0:00:08 > 0:00:10When this cathedral was completed in the 14th century,
0:00:10 > 0:00:13the Bishop of Exeter informed the Pope that the city had
0:00:13 > 0:00:17a church to rival all the cathedrals of England and France.
0:00:17 > 0:00:19And you can see why.
0:00:19 > 0:00:25Up there is the longest medieval vaulted ceiling in the world.
0:00:27 > 0:00:30Welcome, for a return visit of the Antiques Roadshow,
0:00:30 > 0:00:32to Exeter, in Devon.
0:01:12 > 0:01:16With its flying buttresses and imposing presence,
0:01:16 > 0:01:20Exeter is one of the oldest cathedrals in Britain.
0:01:20 > 0:01:21Built in the 12th century by
0:01:21 > 0:01:23a nephew of William the Conqueror,
0:01:23 > 0:01:25it's certainly wearing well.
0:01:25 > 0:01:28It looks as if it hasn't changed since it was built.
0:01:28 > 0:01:31But rather like the antiques brought along to the Roadshow, it's
0:01:31 > 0:01:35only when you look more closely that history begins to reveal itself.
0:01:37 > 0:01:41The cathedral was more or less rebuilt in the 1300s.
0:01:41 > 0:01:44The two massive Norman-style towers are all that
0:01:44 > 0:01:46remains of the original building.
0:01:46 > 0:01:50The keen-eyed amongst you might spot they have round arched windows.
0:01:50 > 0:01:53The newer parts have pointed arches.
0:01:57 > 0:02:00Inside, the cathedral is filled with features
0:02:00 > 0:02:04and memorials that speak of 1,000 years of history.
0:02:04 > 0:02:07This plaque is dedicated to John Graves Simcoe,
0:02:07 > 0:02:11who comes from Exeter, and amongst his impressive
0:02:11 > 0:02:13list of achievements, he was Governor of Toronto
0:02:13 > 0:02:17and he started the abolition of slavery throughout upper Canada in
0:02:17 > 0:02:221793, long before the end of slavery in the British Empire as a whole.
0:02:25 > 0:02:29During the Second World War, on the night of May 4th, 1942
0:02:29 > 0:02:32the Luftwaffe bombed Exeter.
0:02:32 > 0:02:35The cathedral was hit, flattening the south chapel.
0:02:38 > 0:02:41The explosion also shattered this choir screen, which was
0:02:41 > 0:02:43directly opposite.
0:02:43 > 0:02:47Fortunately, after the war, it was painstakingly reassembled
0:02:47 > 0:02:51with thousands of fragments made to replace what was destroyed.
0:02:51 > 0:02:54Those are the lighter pieces in the screen.
0:02:54 > 0:02:56King George, visiting after the bombing,
0:02:56 > 0:03:00described it as the "biggest jigsaw puzzle in the world".
0:03:05 > 0:03:09The chapel was also fully restored with one modern touch.
0:03:09 > 0:03:12Have a look - the cheeky chap in the flat cap over there -
0:03:12 > 0:03:14he was the master mason.
0:03:18 > 0:03:20Today, with the crowds gathered on the green, it's the turn
0:03:20 > 0:03:25of the Roadshow to add itself to the long history of Exeter Cathedral.
0:03:25 > 0:03:28Fancy pitting your wits against our experts?
0:03:28 > 0:03:32Play along with our valuation game - just press red on your remote
0:03:32 > 0:03:36control or go to our app on your tablet, or on your smartphone.
0:03:39 > 0:03:42There are many great things about the Roadshow, and one of them
0:03:42 > 0:03:45is when something comes in that specialists like me
0:03:45 > 0:03:49have never seen before, and here is a wonderful object.
0:03:49 > 0:03:52I love it, absolutely love it.
0:03:52 > 0:03:56It's amusing, it's fun, it's rare. Tell me about it.
0:03:56 > 0:03:58Do you know where it came from, or...?
0:03:58 > 0:04:01To be absolutely honest, it's been in the family for...
0:04:01 > 0:04:03Well, as long as I can remember.
0:04:03 > 0:04:06I think it must have... Its provenance is from Denmark,
0:04:06 > 0:04:10because most of John - my husband's - bits and pieces came from Denmark
0:04:10 > 0:04:14because he is Danish... But apart from that, we've always
0:04:14 > 0:04:17absolutely loved it because it's so charming...
0:04:17 > 0:04:19Any idea what it is?
0:04:19 > 0:04:22Absolutely no idea. I'm dying to know, so please put me
0:04:22 > 0:04:25out of my misery. Well, all of us.
0:04:25 > 0:04:28OK, Well, if we just turn it round a bit,
0:04:28 > 0:04:30it's actually rather nicely made.
0:04:30 > 0:04:33- Obviously we can see it's a squirrel.- A dear little person.
0:04:33 > 0:04:36The body is a coconut, as we can all see,
0:04:36 > 0:04:39the mounts are all made in silver
0:04:39 > 0:04:45and the eyes are probably red glass. It's all been textured to look like
0:04:45 > 0:04:51fur and it's a really fun piece, but it's actually a table lighter.
0:04:51 > 0:04:57And this used to have a wick in there, that burnt.
0:04:57 > 0:05:00And it stood on a table with the wick burning,
0:05:00 > 0:05:02and this was for snuffing out the flame...
0:05:04 > 0:05:09..and then the ear actually serves as the lighter,
0:05:09 > 0:05:11which had its own bit of wick,
0:05:11 > 0:05:15and you lit that from the big flame and then lit your cigar.
0:05:15 > 0:05:17Extraordinary.
0:05:17 > 0:05:21Now, you mentioned Denmark. If we turn it up
0:05:21 > 0:05:24and look at these marks at the front, those are marks for Germany.
0:05:24 > 0:05:26Oh, right!
0:05:26 > 0:05:29- And they tell us that it was made round about 1890.- Mm.
0:05:29 > 0:05:34And, really, it's the sort of thing I'd like to take home.
0:05:34 > 0:05:36Well, you can't have it, sorry.
0:05:36 > 0:05:38I love it to bits, we all love it.
0:05:38 > 0:05:39And you're nuts about it. Oh.
0:05:39 > 0:05:42Gosh, yes, nuts about it.
0:05:42 > 0:05:46I think it's absolutely great, it's charmingly made, it's amusing,
0:05:46 > 0:05:51if it ever came on the market, which I know it's not, but there'd
0:05:51 > 0:05:54be a lot of people wanting it, so I think it's worth quite a bit.
0:05:54 > 0:05:59I think probably in the region of... At least £1,500 maybe £2,000.
0:05:59 > 0:06:03Thank you. It's a humdinger, really. I wasn't expecting that.
0:06:07 > 0:06:11This is a really ropey leather trunk, isn't it?
0:06:11 > 0:06:14Um, it's distressed, like its owner.
0:06:14 > 0:06:15HE LAUGHS
0:06:15 > 0:06:17You don't look too distressed to me,
0:06:17 > 0:06:20but explain - why is it in such terrible condition?
0:06:20 > 0:06:22It was a boyfriend's toy box many years ago,
0:06:22 > 0:06:25hence the embellishments on the lid there.
0:06:25 > 0:06:27I say, I can see a flower cut into the leather there.
0:06:27 > 0:06:30- And are you still with that boyfriend?- No, no, no, no.
0:06:30 > 0:06:33So how do you have his toy box?
0:06:33 > 0:06:34He knew that I loved it - you know,
0:06:34 > 0:06:38probably I loved it more than he loved it, so he left it with me.
0:06:38 > 0:06:41Well, that was very nice of him, I have to say.
0:06:41 > 0:06:44Well, there's something very special about this, though, as an object.
0:06:44 > 0:06:47I think you know who it's made by, don't you?
0:06:47 > 0:06:49- Well, I didn't know originally. - Right.
0:06:49 > 0:06:53But when celebrity culture took hold, and I saw Victoria Beckham
0:06:53 > 0:06:56with Louis Vuitton luggage and handbags, I did notice that
0:06:56 > 0:07:00we've got "LV" and "Louis Vuitton" on all the little rivets, and...
0:07:00 > 0:07:05Absolutely. And that is the magical thing about this trunk.
0:07:05 > 0:07:08And we all know that company for its monogram,
0:07:08 > 0:07:11the LV monogram, which, of course, we expect to see on a lot of luggage.
0:07:11 > 0:07:13Yeah.
0:07:13 > 0:07:14This hasn't got that.
0:07:14 > 0:07:19What it's got is these LV marks and this mark on the clasp here
0:07:19 > 0:07:23that you can see, but also if we open it up inside, we can see that
0:07:23 > 0:07:30it's got this mark, "Louis Vuitton 149, New Bond Street, London".
0:07:30 > 0:07:35Now, I know that their Oxford Street shop opened in around about 1885,
0:07:35 > 0:07:40so that very neatly dates this trunk to around about 1890.
0:07:40 > 0:07:44- Wow!- What do you use it for now?
0:07:44 > 0:07:46It's in use as a foot stool,
0:07:46 > 0:07:49a coffee table, as you might be able to tell.
0:07:49 > 0:07:52- Yes, right.- And it now sits underneath my window, so when I pull
0:07:52 > 0:07:55my blind or my curtains or I put up lovely Christmas decorations...
0:07:55 > 0:07:57Yes.
0:07:57 > 0:07:58- ..I stand on it.- You stand on it?
