:05 > 0:42:08this whistle, at some point, saved his life
0:42:08 > 0:42:11because the trace of the bullet that hit it when he was wearing it
0:42:11 > 0:42:13is still in the whistle.
0:42:13 > 0:42:17And while it's worthless, while it means nothing to anybody else,
0:42:17 > 0:42:19to our family, it's priceless
0:42:19 > 0:42:22because it tells the story of a time in our history
0:42:22 > 0:42:26when boys like Joe gave everything they had for us,
0:42:26 > 0:42:28so it's precious to us.
0:42:31 > 0:42:33We've got a picture of three chaps here.
0:42:33 > 0:42:37- I'm guessing he's one of them. - Yes, that's my- dad. Yeah?
0:42:37 > 0:42:40- That's his brother, Tom.- Aye.
0:42:40 > 0:42:43Presumably this was taken before he joined up?
0:42:43 > 0:42:47- Yes. Tom got killed at the Somme. - Sorry to hear that.
0:42:47 > 0:42:51- Now, this is a picture of your dad with his medal.- Yeah, yeah.
0:42:51 > 0:42:55He was thin when he came home cos he was a stocky man.
0:42:55 > 0:42:58- Yes. We can see his medal there. - That's right, yeah.
0:42:58 > 0:43:01- Where's that?- Oh, it's in the family.- Good.- Oh, yes.
0:43:01 > 0:43:06- You haven't brought it today?- No. - That's very wise because safety...
0:43:06 > 0:43:09As you haven't got the medal with you,
0:43:09 > 0:43:12we thought that you might like that.
0:43:12 > 0:43:14Oh, wow. Oh, thank you.
0:43:14 > 0:43:17- We've had his name put on the back of it as well.- Oh!
0:43:17 > 0:43:20And I hope that you will display that
0:43:20 > 0:43:22with that cracking good picture
0:43:22 > 0:43:24and that will become a bit of an heirloom.
0:43:24 > 0:43:26- Oh, thank you so much. - It's our pleasure.
0:43:26 > 0:43:30There's another reason why we've brought you here today,
0:43:30 > 0:43:34to this particular place. You talked about the men in the photo here
0:43:34 > 0:43:37- and your father and also your Uncle Tom...- Yes.
0:43:37 > 0:43:41..and he fought here at the Somme and he died here at the Somme.
0:43:41 > 0:43:43This is his cemetery...
0:43:44 > 0:43:49- ..and this is where he's buried. - Is it? Oh!
0:43:49 > 0:43:53So I wondered if you'd like to come and see his grave.
0:43:53 > 0:43:55Look. Here he is.
0:44:09 > 0:44:13- That's a lovely thing to see, that, isn't it?- It is.
0:44:26 > 0:44:28And the first of two special programmes will be shown
0:44:28 > 0:44:30in the spring of next year.
0:44:30 > 0:44:34Perhaps the biggest reaction we've had to any war-related pieces
0:44:34 > 0:44:38was to the heartbreaking story of newlywed Teddy Burrell,
0:44:38 > 0:44:41who kept the truth about his role in the Second World War from his wife
0:44:41 > 0:44:45to keep her from worrying. Rather than working as ground crew,
0:44:45 > 0:44:47he'd actually enlisted as an air gunner,
0:44:47 > 0:44:50going out on dangerous bombing raids.
0:44:50 > 0:44:53Teddy's plane was shot down, killing all the crew in 1942.
0:44:53 > 0:44:57He left his wife, Maisie, a letter to be sent in the event of his death
0:44:57 > 0:45:00and only then did his true contribution to the war
0:45:00 > 0:45:04come to light, in a tender confession that was recounted
0:45:04 > 0:45:05in our Remembrance Special
0:45:05 > 0:45:08when Hilary Kaye met Maisie's granddaughter, Rachel.
0:45:10 > 0:45:14"When you read this letter, one of two things would probably happened.
0:45:14 > 0:45:19"Either I shall be home, off operations, or I shall be missing.
0:45:19 > 0:45:22"That is why I want to write this letter, dearest.
0:45:22 > 0:45:27"Understand, darling, I was to fly over Germany of a night
0:45:27 > 0:45:29"and also sometimes of a day.
0:45:29 > 0:45:32"It was the one thing you dreaded, wasn't it?
0:45:32 > 0:45:35"That was the reason I didn't tell you.
0:45:35 > 0:45:37"I hadn't the heart, darling, I love you too much.
0:45:38 > 0:45:42"At the moment, there are only two months to go before our baby
0:45:42 > 0:45:44"comes into this world.
0:45:44 > 0:45:47"If you do happen to get this letter in unhappy circumstances...
