0:00:02 > 0:00:05We like a nice stately home on the Antiques Roadshow, and of course we like historical objects,
0:00:05 > 0:00:11but occasionally we feature the odd contemporary item but how's this for a modern collectible?
0:00:11 > 0:00:15Welcome to the sleek clean lines of the Sainsbury Centre
0:00:15 > 0:00:17for Visual Arts in Norwich.
0:00:59 > 0:01:03When it comes to finding a location for a Roadshow,
0:01:03 > 0:01:08there are a few key criteria we need to ensure the day will be a success.
0:01:09 > 0:01:10Most important of all,
0:01:10 > 0:01:14the location has to be large enough to accommodate the thousands
0:01:14 > 0:01:18of visitors that I'm glad to say come to see us, rain or shine.
0:01:18 > 0:01:21The grounds of the University of East Anglia,
0:01:21 > 0:01:25set over 300 acres of parkland, certainly do that.
0:01:25 > 0:01:29And as there are normally 14,000 students on the campus,
0:01:29 > 0:01:32I think our crowd shouldn't be a problem.
0:01:32 > 0:01:35We like some interesting buildings to form a nice backdrop for
0:01:35 > 0:01:38our shots and I'd say the student accommodation there, where we
0:01:38 > 0:01:43stayed last night, while not luxurious, certainly ticks that box.
0:01:43 > 0:01:48Known as the Ziggurat, they were designed by Denys Lasdun in 1967.
0:01:48 > 0:01:52They're named after the pyramids of Ancient Mesopotamia.
0:01:52 > 0:01:56Not only are they striking, they've recently been Grade II listed.
0:01:56 > 0:01:59Ideally, there should be lots of arts
0:01:59 > 0:02:02and antiques to keep our experts busy, of course.
0:02:02 > 0:02:07This Henry Moore sculpture's not a bad start, but wait till you see the collection inside.
0:02:07 > 0:02:12The Sainsbury Centre for Visual Arts and the fabulous collection
0:02:12 > 0:02:17it houses were donated in 1978 by Robert and Lisa Sainsbury.
0:02:17 > 0:02:20They wanted the art works they'd brought together over
0:02:20 > 0:02:23a lifetime to be enjoyed by students, staff and visitors.
0:02:23 > 0:02:27Our own ceramics department will certainly get fired
0:02:27 > 0:02:30up by the Japanese pottery from the Jomon period,
0:02:30 > 0:02:33thought by some to be when ceramics was first invented.
0:02:35 > 0:02:38Look at this Degas bronze of a little ballerina with her
0:02:38 > 0:02:41sharp pointy little features.
0:02:41 > 0:02:44Many people thought she was rather ugly at the time,
0:02:44 > 0:02:47but I know our specialists will love it and I should say this is
0:02:47 > 0:02:50probably my favourite piece in the whole collection.
0:02:56 > 0:02:59So, with everything in place, all we need now are our visitors.
0:03:04 > 0:03:07Our experts are preparing to meet them
0:03:07 > 0:03:11on the suitably large south-facing lawns, just outside the gallery.
0:03:11 > 0:03:14If you want to see if you have an eye for antiques,
0:03:14 > 0:03:17why not play along by pressing the red button on your remote control.
0:03:17 > 0:03:18Or use our app.
0:03:18 > 0:03:20Details on how to download it
0:03:20 > 0:03:24are available on the Antiques Roadshow website.
0:03:24 > 0:03:28I'm very fond of good quality French clocks. Do you like this one, too?
0:03:28 > 0:03:31- This one's very special to me. - Why?
0:03:31 > 0:03:34My aunt had it for the whole of her life and I remember it when I was a
0:03:34 > 0:03:41very small child and when she died in 2011, I was the one she left it to.
0:03:41 > 0:03:43So, it reminds you of her all the time.
0:03:43 > 0:03:47It works perfectly and every time it chimes on the half hour or
0:03:47 > 0:03:49the hour, it reminds me of her.
0:03:49 > 0:03:52That's lovely. Now, do you know what it's made of?
0:03:52 > 0:03:53I think it's porcelain
0:03:53 > 0:03:57and I believe the metal is some kind of copper alloy.
0:03:57 > 0:04:03- Well, I'm delighted to actually tell you that it's gilt bronze.- Right.
0:04:03 > 0:04:07- And that... You thought this was all porcelain.- I did.
0:04:07 > 0:04:11- The joy is that it's not, it's enamel.- Really?
0:04:11 > 0:04:14And just turning it round, you can
0:04:14 > 0:04:18see these fantastic enamel panels here, absolutely beautiful,
0:04:18 > 0:04:22and of course, they've been picked out with a little bit of gold.
0:04:22 > 0:04:27And had you ever thought why the back of the clock,
0:04:27 > 0:04:32the back of this lovely old finial, is also done so beautifully?
0:04:32 > 0:04:35Yes, it did make me wonder, yes, because obviously it faces the wall.
0:04:35 > 0:04:38Well, it faces the wall possibly in your house,
0:04:38 > 0:04:41- but in the old days, it would have been back to a mirror.- Right.
0:04:41 > 0:04:44And so you would have seen the lovely back of the clock,
0:04:44 > 0:04:47- as well as the front.- Ah.- It's beautiful, absolutely beautiful.
0:04:47 > 0:04:52And just up there, it says Leroy et Fils A Paris,
0:04:52 > 0:04:56so the company of Leroy and Sons went on for a long time,
0:04:56 > 0:05:01Paris, and I also notice the movement's numbered, 781,
0:05:01 > 0:05:05and look at that there, also 781, so you know it's the original
0:05:05 > 0:05:08- movement for that case. It's all 100%.- As it was.
0:05:08 > 0:05:14- Yeah, dating from about 1870.- Right. - Possibly 1875. It's a great thing.
0:05:14 > 0:05:16It has a certain price structure
0:05:16 > 0:05:22- if it was porcelain, but the enamel is much scarcer.- Is it?- Yes.
0:05:22 > 0:05:24Much, much scarcer.
0:05:24 > 0:05:28So I'm going to say to you that retail...
0:05:28 > 0:05:32- I know you love this clock... - It's not for sale.- I know it's not.
0:05:32 > 0:05:35And I know you love it and I know it means a lot to you.