0:07:58 > 0:07:59SHE LAUGHS
0:07:59 > 0:08:03So these are probably heel marks on the top of it as well, are they?
0:08:03 > 0:08:06Well, I have to say, I think really you should start treating it
0:08:06 > 0:08:10a little bit differently and, frankly, if you had to go to auction
0:08:10 > 0:08:15and buy this now, you would have to pay £2,000 to £3,000 for this trunk.
0:08:15 > 0:08:17Wow! Fabulous!
0:08:20 > 0:08:23So your boyfriend left you with something that was relatively
0:08:23 > 0:08:25valuable.
0:08:25 > 0:08:27Now, I'm hoping that he probably isn't going to be watching
0:08:27 > 0:08:31the programme, and that he's not going to ask for it back.
0:08:31 > 0:08:33He might ask for ME back.
0:08:33 > 0:08:35LAUGHTER
0:08:40 > 0:08:44You've brought two pictures in today which have two very different
0:08:44 > 0:08:45- styles.- Yes.
0:08:45 > 0:08:49And the first one, down here, is very, very distinctive, with
0:08:49 > 0:08:52the palette knife work, and it can only be by Kyffin Williams,
0:08:52 > 0:08:55and we get two for the price of one, with this one.
0:08:55 > 0:08:59We turn it round and on the back we've got the people going
0:08:59 > 0:09:02over the rocks there.
0:09:02 > 0:09:04Yeah.
0:09:04 > 0:09:08On the reverse, and the cottages on the front.
0:09:08 > 0:09:11I see it's not signed but I know it's by him,
0:09:11 > 0:09:12so how did you get that?
0:09:12 > 0:09:15He had an exhibition in the Leicester Galleries -
0:09:15 > 0:09:17it's a long time ago, about 50-odd years-plus,
0:09:17 > 0:09:21and I got in touch with him through a friend of my wife's who knew him,
0:09:21 > 0:09:25and they arranged that I could go and meet him in his studio in
0:09:25 > 0:09:27Holland Park, so I duly went along there and looked at it,
0:09:27 > 0:09:29and saw that.
0:09:29 > 0:09:31I didn't even see the one on the back.
0:09:31 > 0:09:34And liked it very much and asked him how much it was,
0:09:34 > 0:09:38and it was all of £30 and I couldn't really afford it
0:09:38 > 0:09:41because my salary was only about £500 a year.
0:09:41 > 0:09:44Anyway, he said, "You can pay it in bits when you can," so
0:09:44 > 0:09:48I bought it on the never-never, and hence the reason I've still got it.
0:09:48 > 0:09:51- That's the sort of man he was. - Oh, he was a fantastic man.
0:09:51 > 0:09:52He was a lovely, lovely man.
0:09:52 > 0:09:56- So you got it, what, late- '50s? Yeah.
0:09:56 > 0:09:59It's a very nice early one, and also the style, oil on canvas, you've got
0:09:59 > 0:10:04this impasto work which he did with a palette knife, absolutely typical.
0:10:04 > 0:10:08The one at the top here, though, very different style, Impressionistic,
0:10:08 > 0:10:12and again I know exactly who that's by, it's by Edward Seago, Ted Seago.
0:10:12 > 0:10:13It is, yes.
0:10:13 > 0:10:16And it's absolutely wonderful. So how did you get that one?
0:10:16 > 0:10:18Well, that's another story.
0:10:18 > 0:10:20I happened to meet him by chance in the island of Ponza,
0:10:20 > 0:10:24off Anzio, and you sort of say "hello" for the first day, and you
0:10:24 > 0:10:27say "it's a nice day" for the second day and we eventually got talking,
0:10:27 > 0:10:29and I said, "Tell me what you do,"
0:10:29 > 0:10:32and it turned out he was Edward Seago.
0:10:32 > 0:10:35And years later I wanted to have one of his pictures,
0:10:35 > 0:10:38so I wrote to him in about the late '60s and said, you know,
0:10:38 > 0:10:40"Dear Mr Seago, you won't remember me, but..."
0:10:40 > 0:10:42And got this lovely letter back
0:10:42 > 0:10:43saying, "Yeah, but I can do one for you
0:10:43 > 0:10:46"when you're next in England. I'll see what I can do. And, by the way,
0:10:46 > 0:10:49"have you got any nice houses for sale?"
0:10:49 > 0:10:52Because I was working as an agent for the Aga Khan in Sardinia.
0:10:52 > 0:10:55And so I wrote back and, to cut a long story short,
0:10:55 > 0:10:57he eventually said, well, he'd come out,
0:10:57 > 0:11:00I said, "Come and stay with me," and he actually came and stayed
0:11:00 > 0:11:03with me - there's a photograph of him having breakfast on my terrace.
0:11:03 > 0:11:04- There he is.- Fantastic!
0:11:04 > 0:11:06With his companion and good friend, Peter Seymour.
0:11:06 > 0:11:08Absolutely fantastic!
0:11:08 > 0:11:12- And, of course, I have seen pictures by him of Sardinia.- Have you?
0:11:12 > 0:11:14Oh, yes, over the years, I've sold some.
0:11:14 > 0:11:19Well, I can tell you this is a classic Seago - it's wonderful,
0:11:19 > 0:11:23and the light on the back of the cattle here, just wonderful.
0:11:23 > 0:11:27Yes, it's unfinished - that is why it's not signed, but it's
0:11:27 > 0:11:31still as spontaneous as any of his other pictures that ARE signed.
0:11:31 > 0:11:34But I think it's just fantastic to have the personal stories that
0:11:34 > 0:11:35you knew both these artists.
0:11:35 > 0:11:38Now, when you look at these in value today,
0:11:38 > 0:11:42Kyffin, in the last 10 or 20 years, has gone up in value hugely.
0:11:42 > 0:11:46What is a picture like that worth, painted on the reverse?
0:11:46 > 0:11:50Certainly £10,000 to £15,000. So your £30...
0:11:52 > 0:11:56The one above here by Seago, again, is just a classic.
0:11:56 > 0:11:58I don't care that it's not signed.
0:11:58 > 0:12:04His signature's there, and that's worth a minimum of £6,000 to £8,000.
0:12:06 > 0:12:08Right, thanks very much.
0:12:12 > 0:12:17You know, this bit of metal was a heck of a thing for our lads
0:12:17 > 0:12:18to bring up today.
0:12:18 > 0:12:20It weighs a huge amount.
0:12:20 > 0:12:24It's the top panel of a Morrison indoor air raid shelter
0:12:24 > 0:12:26and it dates from 1942.
0:12:26 > 0:12:29Well, now, the Morrison shelter - or the Morrison table shelter,
0:12:29 > 0:12:32as it's correctly called - was basically that.
0:12:32 > 0:12:37It was designed as a table, a kitchen table, dining table,
0:12:37 > 0:12:43made out of steel and grilled-wire sides, and the idea was that
0:12:43 > 0:12:48if there was an air raid, a family - perhaps three people,
0:12:48 > 0:12:50plus a dog, perhaps - would rush
0:12:50 > 0:12:54under the table and close the sides
0:12:54 > 0:13:01and if the house collapsed on top of the shelter, that they would survive.
0:13:01 > 0:13:06Well, in Exeter, 219 houses with Morrison shelters were actually
0:13:06 > 0:13:12totally destroyed and from those 219 only two fatalities were incurred.
0:13:12 > 0:13:16Now, of course, one bomb fell on the cathedral in 1942 and here
0:13:16 > 0:13:22we have the tail fin from that bomb,
0:13:22 > 0:13:24and that's kept in the cathedral.
0:13:24 > 0:13:26That was a very common bomb
0:13:26 > 0:13:29dropped by the Germans during the Second World War.
0:13:29 > 0:13:31That would have done a huge amount of damage,
0:13:31 > 0:13:37but thousands and thousands of lives were saved
0:13:37 > 0:13:40because of Morrison table shelters like this.
0:13:40 > 0:13:44And the interesting thing is that, however heavy this weighs,
0:13:44 > 0:13:47and it weighs a huge amount, the instructions that came with it
0:13:47 > 0:13:52showed a couple of people putting this together - you know - a family.
0:13:52 > 0:13:56- Yes, it was like Meccano set, wasn't it?- It was a kit, came as a kit.
0:13:56 > 0:13:58Now, they were called Morrison shelters
0:13:58 > 0:14:01because they were named after Herbert Morrison,
0:14:01 > 0:14:05the Home Secretary, and he was so frustrated that they weren't
0:14:05 > 0:14:10developing something quick enough - a shelter for the public - that
0:14:10 > 0:14:14he's reputed to have said, "I'm going to lock you all in a room and you're
0:14:14 > 0:14:19"not going to come out until you've designed me an indoor shelter."
0:14:19 > 0:14:25But apparently they did, and the Morrison shelter was the result.
0:14:25 > 0:14:27Where on earth did YOU get it from?
0:14:27 > 0:14:34Well, this, along with 243 other panels, formed, from 1947
0:14:34 > 0:14:37- until 2005, the safety fence of Exeter Speedway.- No!
0:14:37 > 0:14:41Yes, yes, I've whitewashed it many times.
0:14:41 > 0:14:43But where did Exeter Speedway get them from?
0:14:43 > 0:14:47Well, there was a gentleman had a salvage business at Exwick
0:14:47 > 0:14:50in Exeter, and after the war there were over 5,000 Morrison
0:14:50 > 0:14:54shelters in Exeter, distributed in Exeter, and he collected them all.
0:14:54 > 0:14:56He was a director of the speedway.