0:45:51 > 0:45:54"..which I pray to God you won't, remember, darling,
0:45:54 > 0:45:57"unhappy moments often turn into happy ones."
0:45:59 > 0:46:04That single letter prompted so many people to get in touch with us
0:46:04 > 0:46:07to tell us how moved they were by Teddy's story.
0:46:07 > 0:46:09And it made Rachel curious to know more.
0:46:09 > 0:46:12A few months ago I met her at the Exeter Roadshow, where
0:46:12 > 0:46:15she was clutching a box full of letters that she's recently found.
0:46:15 > 0:46:18Look at all these letters. Rachel, we've met before, haven't we,
0:46:18 > 0:46:21- at our Remembrance programme just a few years back.- Yes.
0:46:21 > 0:46:28Since then, all these letters have emerged, also written by Teddy.
0:46:28 > 0:46:30Tell me about them.
0:46:30 > 0:46:32Well, I didn't know anything of them,
0:46:32 > 0:46:37and my Auntie Jill went to help my Nan Maisie, to sort some
0:46:37 > 0:46:42things out and suddenly came to visit me with this box of letters
0:46:42 > 0:46:46saying, "This is your inheritance", sort of thing, this is for you.
0:46:46 > 0:46:50And since then I've been trying to look through them
0:46:50 > 0:46:52and finding out what they were about,
0:46:52 > 0:46:55but they're basically love letters, and he wrote every day.
0:46:55 > 0:46:58- Every day?- Yes.- To Maisie.- Yes.
0:46:58 > 0:47:02Now there's a letter here you wanted us to have a look at.
0:47:02 > 0:47:04Now tell me about this one.
0:47:04 > 0:47:06Well, that seems to be the last letter he wrote,
0:47:06 > 0:47:09the day before he was shot down.
0:47:09 > 0:47:13So it was posted I think the day that he...
0:47:13 > 0:47:15- 10th May 1942.- He died on the 11th.
0:47:15 > 0:47:17- This was the day before he died. - Yes.
0:47:17 > 0:47:20"My dearest beloved Maisie,
0:47:20 > 0:47:23"thank you so much for your letter, darling.
0:47:23 > 0:47:27"I was getting a bit worried at not hearing from you,
0:47:27 > 0:47:30"but your letter arrived today, and my worries are over.
0:47:30 > 0:47:33"I meant to write to you last night,
0:47:33 > 0:47:36"but was very busy 'doing my duty to my country'.
0:47:36 > 0:47:38"It was a wonderful leave, wasn't it, dearest?
0:47:38 > 0:47:42"I didn't want to come back here.
0:47:42 > 0:47:45"I'd like to come home and stay for good.
0:47:45 > 0:47:47"We'd be wonderfully happy in our own little home.
0:47:47 > 0:47:48"It's hellish coming back here.
0:47:48 > 0:47:51"I miss you so very, very much, darling."
0:47:51 > 0:47:55- Oh, and then he's put, "I'd go crazy without you."- I know.
0:47:55 > 0:47:58Gosh! "I miss Valerie, too."
0:47:58 > 0:48:00Oh, my goodness me.
0:48:00 > 0:48:04I think also the fact that he was so young, he was just 21,
0:48:04 > 0:48:06- he had a three-week-old baby.- Yes.
0:48:06 > 0:48:10- Obviously adored Maisie. - Yes, definitely, yes.
0:48:10 > 0:48:14- And that was it, and the day after he wrote this letter, he was killed. - He was killed.
0:48:14 > 0:48:18- They're also a testament to what happened to so many people.- Exactly.
0:48:18 > 0:48:23And so many families and relationships and passions,
0:48:23 > 0:48:27you know, that were just irrevocably torn apart by the war.
0:48:27 > 0:48:29And then Maisie, and then Valerie - your mum - you know,
0:48:29 > 0:48:32- had to live and pick up the pieces. - Yes.
0:48:36 > 0:48:39We began this look back on what's proved to be an historic
0:48:39 > 0:48:43year for the Antiques Roadshow with an update on the portrait
0:48:43 > 0:48:46brought along to our show in Cirencester by Father Jamie MacLeod.
0:48:46 > 0:48:48Now he's about to arrive any moment
0:48:48 > 0:48:51here at Hampton Court Palace to find out the answer to his
0:48:51 > 0:48:53all-important question -
0:48:53 > 0:48:55is his painting by the great master, van Dyck?
0:48:55 > 0:48:58Philip Mould, who's overseen the restoration process, is here,
0:48:58 > 0:49:02and Philip, looking at this now, it strikes me that the painting that
0:49:02 > 0:49:05Father Jamie first bought and fell in love with, was very different
0:49:05 > 0:49:09to this, so there's a chance he might not like it so much now.