0:05:35 > 0:05:40To replace it retail, you'd have to pay at least £5,000.
0:05:42 > 0:05:44Quite a nice present, eh?
0:05:44 > 0:05:48Well... It just works and it reminds me and that's the whole point.
0:05:48 > 0:05:51Great.
0:05:51 > 0:05:54I think I'm in love with these two chairs.
0:05:54 > 0:05:57They are really extraordinary.
0:05:57 > 0:06:00And they suggest that they come from a very large house.
0:06:00 > 0:06:02Do you have a large house?
0:06:02 > 0:06:05Our lounge is fairly large, but obviously,
0:06:05 > 0:06:08these two chairs do take up quite a lot of space.
0:06:08 > 0:06:12We saw these in an antique shop in South Africa in 1999
0:06:12 > 0:06:15and we just decided we had to have them.
0:06:15 > 0:06:21We just love the rounded arm rests and I call them barrels in front.
0:06:21 > 0:06:24- They're just fantastic. - Well, I'm with you.
0:06:24 > 0:06:27When you see them, immediately, one thinks about Art Deco,
0:06:27 > 0:06:29partly because of the proportions.
0:06:29 > 0:06:33They're quite low and horizontal in character.
0:06:33 > 0:06:37And they have this extraordinary sort of modernist character
0:06:37 > 0:06:42to them really. In a way, it's '30s Deco, rather than '20s Deco.
0:06:42 > 0:06:47I particularly love this sort of aerodynamic cutaway here.
0:06:47 > 0:06:50And then these extraordinary barrels, as you call them.
0:06:50 > 0:06:53- Is this the upholstery that you bought them with?- No, no.
0:06:53 > 0:06:57- That's not the original.- But it suits them very well, I think.
0:06:57 > 0:06:59Yes, a good choice with the fabric.
0:06:59 > 0:07:01Right. Now, you bought them in South Africa.
0:07:01 > 0:07:04Do you think they're South African chairs?
0:07:04 > 0:07:07We just thought that they were English.
0:07:07 > 0:07:09We weren't aware of any Deco movement in South Africa.
0:07:09 > 0:07:12Now, I look at these and I say, "Great!
0:07:12 > 0:07:16"Art Deco, not English in a million years,"
0:07:16 > 0:07:18so I don't think they're English.
0:07:18 > 0:07:21A lot of people don't think about Deco being more than
0:07:21 > 0:07:25an European movement, but it was in America, it was all over the world, up to a point,
0:07:25 > 0:07:28because styles travelled so much at that point.
0:07:28 > 0:07:32But also, these barrels, as you call them... I almost call them drums.
0:07:32 > 0:07:36- They don't open, do they?- No. - But they...
0:07:36 > 0:07:38HOLLOW KNOCK
0:07:38 > 0:07:41They do have a wonderful hollow noise. And in the 1920s,
0:07:41 > 0:07:45'30s, ethnographical art was extremely popular and in
0:07:45 > 0:07:50South Africa, you have a tradition of drums and all sorts of things.
0:07:50 > 0:07:54Is there perhaps a reference to a local tradition with these?
0:07:54 > 0:07:58But also, I've seen one or two examples of chairs, not exactly the
0:07:58 > 0:08:03same, but like this, with similar sorts of barrel-drum features
0:08:03 > 0:08:07- in South Africa.- Oh, really? - Did you pay a lot for them?
0:08:07 > 0:08:14Well, in 1999, we paid 1,000 rand each, that's about £70 each.
0:08:14 > 0:08:17Which was quite a bit of money then, but not a lot now.
0:08:17 > 0:08:22If these went into an auction here in England,
0:08:22 > 0:08:27you could expect to get, for the pair, 1,500 to 2,000.
0:08:27 > 0:08:30And perhaps hope to get a bit more than that.
0:08:30 > 0:08:34I think lots and lots of people would be absolutely thrilled
0:08:34 > 0:08:39to have these. In fact, I can't help...
0:08:39 > 0:08:41Ah! Wonderful!
0:08:41 > 0:08:43Gin and tonic, please?
0:08:49 > 0:08:52This is the most wonderfully florid inscription from the queen
0:08:52 > 0:08:56of crime herself, "To Pauline and friends,
0:08:56 > 0:08:59"thanks for your good wishes and good wishes to all of you.
0:08:59 > 0:09:01"Love, Agatha Christie."
0:09:01 > 0:09:04- Yes.- And it seems to have been torn out of an exercise book.
0:09:04 > 0:09:06Tell me how you got it.
0:09:06 > 0:09:11Well, I was involved in a car accident back in 1971
0:09:11 > 0:09:15- when I was 14 and I'd broken my back. - You'd broken your back?- Yes.
0:09:15 > 0:09:19- And here's pictures of you.- Yes. - That one there.
0:09:19 > 0:09:21That's me, that's right.
0:09:21 > 0:09:26- Encased in plaster.- Yes, I was in plaster from my chin to my knees.
0:09:26 > 0:09:29Right. And you look almost happy there.
0:09:29 > 0:09:33- I don't know why!- So, tell me the story about you and Agatha Christie.
0:09:33 > 0:09:39Well, I had a porter called Arthur and he used to look after me
0:09:39 > 0:09:43and bring me things and Arthur also looked after Agatha Christie.
0:09:43 > 0:09:46- She was in the same hospital? - She was having a hip replacement.
0:09:46 > 0:09:49- 1971, she was quite old in 1971. - Yes, she was.
0:09:49 > 0:09:53- She was in her mid 70s, I think, then.- Yes.
0:09:53 > 0:09:56And she was taken backwards and forwards to physiotherapy,
0:09:56 > 0:10:00she had seen me, just lying there, obviously.
0:10:00 > 0:10:04And would I mind if she came to visit me?
0:10:04 > 0:10:07So, she came in and visited you. Was she nice?
0:10:07 > 0:10:09She was lovely.
0:10:09 > 0:10:13She would talk to me and the nurses would put the knitting needles
0:10:13 > 0:10:19to help scratch because I was so itchy and Agatha would also scratch.
0:10:19 > 0:10:22- You've been scratched by Agatha Christie!- Absolutely!
0:10:22 > 0:10:25Few people can say that! That's a wonderful story.