0:14:56 > 0:14:59All the wooden fencing that had been at the old track before the war
0:14:59 > 0:15:03had been burned by soldiers who'd been stationed at the stadium during
0:15:03 > 0:15:07the war, British and American, and so they had to replace it.
0:15:07 > 0:15:09Everything was on ration
0:15:09 > 0:15:12but he had all these panels in his warehouse and he built the fence.
0:15:12 > 0:15:15And when the stadium was being demolished,
0:15:15 > 0:15:16we took five of these panels.
0:15:16 > 0:15:19Well, you know, we come to the time when I've got to try
0:15:19 > 0:15:23and put a valuation on this piece of scrap metal,
0:15:23 > 0:15:28and I fear that's basically what it is, a bit of scrap metal.
0:15:28 > 0:15:31I guess a collector would probably pay £100 for it.
0:15:31 > 0:15:32That's all that it's worth.
0:15:32 > 0:15:35I never thought it would be worth that, but I do know a lot of people
0:15:35 > 0:15:37that would like a part of it.
0:15:37 > 0:15:39We were going to cut them up once and sell them
0:15:39 > 0:15:42to raise money for the new track, but we might still do that.
0:15:42 > 0:15:45Do you know, I wonder how many people at home have said,
0:15:45 > 0:15:46"Hang on, we've got one of those
0:15:46 > 0:15:48"in the shed at the bottom of the garden!"
0:15:48 > 0:15:51I bet there are a lot still around, but people don't know what they are.
0:15:51 > 0:15:53Exactly!
0:15:53 > 0:15:55THEY LAUGH
0:15:55 > 0:15:59Three lovely Chinese silk jackets embroidered with all
0:15:59 > 0:16:01sorts of symbols.
0:16:01 > 0:16:03What I'd like to know is the story
0:16:03 > 0:16:06of how they actually got here, to Exeter.
0:16:06 > 0:16:08They were left to my grandmother.
0:16:08 > 0:16:13They arrived in 12 rather wonderful trunks from Shanghai,
0:16:13 > 0:16:17where a great uncle of hers had gone to live,
0:16:17 > 0:16:22had married a German lady by the name of Lita,
0:16:22 > 0:16:26and the great uncle had been really the black sheep of the family
0:16:26 > 0:16:28and nobody discussed him at all.
0:16:28 > 0:16:32But marrying a German in Shanghai doesn't sound as if it was
0:16:32 > 0:16:35a particularly black-sheepy thing to do.
0:16:35 > 0:16:38No, but I think the problem was that Lita actually
0:16:38 > 0:16:41ran a house of ill repute, a bordello.
0:16:41 > 0:16:44- She was a madam?- She was a madam. - My goodness.
0:16:44 > 0:16:48And she had these clothes made for her, and they're very beautiful,
0:16:48 > 0:16:52and I think the work in them is actually fantastic.
0:16:52 > 0:16:55They have got some lovely pieces of work,
0:16:55 > 0:16:59and in fact they do tell a story. It's very interesting.
0:16:59 > 0:17:03This is a Daoist symbol here, which is the eight-sided trigram
0:17:03 > 0:17:07with symbols through each of the eight areas,
0:17:07 > 0:17:10and in the centre is the Yin and Yang symbol,
0:17:10 > 0:17:12and in fact it's on all of them.
0:17:12 > 0:17:15- If you have a look, it's on the pink one and the one in the middle.- Yes.
0:17:15 > 0:17:19And here, this is cash, coins.
0:17:19 > 0:17:21Oh, is it?
0:17:21 > 0:17:23So, it's got longevity,
0:17:23 > 0:17:25it's got money,
0:17:25 > 0:17:27- you know, success.- Mm.
0:17:27 > 0:17:31And this is another sign of longevity -
0:17:31 > 0:17:32you've got a bat symbol on the top,
0:17:32 > 0:17:34and then a shou below it.
0:17:34 > 0:17:38- This symbol here is known as a shou. - Right.
0:17:38 > 0:17:42So, it's speaking volumes to anybody who wore it -
0:17:42 > 0:17:46it's full of auspicious symbols of good luck and longevity.
0:17:48 > 0:17:53The panels here are obviously the better-quality pieces,
0:17:53 > 0:17:57the panels and the bottom areas and the neck.
0:17:57 > 0:18:02The rest is not such close and good work.
0:18:02 > 0:18:08As far as date is concerned, I'd put them round about 1900-1910.
0:18:08 > 0:18:12- Does that fit in with family history? - Yes, I would say so, yes.- Right.
0:18:12 > 0:18:16So, was it just clothing that came back in those 12 trunks?
0:18:16 > 0:18:21Oh, not at all, no - there was a collection of erotic jade pieces
0:18:21 > 0:18:23that arrived as well.
0:18:23 > 0:18:27And my grandmother was so appalled with what the figures were doing,
0:18:27 > 0:18:30she took them out onto the pavement outside her house,
0:18:30 > 0:18:34and she smashed them all on the pavement cos she was so horrified,
0:18:34 > 0:18:36except one piece which she kept,
0:18:36 > 0:18:38which was so complicated she couldn't really see
0:18:38 > 0:18:42what they were doing, and she put it on her mantelpiece and enjoyed it
0:18:42 > 0:18:45for a few weeks until a friend appeared and said,
0:18:45 > 0:18:49"Alma, do you know what those people are doing on your mantelpiece?"
0:18:49 > 0:18:54And being a vicar's wife, she said, "No - how simply appalling!"
0:18:54 > 0:18:57- And that was removed and it was smashed on the pavement as well.- No!
0:18:57 > 0:19:01- So you could have saved one of those pieces, but no.- One.
0:19:01 > 0:19:06I suppose the comfort is that they would not have been hugely valuable,
0:19:06 > 0:19:09so we will put that to one side.
0:19:09 > 0:19:13- You have not lost, you know, £10 million. LAUGHING:- No!
0:19:13 > 0:19:17Let's concentrate on what we actually have, and these three robes,
0:19:17 > 0:19:20I would say that they're worth
0:19:20 > 0:19:22£200 to £300 each,
0:19:22 > 0:19:24so together about £900.
0:19:24 > 0:19:29- Gosh, yes, fascinating.- Great.
0:19:47 > 0:19:49Well, I've got bored with looking at jewellery,
0:19:49 > 0:19:52so I thought I'd try my hand with furniture.
0:19:52 > 0:19:54Could you tell me about this?
0:19:54 > 0:19:57Yes, I inherited this about nine years ago from my great aunt,
0:19:57 > 0:20:01and it's an apothecary's chest that doctors would keep medicines in.
0:20:01 > 0:20:04I've had it in my house for seven years and was watching
0:20:04 > 0:20:07the Antiques Roadshow and an expert had a look at one and said,
0:20:07 > 0:20:09"There's usually a secret compartment somewhere."
0:20:09 > 0:20:13So I had a little look around and discovered that there is indeed
0:20:13 > 0:20:16- a secret compartment.- Oh, fabulous. I love secret compartments.
0:20:16 > 0:20:17And on the back...
0:20:17 > 0:20:21- slide the door across, and inside...- Fantastic!
0:20:21 > 0:20:25- ..was...- No!- ..a ring box.- A ring!
0:20:25 > 0:20:28- What did you think when you found this?- Shock, total shock.
0:20:28 > 0:20:30I didn't expect to find the compartment,
0:20:30 > 0:20:33- let alone anything inside it. - Oh, that's brilliant.
0:20:36 > 0:20:37Now...
0:20:38 > 0:20:41..what is interesting, the box...
0:20:43 > 0:20:46"The leading London goldsmiths",
0:20:46 > 0:20:50and it's got "Brixton, Lewisham, Camden Town, Streatham, Peckham,
0:20:50 > 0:20:54"Kingsland, Putney, Balham, Sutton and Hackney".
0:20:54 > 0:20:56Quite a few shops.
0:20:58 > 0:21:01- I think somebody might have got to this before you.- OK.
0:21:03 > 0:21:06- Because they're not diamonds.- Oh.
0:21:08 > 0:21:10I think there could have been diamonds -
0:21:10 > 0:21:13- this is in a nine-carat gold mount. - Yes, yes.
0:21:13 > 0:21:17So someone might have found the secret compartment,
0:21:17 > 0:21:20looked at the ring, thought, "I'll have them."
0:21:20 > 0:21:23And swapped them with paste.
0:21:23 > 0:21:25I'm afraid it's a paste ring.
0:21:25 > 0:21:28I said all along it probably wasn't real.
0:21:28 > 0:21:32- Oh, and it's worth about £5. - Bus fare home.
0:21:33 > 0:21:36Your bus fare home.
0:21:36 > 0:21:42Um, and this cabinet, I have been told, is about £300 to £400.
0:21:42 > 0:21:43Excellent.
0:21:44 > 0:21:49- Two rather interesting watches. - Yes.- Divided by nearly 200 years.
0:21:49 > 0:21:52- Really?- So, are they family things or are you a collector?
0:21:52 > 0:21:55They're family things, they came from my mum's family.
0:21:55 > 0:21:57I'm not quite sure how far back they go,
0:21:57 > 0:22:01- I know nothing about them, really. - OK, well let's start with this one,
0:22:01 > 0:22:04because this is an English Pair Cased watch,
0:22:04 > 0:22:07called a Pair Case quite simply because it has a pair of cases,
0:22:07 > 0:22:09- an outer and an inner.- Right.