0:49:09 > 0:49:10I think you're right.
0:49:10 > 0:49:13It is definitely different, in fact, two thirds of the picture
0:49:13 > 0:49:17has pretty well disappeared, but let's not forget that with
0:49:17 > 0:49:21these highly sensitive sketches, often less is more.
0:49:21 > 0:49:26If it is by van Dyck, what are we talking in value terms?
0:49:26 > 0:49:31A sketch of this startling impact - if it is by van Dyck -
0:49:31 > 0:49:33is worth three, perhaps four hundred thousand pounds.
0:49:33 > 0:49:36Wow!
0:49:36 > 0:49:38So that would make this the most valuable painting
0:49:38 > 0:49:40ever to come on the Roadshow.
0:49:44 > 0:49:46'As Father Jamie makes his way to join us,
0:49:46 > 0:49:50'we can only guess how he'll react to the news about his painting.'
0:50:00 > 0:50:04- Hi, Father Jamie, how are you doing? - Quite well, thank you.- Very good to see you.- And you.
0:50:04 > 0:50:09Your painting is under here. It has now been cleaned and restored and you've not seen it, have you?
0:50:09 > 0:50:12- I haven't yet, no.- Do you want to see it?- Please...
0:50:16 > 0:50:18- Wow! - What do you think?
0:50:18 > 0:50:21- Absolutely beautiful, isn't it? - It's very different.
0:50:21 > 0:50:24It is, completely different, yes, made a very nice job of it.
0:50:24 > 0:50:27I was slightly worried you might not like it so much now,
0:50:27 > 0:50:31- because it's so different from the painting that you bought. - It is very different, yes.
0:50:31 > 0:50:32You look a little bit shocked.
0:50:32 > 0:50:35Yes, I think it's completely different,
0:50:35 > 0:50:38it's something which is, you know, you remember how it was and
0:50:38 > 0:50:43then there is the period when you've not seen it for such a long time
0:50:43 > 0:50:47that you miss it in a way and it's something that which, you know,
0:50:47 > 0:50:54you don't realise how much you actually love the portrait itself.
0:50:54 > 0:50:55It's a very, very special portrait.
0:50:55 > 0:50:58The character of it tells you something about him,
0:50:58 > 0:51:01- which in a sense is a mystery. - That mystery is about to be revealed,
0:51:01 > 0:51:04because Philip has been doing a lot of work on this painting.
0:51:04 > 0:51:06I have a theory about this picture.
0:51:06 > 0:51:09Now, in 1634, van Dyck did a huge painting,
0:51:09 > 0:51:12it was called The Magistrates Of Brussels, it was a group
0:51:12 > 0:51:16portrait, but tragically 60 years later it was destroyed
0:51:16 > 0:51:22and it is only known - it's only recorded through a few sketches.
0:51:22 > 0:51:25In fact, I have one of them here in my hand - this is from
0:51:25 > 0:51:30the Ashmolean Museum - and this is, I think, rather similar to yours.
0:51:30 > 0:51:32If you notice the background,
0:51:32 > 0:51:36we've got the same red ground coming through, giving it a warm appearance.
0:51:36 > 0:51:38How the complexion is handled.
0:51:38 > 0:51:42- Mmm.- That rather choppy, fresh, red and pink look.
0:51:42 > 0:51:44Mmm.
0:51:44 > 0:51:47Now, the other thing that survives,
0:51:47 > 0:51:52apart from, in fact, three of these sketches, is the first idea,
0:51:52 > 0:51:57the preparatory thought by van Dyck, for this picture.
0:51:57 > 0:52:00This is the plan, as it were, as to how it would turn out.
0:52:00 > 0:52:04And if you cast your eye along this composition you will see
0:52:04 > 0:52:06a figure in the right hand corner.
0:52:06 > 0:52:08Do you think there's a possibility,
0:52:08 > 0:52:11looking at that, that it could be the same man?
0:52:11 > 0:52:15Yes, I think, you know, looking at him, there is
0:52:15 > 0:52:18the similarity of the ruffle and, of course, you know,
0:52:18 > 0:52:20looking at the angle it's been taken.
0:52:20 > 0:52:25So, through these art historical scraps,
0:52:25 > 0:52:30we've put together an argument and we've presented it to
0:52:30 > 0:52:34Christopher Brown, who is the Director of the Ashmolean Museum,
0:52:34 > 0:52:37the museum indeed that has two of these sketches.
0:52:37 > 0:52:45And he's also the national expert on van Dyck and we asked him
0:52:45 > 0:52:50whether he was prepared to be quoted - one way or another - saying
0:52:50 > 0:52:53whether this was a work by the great master.
0:52:53 > 0:52:55Well, come on Philip, what did he say?