0:10:25 > 0:10:27- Absolutely tremendous! - And she was lovely.
0:10:27 > 0:10:29We'd talk about the weather
0:10:29 > 0:10:32and just what was happening in the outside world.
0:10:32 > 0:10:35- Did she talk to you about Poirot and Miss Marple?- Absolutely not.
0:10:35 > 0:10:38- Not at all?- No, I've never read any Agatha Christie books.
0:10:38 > 0:10:42That's a terrible thing to say! A wonderful inscription.
0:10:42 > 0:10:44- She leaves you with that. - Yes, she was lovely.
0:10:44 > 0:10:47It's written in pencil, in my exercise book...
0:10:47 > 0:10:49Your exercise book, yes.
0:10:49 > 0:10:51Because I was upside down, lying flat,
0:10:51 > 0:10:53I could only ever write in pencil.
0:10:53 > 0:10:56Well, it doesn't say very much, but it is Agatha Christie.
0:10:56 > 0:11:00It's got a lovely story behind it. What do you think it's worth?
0:11:00 > 0:11:01I've absolutely no idea.
0:11:01 > 0:11:03You've got it framed, it must mean a lot to you.
0:11:03 > 0:11:06I always had it folded up in an envelope,
0:11:06 > 0:11:08just because it's personal to me.
0:11:08 > 0:11:11And my husband said, "Put it behind glass."
0:11:11 > 0:11:12Well, as I say, it is not a letter.
0:11:12 > 0:11:16It is a very nice inscription, it's got a great story behind it.
0:11:16 > 0:11:19- Shall we say £250?- Fantastic.
0:11:19 > 0:11:23We've got to get it out of the sun because it'll fade.
0:11:23 > 0:11:25Absolutely. Thank you very much.
0:11:27 > 0:11:30So, how do you know this?
0:11:30 > 0:11:33- I've known that for the last two years.- OK.
0:11:33 > 0:11:37- It's been sitting in my lounge, up on my shelf.- Do you like it?
0:11:37 > 0:11:39I do love it.
0:11:39 > 0:11:43- OK, how did you get it? - Found it in a charity shop.
0:11:43 > 0:11:45Well, it's really interesting
0:11:45 > 0:11:49because mostly with 18th century glass, this is 18th century,
0:11:49 > 0:11:55it's 1765, its date, and with most of that, we don't know who did them.
0:11:55 > 0:11:58You know, who made this? The answer to that is not a clue.
0:11:58 > 0:12:03You ask me that? I know exactly. His name is James Giles.
0:12:03 > 0:12:08And he's the best glass gilder in Britain in the 18th century.
0:12:08 > 0:12:11So, you're dealing with serious stuff and his work is
0:12:11 > 0:12:15extremely recognisable and I've never seen this before.
0:12:15 > 0:12:19So, on one hand, we have a gilded rim,
0:12:19 > 0:12:24this is gold floated on here, gilded. Do you know what that is?
0:12:24 > 0:12:29On that side? Arms of the City of London.
0:12:29 > 0:12:32- We know that. That's easy.- Yeah. - And what's that?
0:12:35 > 0:12:40- I don't know.- It's a freedom hat. - Oh, wow!- It's a freedom hat.
0:12:40 > 0:12:45This is John Wilkes, a revolutionary who travelled
0:12:45 > 0:12:48the length of Britain spouting revolution.
0:12:48 > 0:12:53Don't be crushed by the rich! Stand for yourselves!
0:12:53 > 0:12:56And he had an amazing impact in two countries.
0:12:56 > 0:13:03United States, revolution, 1770s, France, revolution.
0:13:03 > 0:13:09And it all stems out of Wilkes, whose symbol was the hat of freedom.
0:13:09 > 0:13:14Now, is this glass something presented to somebody getting
0:13:14 > 0:13:17the Freedom of the City of London? It could be.
0:13:17 > 0:13:21Or this could be a reference to John Wilkes.
0:13:21 > 0:13:25"Overthrow the establishment of the city, throw violent revolution!"
0:13:25 > 0:13:27That's what he's on about.
0:13:27 > 0:13:30And that has a bearing on value, so obviously you've put
0:13:30 > 0:13:34a value on it because you put your money where your mouth is.
0:13:34 > 0:13:36How much did you stump up for this?
0:13:36 > 0:13:39- A whole 10p coin! - A whole 10p coin!- Yes.
0:13:39 > 0:13:42- A whole 10p!- Well, there are two valuations on this.
0:13:42 > 0:13:45The lower one is that it was given to somebody to celebrate
0:13:45 > 0:13:47the Freedom of the City of London.
0:13:47 > 0:13:51That's...only £2,000.
0:13:51 > 0:13:53You're joking!
0:13:53 > 0:13:55LAUGHTER
0:13:55 > 0:13:59- Do you want to know any more? - Go on, then.
0:13:59 > 0:14:03If it's Wilkes, if you can tie that down to Wilkes, double it.
0:14:03 > 0:14:094,000 quid. So that, if I get my maths right, 10p into up to £4,000.
0:14:09 > 0:14:13Amazed. Absolutely amazed.
0:14:13 > 0:14:16As someone who started in life as a graphic designer,
0:14:16 > 0:14:19I suppose I've always had an interest in illustration.
0:14:19 > 0:14:24And looking at these, it sort of takes me back to when I was very
0:14:24 > 0:14:28much younger because they are so representative of a certain period.
0:14:28 > 0:14:31And also, of a particular way of doing things.
0:14:31 > 0:14:34- These are advertisements, aren't they?- Yes.
0:14:34 > 0:14:39These were drawings for Burberry, the fashion chain.
0:14:39 > 0:14:43And I worked in an advertising agency in London in the early '60s
0:14:43 > 0:14:46and they were actually being thrown away.
0:14:46 > 0:14:52- They were put into a sack and...- What date is that?- Um... '64-'65?- Right.
0:14:52 > 0:14:56- So these were scrap, in effect.- They were.- And you rescued them.- I did.
0:14:56 > 0:14:58- I managed to get 11.- 11.
0:14:58 > 0:15:00What excites me about them
0:15:00 > 0:15:04is simply that we're absolutely at that point of change.