0:22:09 > 0:22:11And then looking at this,
0:22:11 > 0:22:15we've got a fabulous white enamel dial
0:22:15 > 0:22:17- with blued steel beetle and poker hands.- Yes.
0:22:17 > 0:22:20- Very typically mid-18th century. - Right.
0:22:22 > 0:22:25Now, these things - have you ever been inside this?
0:22:25 > 0:22:30- I haven't, no, no.- OK. They're always signed and numbered.
0:22:31 > 0:22:33Look at that.
0:22:33 > 0:22:34That is by a local boy,
0:22:34 > 0:22:36Edward Upjohn of Exeter.
0:22:38 > 0:22:42- The right place today.- Exactly. So you didn't know this was...?
0:22:42 > 0:22:44I didn't know, no, no. Not at all.
0:22:44 > 0:22:48- He is a great maker who started off work in Shaftesbury in Dorset.- Yes.
0:22:48 > 0:22:51Not too far away. He then went to America, even further away.
0:22:51 > 0:22:56He came back here, worked in Devon. He arrived in Exeter, the late 1730s,
0:22:56 > 0:23:01- and worked till he died in the mid 1760s.- OK.
0:23:01 > 0:23:03It's a great thing, I love it.
0:23:03 > 0:23:07Now, when we look at the outer case here...
0:23:07 > 0:23:09it's just a plain tortoiseshell- covered case.
0:23:09 > 0:23:12- I wondered if it was tortoiseshell. - And that is wrong for the period.
0:23:12 > 0:23:16- Right.- This is the sort of thing I would expected to have seen, really,
0:23:16 > 0:23:18- some time after 1780s.- Right.
0:23:18 > 0:23:21Quite interesting to have seen how perhaps that got damaged,
0:23:21 > 0:23:23and it's been recovered.
0:23:23 > 0:23:27- Now, this is very visual.- Yes.
0:23:27 > 0:23:30- Well into the 20th century.- Really?
0:23:30 > 0:23:33The give-away, really, is the quality of the enamel,
0:23:33 > 0:23:36- and it's got this eccentric dial. - Yes.
0:23:36 > 0:23:39It's very, very typically Swiss,
0:23:39 > 0:23:44and, of course, it's silver and enamel. But if I turn it over...
0:23:45 > 0:23:49- we reveal the joy of this watch. - Yes.
0:23:49 > 0:23:52But that is as good a foxhound
0:23:52 > 0:23:55- as I've seen enamelled on any watch back.- It's very good.- It's lovely.
0:23:55 > 0:23:58- Yes.- And look at the colours, the vibrancy.
0:23:58 > 0:24:00I've always liked that one from that point of view.
0:24:00 > 0:24:03It's a wonderful thing. I mean, imagine being at a sort of
0:24:03 > 0:24:061930s dinner party and whipping that out of a waistcoat pocket.
0:24:06 > 0:24:10That's absolutely superb - it's a lovely, lovely dress watch.
0:24:10 > 0:24:13- Yes, yes.- And again...
0:24:13 > 0:24:16there, Swiss marks, and the eccentric movement as well,
0:24:16 > 0:24:19- to go with the eccentric dial.- Yes.
0:24:19 > 0:24:23So which do you think is the more valuable?
0:24:23 > 0:24:25I would imagine that one.
0:24:27 > 0:24:30I wish it was, but it's not. It's a real shame.
0:24:30 > 0:24:33- That's a pity, isn't it? - The purists want this.- Yes.
0:24:33 > 0:24:35But this is a different market.
0:24:35 > 0:24:38So, price at auction on that, in that state,
0:24:38 > 0:24:41- bearing in mind it's been recovered...- Yes.
0:24:41 > 0:24:45..I'm going to quote £600 to £900.
0:24:45 > 0:24:47It's not a lot, is it?
0:24:47 > 0:24:50No, but it is quite a lot.
0:24:50 > 0:24:54- You'll probably be happier when I tell you what that will fetch.- Right.
0:24:54 > 0:24:56Even though it's only silver,
0:24:56 > 0:25:00I'm going to quote an auction price of around £2,500 on that.
0:25:04 > 0:25:06That's an awful lot of money.
0:25:06 > 0:25:08I don't know if my mum's listening behind me, but...
0:25:08 > 0:25:12I can just see her over there, and she is smiling.
0:25:12 > 0:25:13She is smiling, yes.
0:25:16 > 0:25:20Elisabeth Frink is one of the finest sculptors
0:25:20 > 0:25:24that Britain has ever known. And, of course, looking at this,
0:25:24 > 0:25:26that's almost emblematic of her, isn't it?
0:25:26 > 0:25:29I mean, you look at that, one of her Goggle Heads, as they were called,
0:25:29 > 0:25:32and really you immediately think Elisabeth Frink, don't you?
0:25:32 > 0:25:36This is almost a sort of signature. Why is it yours?
0:25:36 > 0:25:39Because my parents were very friendly with Elisabeth Frink
0:25:39 > 0:25:42from around about the '60s to the '80s,
0:25:42 > 0:25:46and she used to come down to our house and sculpt
0:25:46 > 0:25:49and do modelling with my father on different types of clay.
0:25:49 > 0:25:51Your father was a sculptor, too?
0:25:51 > 0:25:54He was, in his later... Later part of his life.
0:25:54 > 0:25:57- I see. And they were close friends? - Very close friends, yes.
0:25:57 > 0:25:59You've got this amazing correspondence here, haven't you?
0:25:59 > 0:26:02- Yes.- And lots of photographs. And is that your father there?
0:26:02 > 0:26:04That's my father there, yes.
0:26:04 > 0:26:06Modelling a head of Elisabeth Frink down in his studio.
0:26:06 > 0:26:08- Most striking looking woman, wasn't she?- Yes.
0:26:08 > 0:26:11She looks like a sculpture there. Very remarkable.
0:26:11 > 0:26:13And you've got lots and lots of letters which we can't possibly
0:26:13 > 0:26:17- read now in here, but it's really a very valuable archive.- Yes.
0:26:17 > 0:26:19You know, when I first saw this little head,
0:26:19 > 0:26:23I looked at it and I didn't know anything about the background.
0:26:23 > 0:26:26I don't think I've ever seen this before, never. It's not recorded.
0:26:26 > 0:26:28No, it's not, I don't think it is.
0:26:28 > 0:26:32No, it's not, and also it lacks this very sharp-cut definition
0:26:32 > 0:26:35- that the larger heads have.- Yes. - You see that?- Yes.
0:26:35 > 0:26:39And one wonders why a maquette like that would be cast in bronze,
0:26:39 > 0:26:42but it's so tactile and handle-able.
0:26:42 > 0:26:46- So it's a remarkable thing, and it's clearly signed "Frink" there.- Yes.
0:26:46 > 0:26:49And with this provenance, we can have no doubt about it.
0:26:49 > 0:26:54So that, I think, could be a very early idea for the Goggle Heads.
0:26:54 > 0:26:57Yes, I think it's an original one before she sort of changed
0:26:57 > 0:27:00her style to the picture where she's got...
0:27:00 > 0:27:03- Well, that makes it rather an exciting find, I have to say.- Yes.
0:27:03 > 0:27:06Anyway, moving on, we've got this marvellous boar, love that.
0:27:08 > 0:27:12Look at him from end-on, the way he is so anchored to the ground
0:27:12 > 0:27:15and yet pushed away from us. It's almost, you know...
0:27:15 > 0:27:19Some of her sculpture has a sense of dread and fear to it,
0:27:19 > 0:27:21- don't you think?- Yes, it does.
0:27:21 > 0:27:24And I think... Where she used to sort of see, in the wild in France,
0:27:24 > 0:27:27she used to see the boars there, and see probably what's going on,
0:27:27 > 0:27:30and that was her sort of, "I'll get it captured."
0:27:30 > 0:27:33And that's reflected in her things about her bronzes
0:27:33 > 0:27:36and pictures of animals and almost an obsession with death.
0:27:36 > 0:27:40And this, of course, this dead hare, which I find incredibly beautiful.
0:27:40 > 0:27:43- Difficult subject but very, very beautiful.- Yes, yes.
0:27:43 > 0:27:46And there's a letter here, isn't there, to your father,
0:27:46 > 0:27:48asking him to find...
0:27:48 > 0:27:51She asked him to go and find some road kills which was hares,
0:27:51 > 0:27:54stoats, you name it, all the different types of animals,
0:27:54 > 0:27:57and we used to put them in our deep freeze and then bring them out
0:27:57 > 0:28:01when she used to come down and then either sculpt them or draw them,
0:28:01 > 0:28:04paint them there, and then that's how we got hold of this one.
0:28:04 > 0:28:07That's the remarkable thing about this archive.
0:28:07 > 0:28:09- All the letters talk about her process.- Yeah.
0:28:09 > 0:28:12Her thought processes, what she wanted to do, she's discussing with
0:28:12 > 0:28:15another sculptor how she's doing it and her approach and her methods,
0:28:15 > 0:28:18which is, you know, which is what's really fascinating about it.
0:28:18 > 0:28:20Now, they're family things -
0:28:20 > 0:28:23- presumably you've never valued them or anything.- No, no.
0:28:23 > 0:28:25All right, well, as an unrecorded early idea for the heads,
0:28:25 > 0:28:28it's quite difficult, because there's not been another one
0:28:28 > 0:28:30to judge it on. We don't know how many there were,
0:28:30 > 0:28:33the size of the edition, there's nothing on it to suggest.