0:52:55 > 0:53:01Well, Jamie, I'm delighted to be able to tell you that you
0:53:01 > 0:53:05do have a work by Sir Anthony van Dyck.
0:53:06 > 0:53:12And a really interesting one, in as much that it relates to this great
0:53:12 > 0:53:19lost picture that was destroyed in the 1690s, and you have... Your
0:53:19 > 0:53:24sketch joins another two, together with this preparatory work, which are
0:53:24 > 0:53:29testament to this epic painting that is sadly no longer with us.
0:53:29 > 0:53:31So, what do you think?
0:53:31 > 0:53:33You are the owner of a van Dyck.
0:53:33 > 0:53:38I'm just completely shocked, yes, it's just a...
0:53:38 > 0:53:41- A van Dyck! - It's just amazing, isn't it?
0:53:41 > 0:53:47It's, you know, if only he could speak, he'd be jumping up for joy.
0:53:48 > 0:53:51I remember you told me that if you were to sell this painting,
0:53:51 > 0:53:54you wanted to buy some new bells for your chapel. Is that still the plan?
0:53:54 > 0:53:56Yes, it is still the plan.
0:53:56 > 0:54:01Um, I would like this country to be able to commemorate the 100th
0:54:01 > 0:54:06anniversary of the First World War, and I think that, as a nation,
0:54:06 > 0:54:11we owe that to the people who gave their lives for the world today.
0:54:11 > 0:54:14So, Philip, it's so exciting.
0:54:14 > 0:54:17Now that we know this is by the great master,
0:54:17 > 0:54:21will Father Jamie be able to afford his bells?
0:54:21 > 0:54:26I don't know, Jamie, what the going price for bells is, these days.
0:54:26 > 0:54:30But I can tell you that this will almost certainly assist you.
0:54:30 > 0:54:35It's a wonderfully intimate sketch by the great master.
0:54:35 > 0:54:39The value of this painting is £300,000 to £400,000.
0:54:39 > 0:54:43Gosh, amazing. Very good.
0:54:45 > 0:54:49You just look - you look a bit shocked by it all.
0:54:49 > 0:54:52Yes, I think I am shocked.
0:54:52 > 0:54:55It's... I remember, Philip, you said that it was going to be
0:54:55 > 0:54:59a very harrowing experience, and I think it has,
0:54:59 > 0:55:04and this last few weeks has been rather stressful to say the least.
0:55:04 > 0:55:10And not knowing or, you know, the years it's hung on the wall,
0:55:10 > 0:55:12looking at it, thinking - who are you?
0:55:12 > 0:55:16And the very first time it fell off the wall
0:55:16 > 0:55:24and smashed up my CD player, it was, you know, was it meant to be?
0:55:24 > 0:55:28And, you know, it's just so wonderful, you know, to remember how
0:55:28 > 0:55:33it was and, you know, that it's been restored and equally as nice.
0:55:34 > 0:55:39And can I just say, Jamie, it was harrowing for us as well.
0:55:39 > 0:55:44I mean, this three or four months of watching it change,
0:55:44 > 0:55:46and not only change but largely disappear in the process.
0:55:46 > 0:55:50I mean, two thirds of this painting has simply gone onto
0:55:50 > 0:55:52swabs of cotton wool.
0:55:52 > 0:55:56And to see it now, in this radically different way,
0:55:56 > 0:55:59well, it's amongst the very few examples I can think of,
0:55:59 > 0:56:02of a picture changing quite so much.
0:56:02 > 0:56:04- Your painting.- Yes.
0:56:04 > 0:56:08Well, if it does sell for the price that Philip's talking about, it
0:56:08 > 0:56:12will be the most valuable painting ever to have come on the Roadshow.
0:56:12 > 0:56:15Can we follow this journey now, with this painting,
0:56:15 > 0:56:17- where it goes from here? - Be delighted to.
0:56:17 > 0:56:19How exciting!
0:56:19 > 0:56:22I hope you've enjoyed this special episode of the Antiques Roadshow.
0:56:22 > 0:56:25And who knows, it could happen to you.
0:56:25 > 0:56:29So, dust down those treasures and join us in 2014.
0:56:29 > 0:56:31Here are all the different places we'll be visiting,
0:56:31 > 0:56:32and we'll be ready to meet you
0:57:15 > 0:57:18And, by the way, if you enjoyed the story of our van Dyck discovery,
0:57:18 > 0:57:22join Philip Mould and me for a new series of Fake Or Fortune,
0:57:22 > 0:57:24starting on Sunday January 19th.
0:57:24 > 0:57:27In the meantime, on behalf of all our team,
0:57:27 > 0:57:29may I wish you a happy and prosperous New Year.