0:15:04 > 0:15:09This must have been almost the last time illustrators did advertising.
0:15:09 > 0:15:13And what happened, of course, was the photographer.
0:15:13 > 0:15:17And while photographers had always worked for fashion magazines
0:15:17 > 0:15:20and that sort of thing, they hadn't really gone into advertising.
0:15:20 > 0:15:24- What date do you think these are? '58?- The dates are on the back.
0:15:24 > 0:15:27- They range from about '58 through to '62.- Yeah.
0:15:27 > 0:15:29Well, that's exactly that moment.
0:15:29 > 0:15:34- People still thought illustration, rather than photographer.- Yeah.
0:15:34 > 0:15:37While you were there, you must have seen that change.
0:15:37 > 0:15:40Well, this is why these were being thrown out,
0:15:40 > 0:15:44because the agency I was working for started to do photography with
0:15:44 > 0:15:46the famous models of the day,
0:15:46 > 0:15:50- like Jean Shrimpton with people like David Bailey.- For advertisements.
0:15:50 > 0:15:54Yes. So all the artwork was just chucked away. Very sad.
0:15:54 > 0:15:57Now, I can see these are by somebody called Shirley Thompson.
0:15:57 > 0:15:59- Who was she?- I have no idea.
0:15:59 > 0:16:03I've tried to find any link with her through the various copyright
0:16:03 > 0:16:07agencies and illustrators' societies and so on,
0:16:07 > 0:16:10but nobody's heard of her at all, or any members of her family.
0:16:10 > 0:16:14- In a sense, she's sunk without trace.- Yeah.- I'm sure she must be traceable somehow,
0:16:14 > 0:16:17but the real point is that actually again, she was suddenly out of date.
0:16:17 > 0:16:20- Her work would have stopped almost overnight.- Yes.
0:16:20 > 0:16:22Nobody wanted drawings any more.
0:16:22 > 0:16:25What I like about them is this wonderful use of black
0:16:25 > 0:16:30and white, white space, solid black, all these extraordinary details.
0:16:30 > 0:16:35And, of course, that super sort of almost Jackie Kennedy, Chanel,
0:16:35 > 0:16:37style of fashion of that period.
0:16:37 > 0:16:41So you've got 11, you rescued them. What happens to them now?
0:16:41 > 0:16:45I've had them 50 years and it's time to let somebody else enjoy them.
0:16:45 > 0:16:48- You've never framed them up. - No, because I was worried about...
0:16:48 > 0:16:51I didn't want to hide the backs, which have the...
0:16:51 > 0:16:54And the backs are important cos we've got the Walter Thompson
0:16:54 > 0:16:57label, the dates, it's all there.
0:16:57 > 0:17:01These are very desirable, in the sense that they're so stylish,
0:17:01 > 0:17:05they're so elegant, they're so much of a period. We look back,
0:17:05 > 0:17:10in a sense, with excitement at the elegance of this time.
0:17:10 > 0:17:14As they are, they would easily sell at £50-100 each, framed up and
0:17:14 > 0:17:17looking smart, they could be two or three hundred pounds in a gallery.
0:17:17 > 0:17:21So, I would say £1,000-1,500 for the lot. Well rescued.
0:17:21 > 0:17:23- Thank you very much indeed. - Thank you.
0:17:28 > 0:17:31This collection.... Can I just say I found it a little bit daunting...
0:17:31 > 0:17:34- Yeah. - ..when you first brought it along?
0:17:34 > 0:17:37So you must first tell me, did you buy it?
0:17:37 > 0:17:39What was the story behind it?
0:17:39 > 0:17:43My father's cousin Betty left us a bungalow
0:17:43 > 0:17:47- and these were just in a box, slung up the corner.- They were hidden away.
0:17:47 > 0:17:52We checked the insurance policy and there was an instamatic camera
0:17:52 > 0:17:54and a portable radio on the insurance.
0:17:54 > 0:17:56- Nothing else?- Nothing else at all.
0:17:56 > 0:17:59So, none of this was actually specified at all?
0:17:59 > 0:18:01- No, didn't know it existed. - Didn't have a clue.
0:18:01 > 0:18:04There were obviously other things as well - paintings and...
0:18:04 > 0:18:08- So this is a treasure trove!- Yes. - Real old-fashioned treasure trove.
0:18:08 > 0:18:09Oh, yeah.
0:18:09 > 0:18:14OK, I've had a good look through it and I think, as you can see,
0:18:14 > 0:18:18it falls into three distinct categories.
0:18:18 > 0:18:23I don't think Betty bought this necessarily piece by piece.
0:18:23 > 0:18:29This is an accumulation. It's all 19th century, for a start.
0:18:29 > 0:18:36All the pieces on the front shelf are a combination of mosaics
0:18:36 > 0:18:39here and cameos there.
0:18:39 > 0:18:41How would they have been used, all those little pieces?
0:18:41 > 0:18:45- What would they have been used for? - That's a very good question.
0:18:45 > 0:18:51These are jewellers' cameos, before they've been mounted up.
0:18:51 > 0:18:57- And I think this is the stock of a Victorian jeweller.- Oh!
0:18:57 > 0:19:01If I had to date all this, it would be around about sort of 1860,
0:19:01 > 0:19:041870, 1875.
0:19:04 > 0:19:07- So, we're talking about 150 years old.- Yes.
0:19:07 > 0:19:12Now, remember, at that time, people went travelling, tourism,
0:19:12 > 0:19:16they went to places like Rome and Florence.
0:19:16 > 0:19:17- Mosaics.- Yeah.
0:19:17 > 0:19:20And all these are little mosaics.
0:19:20 > 0:19:24So these tiny little pieces of coloured glass or marble,
0:19:24 > 0:19:28inset in glass or slate.
0:19:28 > 0:19:33Really made for tourists, going on the so-called grand tour.
0:19:33 > 0:19:39Now, the back here is an accumulation of Victorian jewellery.
0:19:39 > 0:19:43Now, I would like to tell you that all this was solid gold because
0:19:43 > 0:19:48if I were to do that, then the value of it would be frankly terrifying!
0:19:48 > 0:19:53But looking at it under my lens, the whole lot is gilt metal.
0:19:53 > 0:19:55Hence this colour.