0:28:33 > 0:28:35And we've never seen another. If that's a one-off,
0:28:35 > 0:28:39I think conservatively I've got to put £6,000 to £8,000 on it.
0:28:39 > 0:28:41Right. Very good.
0:28:41 > 0:28:43The larger ones, something about that high, you know,
0:28:43 > 0:28:45- they do six figures.- Yeah.
0:28:45 > 0:28:48But who knows? Collectors who are interested in Frink might rate that
0:28:48 > 0:28:51very, very highly, more so than I said.
0:28:51 > 0:28:54It's not an international market so much, really -
0:28:54 > 0:28:58- it's the British who like this very, very British market.- Yes.
0:28:58 > 0:28:59What about this?
0:28:59 > 0:29:04It's got that extraordinary sense of dread which can put people off,
0:29:04 > 0:29:08- you know, not an easy thing to live with.- No.- And yet it is so powerful.
0:29:08 > 0:29:12- I've not seen such a good one. 10,000 to 15,000.- Oh, thank you.
0:29:12 > 0:29:14And what about the boar?
0:29:14 > 0:29:16Well, I know that when my father bought it,
0:29:16 > 0:29:19he paid... I think it was 2,200 for it.
0:29:19 > 0:29:24- Right, OK, well, how long ago was that? Ages ago?- '68, '69.
0:29:24 > 0:29:27Well, he did it out of friendship, and respect, almost,
0:29:27 > 0:29:28but he wanted it didn't he?
0:29:28 > 0:29:33- But today it's probably worth about £20,000 to £30,000.- Right.
0:29:33 > 0:29:37That is very good, very good.
0:29:39 > 0:29:41Well, here we are in Exeter Cathedral,
0:29:41 > 0:29:44and we were here in Exeter, at Exeter University, 20 years ago
0:29:44 > 0:29:46with the Antiques Roadshow,
0:29:46 > 0:29:48and that is where we first saw
0:29:48 > 0:29:52this remarkable ship made of bone,
0:29:52 > 0:29:55and you brought it along and told us all about it.
0:29:55 > 0:29:58Just remind us a little bit about this ship.
0:29:58 > 0:30:01It comes from the Napoleonic wars, from the early 19th century,
0:30:01 > 0:30:03doesn't it? Made by prisoners of war.
0:30:03 > 0:30:07Yes, um, believed to have been made at Dartmoor Prison,
0:30:07 > 0:30:13so sometime after 1809, and made out of the lamb bones
0:30:13 > 0:30:15that they salvaged from the stews.
0:30:15 > 0:30:18And at the time, when you brought it along,
0:30:18 > 0:30:19it was such a remarkable object,
0:30:19 > 0:30:23it was voted by viewers as one of the best finds on the Roadshow.
0:30:26 > 0:30:28The French prisoners of war, of course,
0:30:28 > 0:30:32in the Napoleonic period, made models of their own boats,
0:30:32 > 0:30:35the boats that they were most familiar with.
0:30:35 > 0:30:37And they actually made quite a lot of money
0:30:37 > 0:30:39from making boats like this.
0:30:39 > 0:30:43- It was bought by your mother, you said, in 1963.- Yes.
0:30:43 > 0:30:46Are you going to tell me how much she paid?
0:30:46 > 0:30:49We can't remember exactly, but it was just under £100.
0:30:49 > 0:30:53- My mother had it re-rigged by an ex-naval captain.- Yes.
0:30:53 > 0:30:56And it wasn't until he was working on it,
0:30:56 > 0:30:59he discovered that there was a mechanism for running the guns back,
0:30:59 > 0:31:02- which is this string at the back. - Now, does it still work?
0:31:02 > 0:31:05Yes, we don't like to pull it too hard, but...
0:31:05 > 0:31:08OK, let me give it a go.
0:31:08 > 0:31:09Oh, yes, yes, yes!
0:31:09 > 0:31:13They're retracting, and out they come again. Wonderful.
0:31:14 > 0:31:16Well, value.
0:31:16 > 0:31:19I think if it went into auction, we'd be talking about perhaps
0:31:19 > 0:31:23up to £15,000. It is absolutely terrific.
0:31:26 > 0:31:28You've brought along some other objects today.
0:31:28 > 0:31:31- What can you tell me about these? - All this was bought by my mother.
0:31:31 > 0:31:33I used to go round auctions with her.
0:31:33 > 0:31:34I was about 14 at the time.
0:31:34 > 0:31:36So these are also Napoleonic, but we
0:31:36 > 0:31:38don't know where they've come from.
0:31:38 > 0:31:41As far as you know, these are again made by prisoners of war?
0:31:41 > 0:31:44Oh, absolutely, they're definitely made by Napoleonic prisoners of war.
0:31:44 > 0:31:46Well, Hilary Kaye is with us today,
0:31:46 > 0:31:48back in Exeter.
0:31:48 > 0:31:51It's like deja vu, and she'll be thrilled to see them.
0:31:54 > 0:31:58There's lots of wacky objects that have arrived to us through history,
0:31:58 > 0:32:01and I'm just wondering what you know about this one.
0:32:01 > 0:32:03It just belonged to my great-great grandfather,
0:32:03 > 0:32:07- and apparently he stirred his drinks with it, but that's all I know.- OK.
0:32:07 > 0:32:09So Grandpa stirred his drinks with it, right.
0:32:09 > 0:32:13So, this is a 19th century object. it's free-made, ie -
0:32:13 > 0:32:16you stretch a piece of glass and nip it and push it in,
0:32:16 > 0:32:20and what I'd like to know from you lot is what is this?
0:32:20 > 0:32:23- What is it? What is that for? - Old medical instrument.
0:32:23 > 0:32:27- Old medical instrument. - A pestle.- A pestle.
0:32:27 > 0:32:31Teething thing for rubbing on gums to help baby's teeth through.
0:32:31 > 0:32:35No, no, no. It's a sugar crusher.
0:32:35 > 0:32:39Years ago, the way that sugar was sold was not in bags
0:32:39 > 0:32:44but it was a loaf. It was a wet loaf of sugar, which was hard.
0:32:44 > 0:32:48- A single lump of sugar, and you bought a lump for your kitchen.- Oh.
0:32:48 > 0:32:52- And this is the blade by which you attacked the sugar loaf.- Right.
0:32:52 > 0:32:56The sugar falls off and then you put it in your drink, if that's
0:32:56 > 0:32:59- what you're going to do. Then you flipped it round in the liquid.- Oh.
0:32:59 > 0:33:03And you crushed the sugar in the bottom of your vessel.
0:33:03 > 0:33:05- Right. OK.- To make it dissolve. - Right.
0:33:05 > 0:33:09- So its formal title is sugar crusher.- OK.
0:33:09 > 0:33:10So, there's a little mystery solved.
0:33:10 > 0:33:15- I mean its value is, what, £3.- Aw.
0:33:15 > 0:33:17Because what do you use it for?
0:33:17 > 0:33:20There's absolutely no function in modern society for it,
0:33:20 > 0:33:23but as a mystery object, you now know,
0:33:23 > 0:33:26it's a 19th century sugar crusher worth three quid.
0:33:26 > 0:33:28Thank you very much. Thank you.
0:33:33 > 0:33:37It's slightly spooky seeing oneself 20 years ago -
0:33:37 > 0:33:43and you, too! Anyway, here we are back in Exeter 20 years later.
0:33:43 > 0:33:45It's great for me to see this ship again.
0:33:45 > 0:33:49I loved it the first time round and I love it even more
0:33:49 > 0:33:52the second time round. It really is such a cracker, isn't it?
0:33:52 > 0:33:55Now, the ship we will leave to one side, actually,
0:33:55 > 0:33:59because we had such a lovely chat about that all those years ago,
0:33:59 > 0:34:02and I've got nothing more to say about it.
0:34:02 > 0:34:06What I would like to talk about, though, are these additional pieces.
0:34:06 > 0:34:08Now, was I right in thinking that it was your mother
0:34:08 > 0:34:11- who was the collector? - Yes, that's right, yes.
0:34:11 > 0:34:13So these are part of your late mother's collection.
0:34:13 > 0:34:16- These are all from her collection. - It's great. What we've got is...
0:34:16 > 0:34:20I'm just going to take the lid off here.
0:34:20 > 0:34:25Ooh, a dominoes set with the crib board on the top
0:34:25 > 0:34:29and it's all very rough and ready inside. And, in fact, look -
0:34:29 > 0:34:34that's a leg bone. If ever you saw a leg bone, that's it.
0:34:34 > 0:34:39Just using the curvature of the bone to make the top of the casket,
0:34:39 > 0:34:40so that's terrific.
0:34:42 > 0:34:45- I love this little hand of friendship.- It's great.
0:34:45 > 0:34:48Isn't it beautiful, this ring here?
0:34:48 > 0:34:53Oh, that's good, and on the back it says "Made by the prisoners of war,"
0:34:53 > 0:34:56so we know - we'd hoped - we're talking about the right thing.
0:34:56 > 0:34:59That's absolutely charming with those two hands.
0:34:59 > 0:35:04I wonder if it was made as a love token, perhaps, to take back home.
0:35:04 > 0:35:09The Napoleonic prisoners of war made all kinds of things,
0:35:09 > 0:35:13from the very simple we've just seen to the very elaborate here,
0:35:13 > 0:35:16to what I think is the quirky and rather amusing,
0:35:16 > 0:35:19and this is a little knife grinder.
0:35:19 > 0:35:21He's got a grindstone...
0:35:21 > 0:35:24and he's holding something that he's either polishing
0:35:24 > 0:35:28or sharpening in his hand, and when you turn the handle...
0:35:32 > 0:35:34Isn't it great?
0:35:34 > 0:35:39He's still got the colouration, the dye on his uniform. Terrific.
0:35:40 > 0:35:46So let's go through and talk about the value of these pieces.
0:35:46 > 0:35:49The casket is quite a simple one.
0:35:49 > 0:35:53I've seen others where there's been painting and more decoration,
0:35:53 > 0:35:57so I think that I'm going to be slightly cautious on valuing that.
0:35:57 > 0:36:01I'd put it at around £200 to perhaps £300.
0:36:01 > 0:36:06The ring I love. I think that's an absolutely charming object,
0:36:06 > 0:36:13and I would put that at perhaps £250, £300.
0:36:13 > 0:36:17But I think he's my favourite. He ticks all the boxes,
0:36:17 > 0:36:21- and I would put him at perhaps £300 to £400.- Oh, right.
0:36:21 > 0:36:26- So, adding all that up, £750 to £1,000 for the three.- Lovely.
0:36:26 > 0:36:28What do we say about the ship model?
0:36:28 > 0:36:3220 years ago, to put it into context,
0:36:32 > 0:36:36I put then a huge value on this - £15,000.
0:36:36 > 0:36:40Now, I don't know if you've kept track of what's happened to prices.
0:36:40 > 0:36:44Ten years ago they went up like this.
0:36:46 > 0:36:49And now, the journey has come back down again.
0:36:49 > 0:36:52It's been a bit like a sort of rough voyage,
0:36:52 > 0:36:54which I'm sure this ship was used to.
0:36:54 > 0:36:57And now we're in, I'm afraid, rather calm waters.
0:36:57 > 0:37:02I think today I would put it at probably not much more,
0:37:02 > 0:37:04perhaps £20,000.
0:37:07 > 0:37:12It's no reflection on how wonderful it is.
0:37:12 > 0:37:14The ship hasn't changed,
0:37:14 > 0:37:16it's just that the market has.
0:37:16 > 0:37:21But it doesn't matter anyway, because you both treasure these in any case.
0:37:21 > 0:37:22Absolutely.
0:37:22 > 0:37:25- And lovely to see you again. - Thank you.- Thank you.
0:37:29 > 0:37:35This incredibly detailed little paper map says at the top
0:37:35 > 0:37:40- "The Battle of Waterloo by an eyewitness."- That's right, yes.
0:37:40 > 0:37:42That sounds extraordinary. Where did you get it from?
0:37:42 > 0:37:46I found it in my grandfather's house when we were clearing it out,
0:37:46 > 0:37:50after he died, and I found it with the wallet
0:37:50 > 0:37:53- and it was just folded up inside. - Obviously, you know what it depicts.
0:37:53 > 0:37:58- Indeed, yes.- The Battle of Waterloo in 1815.- That's right, yes.
0:37:58 > 0:38:04This battle effectively ended a quarter of a century of fighting.
0:38:04 > 0:38:08- That's right, yes. - Napoleon's final battle.
0:38:08 > 0:38:11After which he was a completely spent force.
0:38:12 > 0:38:15This is an amazingly detailed map.
0:38:15 > 0:38:18It says it's by an eye witness, but is there a name on there anywhere?
0:38:18 > 0:38:21I've not been able to see one, but the writing is very small and...
0:38:21 > 0:38:24- It's tiny, isn't it?- I struggle to read it, yes.- It's incredibly small.
0:38:24 > 0:38:28You struggled to read it - I, even if I had a magnifying glass,
0:38:28 > 0:38:32I'd have trouble reading it, but it looks like a poem.
0:38:32 > 0:38:35- Well, I've never noticed that, if that's the case.- Ah.
0:38:35 > 0:38:38When you get home, get one of those great big...
0:38:38 > 0:38:41- I'm going to have to get the magnifying glass out.- Yes, exactly.
0:38:41 > 0:38:45And I think gradually you'll be able to decipher the words.
0:38:45 > 0:38:52- This shows various points on the battlefield.- It does, yes.
0:38:52 > 0:38:57Just here is La Haye Sainte.
0:38:57 > 0:39:04Now, that was a farm, and it was absolutely crucial to hold that,
0:39:04 > 0:39:06- in order to win the battle.- OK.
0:39:06 > 0:39:08And it changed hands a number of times
0:39:08 > 0:39:11and was the scene of fierce fighting.
0:39:11 > 0:39:16The other great thing is that the man who drew and painted this
0:39:16 > 0:39:22watercolour map has depicted the forces in different colours.
0:39:22 > 0:39:27- That's right, because he's put a key down here.- So he has.
0:39:27 > 0:39:29I'd like to spend hours
0:39:29 > 0:39:33closely examining this wonderful piece of paper.
0:39:33 > 0:39:38I love it, and lots of other people will love it, too.
0:39:38 > 0:39:42I reckon if this came up for auction today, it would make £3,000.
0:39:44 > 0:39:47OK. I didn't expect that.
0:39:47 > 0:39:49What are you going to do with it?
0:39:49 > 0:39:51Put it back in the drawer.
0:39:51 > 0:39:53Hide it away.
0:39:57 > 0:40:00Here we are at Exeter Cathedral,
0:40:00 > 0:40:02and something which I wouldn't expect to find here.
0:40:02 > 0:40:04So, tell me about this, please.
0:40:04 > 0:40:08Well, this is from our parish church, not far from here,
0:40:08 > 0:40:12and it was given to us by a family in memory of their little boy,
0:40:12 > 0:40:15who died when he was 11 years old.
0:40:15 > 0:40:20And this family had lived and worked in both Africa and India.
0:40:20 > 0:40:23And because there are lots of animals and things on it,
0:40:23 > 0:40:28we wondered whether it had come from the colonies somewhere.
0:40:28 > 0:40:33- OK, what I find quite interesting as well, this date here.- Yes, yes.
0:40:33 > 0:40:35What do you believe on that?
0:40:35 > 0:40:39Well, I find it curious because it almost looks like it says 1594
0:40:39 > 0:40:42and then there's... like a seven there.
0:40:42 > 0:40:46Yes. The piece, actually, in my opinion, is 18th century.
0:40:46 > 0:40:49- 18th century, yes.- So, where you've got this seven...- Yes.
0:40:49 > 0:40:53..I think someone's tried to make it into 15,
0:40:53 > 0:40:56- just tried to make it much older than it actually is.- Yes, yes, yes.
0:40:56 > 0:40:58- Its country of origin.- Yes.
0:40:58 > 0:40:59It's French.
0:40:59 > 0:41:03- Ah, ooh. Quite like that idea. - It's a French armoire.- Yes.
0:41:03 > 0:41:07- Or a hall cupboard.- Yes. - And the wood is chestnut.
0:41:07 > 0:41:09Oh, oh...
0:41:09 > 0:41:12- So it's really, really heavy. - Yes, it's a very hard wood.
0:41:12 > 0:41:15Very, very hard, dense wood, yes, yes.
0:41:15 > 0:41:19The carving, to me, is 18th century carving.
0:41:19 > 0:41:24I find this fantastic, this gentleman here with this shotgun.
0:41:24 > 0:41:28- Yes.- And being religious...- Yes.
0:41:28 > 0:41:33..we have Jesus here on the cross, and have a look,
0:41:33 > 0:41:37- a Roman soldier who's...- Piercing his side, yes.- Piercing his side.
0:41:37 > 0:41:40- What tells me it's French is when we look at the hinges.- Oh.
0:41:40 > 0:41:45- Right, that's typical type of hinge you'll see on a French armoire.- Ah.
0:41:45 > 0:41:47- When we look at - this is what we call the escutcheon.- Yes.
0:41:47 > 0:41:52- The escutcheon plates.- Yes. - This is typically French.- Ah.
0:41:52 > 0:41:55- And if you look carefully, you see these little brass studs.- Yes, yes.
0:41:55 > 0:41:58- This tells me it's made in Normandy. - Oh.
0:41:58 > 0:42:01So, we're getting further away from Africa...
0:42:01 > 0:42:04Yes. Oh, this is wonderful, because our village is twinned with
0:42:04 > 0:42:07- a village in Normandy. - Oh, fantastic.
0:42:07 > 0:42:11Normally, you see these early pieces and the panels have all split,
0:42:11 > 0:42:13but that's in marvellous condition.
0:42:13 > 0:42:16I love the idea - it's what we call its bleeding -
0:42:16 > 0:42:19so in the highlights you have this wonderful, warm patination.
0:42:19 > 0:42:22- Yes, I can see that.- Beautiful, absolutely beautiful.- Yes.
0:42:22 > 0:42:27- OK, so it's an 18th century piece, making out it's much earlier.- Yes.
0:42:27 > 0:42:29But it's an 18th century piece
0:42:29 > 0:42:35- and I would put a value on this between £4,000 and £5,000.- Really?
0:42:35 > 0:42:38And we've known nothing about it for decades.
0:42:38 > 0:42:42- Isn't that great, coming on the - Roadshow? It is! Thank you so much.
0:42:42 > 0:42:44- It's a great pleasure. - Yes, thank you.
0:42:49 > 0:42:52We don't really get very many wood engravings of the period
0:42:52 > 0:42:55that this is dated, 1947, on the Roadshow.