0:19:55 > 0:20:00This is someone who specialised in lower value items for a mass
0:20:00 > 0:20:03market in the Victorian era.
0:20:03 > 0:20:08- Bangles, brooches and earrings and everything else.- Yeah.
0:20:08 > 0:20:10Now, the next question is, really,
0:20:10 > 0:20:14have you thought how we're going to value this?
0:20:14 > 0:20:16Well, yes, I wouldn't have a clue.
0:20:16 > 0:20:18- With difficulty. - Could you help me out then?
0:20:18 > 0:20:21- Cos I don't know how best to approach this!- No.
0:20:21 > 0:20:24I think you have to work on the basis really
0:20:24 > 0:20:26of doing a summary total.
0:20:26 > 0:20:29Now we've got around about 250 mosaics,
0:20:29 > 0:20:34their values will be between £10 and £50 each.
0:20:34 > 0:20:36- Each one.- Blimey, yes.
0:20:36 > 0:20:40Just by the sheer volume you've got £2,000 to £4,000.
0:20:40 > 0:20:43Now that's just for the mosaics.
0:20:43 > 0:20:47The cameos, not quite as interesting,
0:20:47 > 0:20:49£1,500 for that lot here.
0:20:50 > 0:20:54Then we move onto the collection of jewellery at the back.
0:20:54 > 0:20:59My instinct is that if you were to put it into auction with
0:20:59 > 0:21:04the right auction house that knows how to make attractive lots up,
0:21:04 > 0:21:07I think this lot will finish up making in the region of
0:21:07 > 0:21:10- £4,000 or £5,000.- Yes.
0:21:10 > 0:21:15Now if you do a broad sweep valuation therefore of everything,
0:21:15 > 0:21:19I think we're talking in the region of £10,000 for it all.
0:21:19 > 0:21:22- Very good.- Now considering all that there was on the documentation
0:21:22 > 0:21:24was an instamatic camera?
0:21:24 > 0:21:27- Yeah.- And a portable radio. - And a portable radio.
0:21:27 > 0:21:29We mustn't forget the portable radio.
0:21:29 > 0:21:33- I think that it must have been some shock.- Yeah, it was.
0:21:33 > 0:21:35Not as much of a shock as it has been for me
0:21:35 > 0:21:36to do this with you today.
0:21:39 > 0:21:41- This little album...- Yes.
0:21:41 > 0:21:47..has got drawings, paintings, that are incredibly detailed.
0:21:47 > 0:21:49- Yeah, they are, yeah. - Now, who was the artist?
0:21:49 > 0:21:53My husband's grandfather, Edmund Hensler.
0:21:53 > 0:21:58He was a German from Berlin and this was him during the First World War.
0:21:58 > 0:21:59- The First World War.- Yeah.
0:21:59 > 0:22:01So was he a professional artist?
0:22:01 > 0:22:04Yes, he was, yes, he was a porcelain painter in Berlin.
0:22:04 > 0:22:08- A porcelain painter.- Yes. - And this porcelain plaque here,
0:22:08 > 0:22:11is this typical of the sort of work that he produced?
0:22:11 > 0:22:12Yes, yeah, that's 1942.
0:22:12 > 0:22:151942, during the war.
0:22:15 > 0:22:19It's absolutely exquisite, beautiful.
0:22:19 > 0:22:23It is one of the loveliest painted porcelain tiles
0:22:23 > 0:22:25I think I've ever seen.
0:22:25 > 0:22:30- He must have been the most incredible artist.- We think so, yes.
0:22:30 > 0:22:33Now looking back at this little album again,
0:22:33 > 0:22:37they seem to show military subjects because look, if you look down here
0:22:37 > 0:22:41you've got a soldier here, a German soldier, with his
0:22:41 > 0:22:46Pickelhaube on, and what's the date, oh, this is his initial, is it?
0:22:46 > 0:22:48- It's dated 1917.- Yes.
0:22:48 > 0:22:53So this is towards the end of the First World War,
0:22:53 > 0:22:56and this looks like a French chateau, so I would imagine
0:22:56 > 0:23:02that he would have been in France at some point, Belgium and France,
0:23:02 > 0:23:06and must have taken a sketch book with him and painted little
0:23:06 > 0:23:12- postcard sized watercolours of the places he visited.- Yes.
0:23:12 > 0:23:16The detail in them is some of the best I've seen.
0:23:16 > 0:23:19Mm, apparently he used to just have one thread of the brush
0:23:19 > 0:23:22and that's all he used to paint these details with.
0:23:22 > 0:23:24And the sensitive touch.
0:23:26 > 0:23:29This cathedral is just magnificent, I have to say.
0:23:29 > 0:23:31What do you know about him?
0:23:31 > 0:23:34Well, basically he was in the First World War, and then went back
0:23:34 > 0:23:40to Berlin and then had his own workshop, his own company.
0:23:40 > 0:23:42- Yes.- And during this time,
0:23:42 > 0:23:45we believe he actually did some work with the Kaiser.
0:23:45 > 0:23:49I see there's a piece of glass here, so he wasn't just a painter,
0:23:49 > 0:23:51and a painter on porcelain, was he?
0:23:51 > 0:23:55No, he liked to, we believe, just experiment with things,
0:23:55 > 0:24:00- and I think this is one piece he experimented with.- That is just...
0:24:02 > 0:24:05..astounding! This is a piece of glass,
0:24:05 > 0:24:09and it depicts Hermes with his caduceus,
0:24:09 > 0:24:13and it's a beautiful, quality piece, it really is incredible.
0:24:13 > 0:24:16But you know I've not heard of him, this is what I can't understand.
0:24:16 > 0:24:17Why have we never heard of him?
0:24:17 > 0:24:22We have no other records, we have no records, this is all we've got.
0:24:22 > 0:24:24So he was a soldier during the First World War.
0:24:24 > 0:24:28- Yeah.- He was a commercial artist. What happened to him then?
0:24:28 > 0:24:31At the end of the Second World War,
0:24:31 > 0:24:33he became a member of the Volkssturm.
0:24:33 > 0:24:36They were a bit like the Home Guard, the British Home Guard,
0:24:36 > 0:24:39they were the older men who were too old
0:24:39 > 0:24:41to actually fight in Germany,
0:24:41 > 0:24:45and they defended Berlin, for example. What happened to him?