0:42:55 > 0:42:58But I must say, I know very little about James English.
0:42:58 > 0:43:02What's your connection with him? Because you've got two here by him.
0:43:02 > 0:43:05I know very little other than my father was a conscientious objector
0:43:05 > 0:43:09in the last war and he and James English were in
0:43:09 > 0:43:13- labour battalions in the UK together.- Right.
0:43:13 > 0:43:16I have to say, it's quite a difficult subject for some people,
0:43:16 > 0:43:19and do you know anything about their life in the war?
0:43:19 > 0:43:21I believe they were working mainly on the railways,
0:43:21 > 0:43:25very long hours and labouring, primarily.
0:43:25 > 0:43:28Yeah. He clearly had an interest in the arts.
0:43:28 > 0:43:30What was his interest in the arts?
0:43:30 > 0:43:33Well, before the war, he worked in the advertising department
0:43:33 > 0:43:35of Liberty's in Regent Street, where he met my mother.
0:43:35 > 0:43:37Well, it's interesting you say advertising,
0:43:37 > 0:43:41because these are really quite like graphic art and I suspect
0:43:41 > 0:43:43he and James had a sort of visual connection together with this.
0:43:43 > 0:43:46I think this is very much like the work of Eric Ravilious,
0:43:46 > 0:43:49who was one of the great designers who died during the war,
0:43:49 > 0:43:52but this is very much in his sort of style.
0:43:52 > 0:43:56Wood engraving, so it's able to get fine lines and shading
0:43:56 > 0:43:58and so on in the engraving,
0:43:58 > 0:44:02and, in fact, it's not mentioned in any of his biographies that he was
0:44:02 > 0:44:06a conscientious objector, which in itself is quite telling, isn't it?
0:44:07 > 0:44:10We have, of course, to deal with value.
0:44:10 > 0:44:15This seems rather trite, really, now, but I think, you know,
0:44:15 > 0:44:18there is a market for these, and he has a market.
0:44:18 > 0:44:21They are worth somewhere around about £100 each.
0:44:24 > 0:44:26Which isn't riches, but I think they're very, very nice
0:44:26 > 0:44:29- and wonderful quality.- Yes, yes.
0:44:29 > 0:44:32I didn't think they'd be worth a lot of money, but I was just interested
0:44:32 > 0:44:34to try and find out a little bit more about him.
0:44:34 > 0:44:35Yes, and now, you know...
0:44:35 > 0:44:39perhaps one might think that life wasn't always perfect
0:44:39 > 0:44:42- for those conscientious objectors either.- No, very true.
0:44:47 > 0:44:51Do you know, I have to say it's a rather intriguing
0:44:51 > 0:44:55selection of clocks and collection of clocks.
0:44:55 > 0:44:57Are they yours? Did you acquire them, or not?
0:44:57 > 0:45:01No, they are my dad's clocks, but he's since passed on and, um,
0:45:01 > 0:45:05he's been gone ten years now,
0:45:05 > 0:45:07but I've kept them in storage,
0:45:07 > 0:45:12and he acquired them 20 years ago.
0:45:12 > 0:45:14So when did he start collecting?
0:45:14 > 0:45:21When Mum died, he took it up as a hobby, and this was his passion
0:45:21 > 0:45:27and kept him going for the next ten years until he passed on.
0:45:27 > 0:45:29And which was the first of these that he bought?
0:45:29 > 0:45:33- The black one.- This one here?- Yes. And then this one came along.
0:45:33 > 0:45:36That one came along, and then at what stage...
0:45:36 > 0:45:39- He just started accumulating these ones, did he?- Yes.
0:45:39 > 0:45:41What sort of money was he spending? Do you know?
0:45:41 > 0:45:46No idea. I think he thought if he told us, we'd be worried.
0:45:48 > 0:45:52- Well, you do have a lot of cause for concern.- Ah.
0:45:52 > 0:45:57And what worries me is that he might have been spending real money
0:45:57 > 0:46:01- on most of the stuff on these lower two tables.- Yes.
0:46:01 > 0:46:05- Because they're not real clocks. - They're not?- No.- Oh.
0:46:05 > 0:46:09His first one is fine, his second one is OK as well,
0:46:09 > 0:46:15but the majority of these are Oriental fakes.
0:46:15 > 0:46:19And I use the word "fakes" because they were made in the '70s and '80s
0:46:19 > 0:46:21and '90s, and are still being made now.
0:46:21 > 0:46:24Now, when they first started coming to the country,
0:46:24 > 0:46:27they were slipped into provincial salerooms,
0:46:27 > 0:46:30or some dealers used to sell them, thinking they were possibly right -
0:46:30 > 0:46:32- non-specialist dealers that is.- Yes.
0:46:32 > 0:46:36And he might well have been spending £300 or £400
0:46:36 > 0:46:38- on these sort of things then.- Yes.
0:46:38 > 0:46:45And actually they were costing £23, £25 maximum.
0:46:45 > 0:46:49- So let's hope he didn't spend too much on this lot.- OK.
0:46:49 > 0:46:53What did he pay for the first clock that he bought?
0:46:53 > 0:46:59I think somewhere in the region, maybe, of £1,500.
0:46:59 > 0:47:02That was a very sensible buy.
0:47:03 > 0:47:07William Marks of Warminster, again nice maker,
0:47:07 > 0:47:10typically sort of 1770s,
0:47:10 > 0:47:13and it's quarter-chiming, as you probably know.
0:47:13 > 0:47:15- Shall we just have a listen? - Yes, yes, that's lovely.
0:47:15 > 0:47:18- TINKLY CHIME IN DESCENDING NOTES - Oh, that's really nice.
0:47:20 > 0:47:25- Do you still have this going at home? - Not at the moment, no,
0:47:25 > 0:47:31but I did have it going about ten years ago, up until when he died.
0:47:31 > 0:47:35But I've put them in storage since, and held them
0:47:35 > 0:47:39because they are sentimental, all of them, because they were,
0:47:39 > 0:47:43you know, my dad's, but I know it's got a lovely chime.
0:47:43 > 0:47:45It's got a great chime. Let's just listen to it on the hour.
0:47:45 > 0:47:49- And I really loved listening to it when it was with him. - TINKLY CHIME IN DESCENDING NOTES
0:47:49 > 0:47:53- You ought to get it out and have it working again.- I know. I will.
0:47:53 > 0:47:57And then, of course, his next purchase after this
0:47:57 > 0:47:59- was the cuckoo clock.- Yes.
0:47:59 > 0:48:02You must use these things. I know it's a memory.
0:48:02 > 0:48:04It sounds lovely, yes, a very dear memory, I know.
0:48:04 > 0:48:07CLOCK CUCKOOS
0:48:07 > 0:48:09It's lovely, isn't it?
0:48:16 > 0:48:19He's great fun. So, this lovely cuckoo clock,
0:48:19 > 0:48:23absolutely typical sort of Black Forest area...
0:48:23 > 0:48:26and very, very much nicer than the sort of one that hangs on the wall
0:48:26 > 0:48:29with pine cone weights and only goes for a day.
0:48:29 > 0:48:34This is a proper eight-day clock dating from about 1870 to 1880.
0:48:34 > 0:48:38This one, realistically, at auction - I have to tell you the prices
0:48:38 > 0:48:41- because that's what I'm here to try and help you with.- Yes.
0:48:41 > 0:48:45- Between £700 and £1,000.- Gosh, yes.
0:48:45 > 0:48:48And this one, I haven't as yet looked at the movement,
0:48:48 > 0:48:51but it's a nice three-train clock.
0:48:51 > 0:48:55Um, and I would be happy to quote you between -
0:48:55 > 0:48:59- at auction in this state - £4,000 to £6,000.- Gosh.
0:48:59 > 0:49:03- So, that wasn't a bad buy, was it, at 1,500?- No.
0:49:03 > 0:49:06Now, what are you going to do with these now?
0:49:06 > 0:49:08Having listened to them now,
0:49:08 > 0:49:12get them back out, with the lovely memories, because today,
0:49:12 > 0:49:16this has brought me... After ten years since Dad has gone,
0:49:16 > 0:49:18yes, I've missed them.
0:49:18 > 0:49:20Memories will always be there.
0:49:20 > 0:49:23Yes, thank you very much.
0:49:45 > 0:49:50The absolute incredible thing for me is that this dish,
0:49:50 > 0:49:54that belongs to you, is half a millennia old.
0:49:54 > 0:49:57- Really?- 500 years old.- Right.
0:49:59 > 0:50:01Tell me anything you know about it.
0:50:01 > 0:50:02Well, not a lot.
0:50:02 > 0:50:04It's come down through the family,
0:50:04 > 0:50:09it's sat on my parents' mantelpiece since the late 1950s.
0:50:09 > 0:50:12It came to my father through his aunt,
0:50:12 > 0:50:14who was a lady's companion,
0:50:14 > 0:50:18and I believe that my aunt was given it by the lady.
0:50:18 > 0:50:22- But that's all I know about it. - Have you done any research on it?
0:50:22 > 0:50:25I've done no research on it at all. I've wondered about it.
0:50:25 > 0:50:30I love the plate because of the colours and the lustre on it.
0:50:30 > 0:50:34Well, the dish is actually Spanish.
0:50:34 > 0:50:39- Right.- But it's that combination of Spanish and Islamic.- Right.
0:50:39 > 0:50:42- Because the Moors came to Spain. - Yes.