0:24:45 > 0:24:47He got taken by the Russians.
0:24:47 > 0:24:51- Yes.- And died in a camp just outside Berlin in 1946.
0:24:51 > 0:24:56- What a tragedy. There's the end of a man of enormous talent.- Yeah.
0:24:56 > 0:25:02I have to say these paintings, these watercolours really speak to me,
0:25:02 > 0:25:05and they tell of a man of great sensitivity,
0:25:05 > 0:25:08great ability, great talent.
0:25:08 > 0:25:10They're magnificent.
0:25:10 > 0:25:15However magnificence doesn't always turn to high value.
0:25:15 > 0:25:18Oh, well there's no...
0:25:18 > 0:25:23- And the plaque, which is Second World War in period...- Yes.
0:25:23 > 0:25:24..is going to be worth...
0:25:26 > 0:25:28..£80 to £100.
0:25:29 > 0:25:33The glass depicting Hermes is going to be worth
0:25:33 > 0:25:36probably the same, £80 to £100.
0:25:36 > 0:25:38The album...
0:25:40 > 0:25:43..should be worth a huge amount of money
0:25:43 > 0:25:46- because of the detail, but we've never heard of him.- Yes.
0:25:46 > 0:25:50So, I think, despite its beauty,
0:25:50 > 0:25:58that it's going to be worth £500 to £700, so I think, taken as a whole,
0:25:58 > 0:26:04these objects are worth somewhere in the region of £700 to £900.
0:26:05 > 0:26:08Now, in my mind, that's not enough.
0:26:08 > 0:26:12That isn't a tenth of what it's worth! It's magnificent.
0:26:16 > 0:26:19A lot of people probably know that George Frederic Watts was one of
0:26:19 > 0:26:21- our greatest Victorian artists. - Mm-hm.
0:26:21 > 0:26:25- But maybe not everybody knows that he was also a sculptor.- Yes.
0:26:25 > 0:26:28- And you've brought along this bronze by him today.- Yeah.
0:26:28 > 0:26:30How did it come into your possession?
0:26:30 > 0:26:32Erm, well, I inherited it from my mother,
0:26:32 > 0:26:35and I think she inherited it from her father.
0:26:35 > 0:26:38- Right, so it goes back two generations?- Yes.- Yeah, OK.
0:26:38 > 0:26:41- And do you like it as a sculpture? - I love it.
0:26:41 > 0:26:45My mother was a great horsewoman and she always really loved this statue.
0:26:45 > 0:26:49- And do you know that it's slightly smaller than the original?- Mm-hm.
0:26:49 > 0:26:53The original plaster model is in the Watts Gallery,
0:26:53 > 0:26:55- which is near Guildford... - Oh, right!
0:26:55 > 0:26:59..which is a terrific gallery representing Watts entirely
0:26:59 > 0:27:02and has recently been restored, erm, and the plaster model of this
0:27:02 > 0:27:06- is there, and it's over five metres high.- Oh, wow!
0:27:06 > 0:27:11- Yeah, and there were three bronzes made from that plaster model.- Mm-hm.
0:27:11 > 0:27:17- But it's interesting that George Watts died in 1904...- Yes.
0:27:17 > 0:27:20..and yet this bronze, which is entitled Physical Energy,
0:27:20 > 0:27:23and you can see why, is dated later than that.
0:27:23 > 0:27:26We can see on the front its sign there.
0:27:26 > 0:27:29Er, "Physical Energy, G.F. Watts,"
0:27:29 > 0:27:34and over here, you can see "T.H. Wren, dated 1914."
0:27:34 > 0:27:37- Yes.- Thomas Wren was Watts' assistant,
0:27:37 > 0:27:41and when he died he continued working with Mary Watts,
0:27:41 > 0:27:48and in 1914, they decided to do a limited edition of small versions
0:27:48 > 0:27:51- of the larger Physical Energy bronze.- Yes.
0:27:51 > 0:27:55- And I think they intended originally to produce 50.- Mm-hm.
0:27:55 > 0:27:58- But of course this was 1914. War broke out.- Yes.
0:27:58 > 0:28:01So consequently the idea was shelved,
0:28:01 > 0:28:06- and only about half a dozen, I think, were made...- Oh, right.
0:28:06 > 0:28:09- ..of this size.- Yes. - And this is one of them.- Oh, wow.
0:28:09 > 0:28:12And really it's a transitional bronze,
0:28:12 > 0:28:15if you like, and it's moving from the more formal,
0:28:15 > 0:28:20Classical Victorian bronzes to something slightly more modernist.
0:28:20 > 0:28:24Erm, because there are so few of these bronzes around,
0:28:24 > 0:28:26they virtually never appear, erm,
0:28:26 > 0:28:29and because of that it's difficult to put a price on,
0:28:29 > 0:28:33- but it's an important bronze by an important artist.- Yes.
0:28:33 > 0:28:37And I think it would probably fetch in the region of £20,000 to £25,000.
0:28:37 > 0:28:40Oh, wow. Thank you, yes, yeah.
0:28:40 > 0:28:43- So look after it. - Yes, yes, definitely, thank you.
0:28:45 > 0:28:48So tell me about this wee beastie.
0:28:48 > 0:28:51- Well, I believe it to be a spittoon. - Right.- From China.
0:28:51 > 0:28:54It came from my great grandmother, who was Norwegian
0:28:54 > 0:28:56and married a Chinaman,
0:28:56 > 0:28:59the first European-Chinese marriage, I understand.
0:28:59 > 0:29:01Uh-huh, and did she use a spittoon?
0:29:01 > 0:29:04Well, I believe she did, but I'm not absolutely certain about that.
0:29:04 > 0:29:06You're not sure if she used this as a spittoon.
0:29:06 > 0:29:08I'm not sure she used that as a spittoon, no.
0:29:08 > 0:29:10Tell me how you would use this as a spittoon.
0:29:10 > 0:29:13Well, I understand that they kept it up their sleeve.
0:29:13 > 0:29:16- Uh-huh.- And then, like that.
0:29:16 > 0:29:18Well, it's an interesting story.
0:29:18 > 0:29:22First of all we're looking at a very, very small toad.
0:29:22 > 0:29:25- Yes.- But the strange thing about him is...- Three legs.
0:29:25 > 0:29:28Three legs, the three legged toad.
0:29:28 > 0:29:30- Yes.- We don't see many round here.
0:29:30 > 0:29:32I've never seen one.
0:29:32 > 0:29:35But in China the three legged toad is a very, very famous animal.
0:29:35 > 0:29:40He's a very lucky animal. He brings fortune.
0:29:41 > 0:29:46So the aperture at the top here is in the form of a peach.
0:29:46 > 0:29:47Oh, right. Yeah.
0:29:47 > 0:29:50And the peach is a symbol of long life,
0:29:50 > 0:29:53so good fortune, long life.
0:29:53 > 0:29:55How old do you think he is?
0:29:55 > 0:29:57Well, I believe the late 1800s.
0:29:57 > 0:30:01- So that would make him, well, just over 100 years old.- Yes.
0:30:01 > 0:30:05OK, well, I'm going to go back another hundred years,
0:30:05 > 0:30:08- I think this is late 1700s. - Good heavens.
0:30:08 > 0:30:13Yeah, now then, being that he is a very popular animal,
0:30:13 > 0:30:16- would you use him... - LARS COUGHS
0:30:17 > 0:30:19- ..as a spittoon?- Probably not.
0:30:21 > 0:30:26He is just a beautiful little ornamental, probably brush-washer.
0:30:26 > 0:30:29- Oh.- So you might well carry him around in your sleeve.
0:30:29 > 0:30:34- Yeah.- But you should not spit on your luck.
0:30:34 > 0:30:36- No, right.- And how lucky is he?
0:30:37 > 0:30:39I've no idea. 80 to 120?
0:30:39 > 0:30:4180 to 120.
0:30:41 > 0:30:46Well, I think that he's probably worth somewhere in the region of,
0:30:46 > 0:30:50let's say, somewhere between £200 and £400.
0:30:50 > 0:30:51Very nice.
0:30:51 > 0:30:54Pass him on to someone in the family when you croak.
0:30:54 > 0:30:56I will, yes. Yes. LAUGHTER
0:30:56 > 0:30:59I had to get that one in. I know it will be cut.
0:31:05 > 0:31:08I suspect there are an awful lot of people out there
0:31:08 > 0:31:11who have no idea what these items here are used for.
0:31:11 > 0:31:12They're quite unusual.
0:31:12 > 0:31:15They're obviously hinged, they have a cutting blade.
0:31:15 > 0:31:17I know what they're used for.
0:31:17 > 0:31:18Do you know what they're used for?
0:31:18 > 0:31:22I do indeed, yes, this is a collection of betel nut cutters
0:31:22 > 0:31:27which I gathered when I was working as a dentist in South East Asia.
0:31:27 > 0:31:29And what they use is the betel nut,
0:31:29 > 0:31:32the areca nut, is an after dinner digestive,
0:31:32 > 0:31:34and they cut up, they slice up the nut,
0:31:34 > 0:31:38wrap it up with leaf and lime
0:31:38 > 0:31:41or lime paste or spices as well.
0:31:41 > 0:31:44Areca nut can stain teeth very heavily,
0:31:44 > 0:31:46so part of working as a dentist there
0:31:46 > 0:31:49was having to clean the betel nut stain off people's teeth.
0:31:49 > 0:31:51That was where the fascination came from,
0:31:51 > 0:31:54and I started collecting these from the tiny little shops
0:31:54 > 0:31:57in the bazaar, a dollar here, a dollar there sort of thing.
0:31:57 > 0:32:00Yes. Interestingly enough there are various different types here,
0:32:00 > 0:32:01- mostly brass.- Yes.
0:32:01 > 0:32:05Although there's some iron examples here as well, that's not unusual.
0:32:05 > 0:32:08Dating these can be quite difficult because a lot of them
0:32:08 > 0:32:12look an awful lot older than they actually are, and also
0:32:12 > 0:32:15it's still a ritual, so to speak, that's actually carried on now.
0:32:15 > 0:32:19So they're patterns that have been in use for,
0:32:19 > 0:32:20in some cases, centuries.
0:32:20 > 0:32:22I'll pick out one pair in particular
0:32:22 > 0:32:25and I'm going to pick out the most commonly occurring pattern,
0:32:25 > 0:32:27which might seem like a strange thing to do,
0:32:27 > 0:32:29but I think it illustrates these well,
0:32:29 > 0:32:32and it's this pattern here, king and queen pattern.
0:32:32 > 0:32:36For obvious reasons, I think, you have a male and a female,
0:32:36 > 0:32:39king or queen, and if we look at the way they work, obviously,
0:32:39 > 0:32:40it's pretty simple.
0:32:40 > 0:32:44They're just a scissor action with a steel or iron blade in there.
0:32:44 > 0:32:47Now, if you picked these up for a few dollars each here and there,
0:32:47 > 0:32:49then you did fine, because to be frank,
0:32:49 > 0:32:51a little king and queen pattern pair like this,
0:32:51 > 0:32:54and I think these are probably early 20th century,
0:32:54 > 0:32:55the ones that you have here,
0:32:55 > 0:32:58it's probably worth £40 or £50, something like that.
0:32:58 > 0:33:01- Oh, right.- So that's the sort of price you're likely to see them
0:33:01 > 0:33:04up for sale on the internet perhaps, something like that.
0:33:04 > 0:33:07So you've got roughly what, 12 pairs here,
0:33:07 > 0:33:10so you're looking at around about, as just a ball park figure,
0:33:10 > 0:33:12round about £400 or £500-worth on this table.
0:33:12 > 0:33:14But it's obvious to me
0:33:14 > 0:33:17that you didn't really quite collect them for their value, did you?
0:33:17 > 0:33:21No, it was the dental interest, I'm afraid to say!
0:33:25 > 0:33:30Tumblers in a modern context sort of equal whisky and water,
0:33:30 > 0:33:31that's the association we have,
0:33:31 > 0:33:34but according to the iconography on here,
0:33:34 > 0:33:37we've got hops and barley wheel-engraved onto here
0:33:37 > 0:33:38which is clearly for beer.