0:50:42 > 0:50:49And in 1520 this dish was made in Spain, probably by Moorish potters.
0:50:49 > 0:50:53And they were responsible for this wonderful lustre decoration on it.
0:50:53 > 0:50:56- Yes.- So, it's a combination of two cultures.- Yes.
0:50:56 > 0:51:01It is Spanish, Hispano-Moresque pottery from 1520.
0:51:04 > 0:51:06I didn't think it was so old.
0:51:06 > 0:51:09- It's wonderful, a really exciting thing.- Right.
0:51:09 > 0:51:12- So you haven't researched it?- No.
0:51:12 > 0:51:16- You've had no thoughts about what it might be worth?- No, not at all.
0:51:16 > 0:51:20No, OK. Well, I think if you put this into an auction sale,
0:51:20 > 0:51:23you'd be reasonably expecting between
0:51:23 > 0:51:27- £1,200 and £1,500 for it.- Wow.
0:51:27 > 0:51:31That's lovely. But it's such a pretty dish, isn't it?
0:51:31 > 0:51:34- I really, really like it.- You're not going to sell it, are you?
0:51:34 > 0:51:37- I don't think so, no.- Well done.
0:51:37 > 0:51:40Well, what I like about it is it matches my suit.
0:51:40 > 0:51:43It does! Lovely colouring.
0:51:45 > 0:51:50When I was at school, my history teacher used to say to us all,
0:51:50 > 0:51:54when we were sitting there, "What was the most catastrophic thing
0:51:54 > 0:51:57"that happened in the time of the Civil War?"
0:51:57 > 0:52:00And we all used to sort of put our hands up and say,
0:52:00 > 0:52:03"The Roundheads against the Cavaliers."
0:52:03 > 0:52:07He said "No, no - what was the one day that had a catastrophic event
0:52:07 > 0:52:10"that then changed the course of British history?"
0:52:10 > 0:52:13And then of course we all were expected to say
0:52:13 > 0:52:16"The execution of King Charles I,"
0:52:16 > 0:52:23and it's indelibly drilled into my brain - on the 30th January, 1649.
0:52:23 > 0:52:27You've brought along a little gold ring with a very mournful-looking
0:52:27 > 0:52:33little miniature of King Charles I, in a gold setting.
0:52:33 > 0:52:38Now, how on earth did such a ring like this come into your possession?
0:52:38 > 0:52:41Well, it's actually my husband's family's ring,
0:52:41 > 0:52:46and my husband's father - Pete, here - found it in his father's
0:52:46 > 0:52:50bedside table drawer after he passed away about 20 years ago.
0:52:50 > 0:52:52This is a ring he spoke about?
0:52:52 > 0:52:56No, he'd never said a word about it, how he got it or anything like that.
0:52:56 > 0:52:58So there's a question, isn't it?
0:52:58 > 0:53:01They're interesting from a royal point of view
0:53:01 > 0:53:03and a political point of view.
0:53:03 > 0:53:07I mentioned the date 1649 because, really,
0:53:07 > 0:53:13we can date this ring to probably around about 1650 to 1655.
0:53:13 > 0:53:18And they were made during a time of political great upheaval.
0:53:18 > 0:53:22Now, remember, after Charles I was executed, there was
0:53:22 > 0:53:24still a lot of royalist feeling,
0:53:24 > 0:53:29and often these little gold rings were made as keepsakes.
0:53:29 > 0:53:32And if you were a royalist sympathiser,
0:53:32 > 0:53:37if you sympathised with the beliefs of the executed king and his son,
0:53:37 > 0:53:40who then went on to, of course, become Charles II,
0:53:40 > 0:53:42you would have one of these little gold rings.
0:53:42 > 0:53:47So, political sympathiser, male or female, lady or gentleman?
0:53:47 > 0:53:50It's difficult to know, but it's interesting because, well,
0:53:50 > 0:53:53if you have a look at the size of the hoop, I think
0:53:53 > 0:53:55it's just about going to fit on your little finger.
0:53:55 > 0:53:58I think this surely - let's just try it out -
0:53:58 > 0:54:02- must have been a lady sympathiser with the royalist cause.- Yeah.
0:54:02 > 0:54:06Because it just about fits on there. It's not a gentleman's ring, is it?
0:54:06 > 0:54:08- No.- No, I don't think so.
0:54:08 > 0:54:12Who was this mythic lady who owned this ring?
0:54:12 > 0:54:17And, if we look at the back, it is painted in enamel
0:54:17 > 0:54:24with a white skull of the executed Charles, with "CR" -
0:54:24 > 0:54:28Charles Rex - on the back, enamelled in black and white.
0:54:28 > 0:54:35And that is a nice counterpoint to the sky blue enamel on the front.
0:54:35 > 0:54:39The enamel around the hoop is slightly damaged.
0:54:39 > 0:54:42But then again, if you think about it, if it was made in around about
0:54:42 > 0:54:441650, it's entitled to be a little bit damaged.
0:54:46 > 0:54:49So, do you know that in the world of jewellery they're very collectable?
0:54:49 > 0:54:55It is effectively a mourning ring, but people like to buy them because
0:54:55 > 0:54:59of their age and the political dynamic, if you think about it.
0:55:00 > 0:55:03- £4,000 to £5,000. - Goodness me.
0:55:04 > 0:55:07- Wow!- Well, that's interesting, yeah.
0:55:07 > 0:55:11If that appeared at auction, everyone would want to bid for it
0:55:11 > 0:55:14and there's every possibility that my £4,000 to £5,000
0:55:14 > 0:55:19- could comfortably ease into the £5,000 to £6,000 bracket, plus.- Wow.
0:55:19 > 0:55:22- So what a thing to find lying in a drawer.- Yes.
0:55:22 > 0:55:24Languidly lying there. Amazing story.
0:55:24 > 0:55:27- Yes, I'm glad we brought it in.- Yes.
0:55:29 > 0:55:32We all know dolls, and sometimes they look as if they're sort of
0:55:32 > 0:55:36fairly bland, but this one has got an expression which makes you think,
0:55:36 > 0:55:39actually, that there is something behind those eyes.
0:55:39 > 0:55:42Now, what do you think of her? Do you like her?
0:55:42 > 0:55:43We do, we think she's beautiful.
0:55:43 > 0:55:47- Because you've got lots of other dolls, haven't you?- Yes.
0:55:47 > 0:55:49Now, it's the museum - tell me about the museum.
0:55:49 > 0:55:51Yes, it belongs to Sidmouth Museum,
0:55:51 > 0:55:55and it was gifted to Sidmouth Museum
0:55:55 > 0:55:581990s, early 1990s.
0:55:58 > 0:56:02Well, let's talk about what you know about her, first of all.
0:56:02 > 0:56:05- Does she come with any story? - She does, yes.
0:56:05 > 0:56:08She was presented to a young girl
0:56:08 > 0:56:12after the girl had presented a bouquet
0:56:12 > 0:56:15to the Princess Louis Battenberg.
0:56:15 > 0:56:21Ah, so that's Princess Victoria. Queen Victoria's granddaughter.
0:56:21 > 0:56:24Now, as with every doll, her particular story
0:56:24 > 0:56:28is on the back of her head, so I'm going to just pick her up...
0:56:28 > 0:56:30turn her around,
0:56:30 > 0:56:34and we'll have a look at what we might see there.
0:56:34 > 0:56:37So - rolling up the hair,
0:56:37 > 0:56:40which is a lovely mohair wig,
0:56:40 > 0:56:44very long and lustrous - we can see exactly what we need to know,
0:56:44 > 0:56:49which is "1448 Simon and Halbig."
0:56:49 > 0:56:53The second biggest producer of dolls' heads in Germany,
0:56:53 > 0:56:59based in Thuringia and operating from 1869 onwards.
0:56:59 > 0:57:05And they produced a huge number of different sorts of dolls.
0:57:05 > 0:57:09Some of them were big, some of them were small, and a lot of them,
0:57:09 > 0:57:12I have to say, are not very exciting.
0:57:13 > 0:57:16She has this expression,
0:57:16 > 0:57:19this exquisite expression,
0:57:19 > 0:57:22this wistful look -
0:57:22 > 0:57:26- you feel it's almost a portrait of somebody.- Yes.
0:57:26 > 0:57:30And she is the sort of doll that everybody wants.
0:57:31 > 0:57:34- Everybody wants.- Everybody.
0:57:34 > 0:57:37If she came up for sale now,
0:57:37 > 0:57:43she would fetch between £10,000 and £15,000.
0:57:43 > 0:57:46Oh, lovely, lovely, that's wonderful.
0:57:46 > 0:57:49- I think the museum has no idea... - No.
0:57:49 > 0:57:52- FIONA BRUCE:- 'I get the impression that the doll will now become
0:57:52 > 0:57:54'the centrepiece of the museum's collection.
0:57:54 > 0:57:59'Whenever we come to Exeter, we seem to unearth treasures.'
0:57:59 > 0:58:02It's remarkable to see that survivor from the Napoleonic Wars,
0:58:02 > 0:58:06that ship, remember, made of bone, crafted by prisoners of war.
0:58:06 > 0:58:09We saw it here in Exeter 20 years ago.
0:58:09 > 0:58:13Incredible it turned up again today. Who knows - we might see it again,
0:58:13 > 0:58:15if we come back here in another 20 years.
0:58:15 > 0:58:19From the team here at Exeter Cathedral, until next time, bye-bye.