0:33:38 > 0:33:44So this is a beer tumbler, but the point of interest is of course
0:33:44 > 0:33:49this extraordinary wording that we find wheel-engraved onto the back,
0:33:49 > 0:33:52which is going to send us on a bit of a geographical tour, isn't it?
0:33:52 > 0:33:54My grandmother was in Bedford,
0:33:54 > 0:33:58four miles away her mother was in Wilstead, and we found this glass
0:33:58 > 0:34:01in a sideboard a few months ago and it said Shidlington on it.
0:34:01 > 0:34:05And a quick look at the map shows that there's a Shillington
0:34:05 > 0:34:09just within four or five miles of Wilstead and Bedford, so we think
0:34:09 > 0:34:13this is just on the periphery of our known family tree horizon.
0:34:13 > 0:34:16We know where grandmother was, great grandmother, but this is somebody
0:34:16 > 0:34:20we don't know anything about, but the clue's in the name of the pub.
0:34:20 > 0:34:22Well, what is the red sign post?
0:34:22 > 0:34:25I think there was an association with the gentleman in question
0:34:25 > 0:34:28and the pub, but apart from that I know nothing.
0:34:28 > 0:34:30So he's not family? He's the next door neighbour.
0:34:30 > 0:34:33We think there must have been like
0:34:33 > 0:34:35a betrothal joining in the family clan.
0:34:35 > 0:34:38Ah, yes, and so the goods were united.
0:34:38 > 0:34:40Well, its date, I mean, I'd check the lettering
0:34:40 > 0:34:44because lettering evolved at an extremely regular pace, you know,
0:34:44 > 0:34:47a predictable pace, and 1800 seems to be about the right date,
0:34:47 > 0:34:51and interestingly the same form of glass has been made in Britain for
0:34:51 > 0:34:5750 years before that, so to place it at 1800 is probably about right.
0:34:58 > 0:35:02And whilst it's sending you on this mission,
0:35:02 > 0:35:06its value is handicapped a bit by the lack of further iconography
0:35:06 > 0:35:10which would boost its value. The writing's great.
0:35:10 > 0:35:13As it stands, as three, I suppose what,
0:35:13 > 0:35:17£300, well, just as it stands, you selling.
0:35:17 > 0:35:19So that's really not bad, at all,
0:35:19 > 0:35:22especially as you found it in the cupboard.
0:35:22 > 0:35:24The real value is just that tantalising glimpse
0:35:24 > 0:35:27- into the far edge of our family tree. - I get goose bumps.
0:35:27 > 0:35:30It's this idea, this was his drinking glass in the pub
0:35:30 > 0:35:33and he'd come in after a hard day in the fields, or wherever he worked,
0:35:33 > 0:35:36and say, "I'd like my tumbler of liquid refreshment,"
0:35:36 > 0:35:39and the landlord would get that down and say, "There you are".
0:35:39 > 0:35:42- Put it in your hand. Cheers, man. - So, to you, William.
0:35:44 > 0:35:48When I was young, my father taught me the joys of English porcelain,
0:35:48 > 0:35:51and I was collecting when I was still at school, but what about you?
0:35:51 > 0:35:53Well, I'm interested in, like, unique little pieces
0:35:53 > 0:35:55and I've got it from my dad cos he's, like,
0:35:55 > 0:35:58a really big collector of Chinese porcelain and things,
0:35:58 > 0:36:02and I've kind of inherited it and just like unique pieces like that.
0:36:02 > 0:36:03So you like to collect yourself...?
0:36:03 > 0:36:05Yeah, mainly Chinese teapots,
0:36:05 > 0:36:08I like them a lot but I like little mini-pieces like this.
0:36:08 > 0:36:11A deer, I suppose. Where did you find this?
0:36:11 > 0:36:15Well, I got given it by a friend because I said I really liked it,
0:36:15 > 0:36:18and he was generous to give it to me and I was like, ooh.
0:36:18 > 0:36:20That's the best way to collect,
0:36:20 > 0:36:23- because it didn't cost anything at all.- Yes.
0:36:23 > 0:36:25But, but, well, let us have a look.
0:36:25 > 0:36:27- I mean it's lovely and primitive, isn't it?- Yes.
0:36:27 > 0:36:30Made of porcelain, it's a classic model from Derby.
0:36:30 > 0:36:35Derby produced these deer in around about 1750, that's very much early
0:36:35 > 0:36:39in the days of English porcelain, and it is one of those great images.
0:36:39 > 0:36:41I would have been looking for something like this
0:36:41 > 0:36:46when I was young too, but there's a chap called Reginald Newland,
0:36:46 > 0:36:48- I don't know if you've heard of him.- No.
0:36:48 > 0:36:51He's not very well known these days, but back in the 1950s
0:36:51 > 0:36:54and early '60s he was quite notorious.
0:36:54 > 0:36:56He was a little bit of a dealer in porcelain
0:36:56 > 0:37:00and he produced pieces of porcelain for many great collections,
0:37:00 > 0:37:03and then suddenly he was turning up more and more
0:37:03 > 0:37:06rather wonderful pieces of early Derby especially.
0:37:06 > 0:37:08And someone got a bit suspicious
0:37:08 > 0:37:11and checked on where they were all coming from,
0:37:11 > 0:37:14and Reginald Newland was the source of these,
0:37:14 > 0:37:18- and, unfortunately, this is one of his.- Yeah.
0:37:18 > 0:37:21So it goes back a bit, but he was very clever,
0:37:21 > 0:37:25he worked at Torquay, and so these are known as "Torquay fakes".
0:37:25 > 0:37:28Yeah, so, I mean, they're jolly good.
0:37:28 > 0:37:29We all got caught out.
0:37:29 > 0:37:32When I got caught out by one Torquay piece
0:37:32 > 0:37:35and my father told me, "You stupid boy, you should have known better",
0:37:35 > 0:37:38but they are clever because he made them look old,
0:37:38 > 0:37:39- that was the good thing.- Yes.
0:37:39 > 0:37:41I mean, these... He purposely put a crack in there,
0:37:41 > 0:37:46so when it was, the clay was dry, he tapped it so it split a bit
0:37:46 > 0:37:48and so there was a flaw, and then in the kiln,
0:37:48 > 0:37:52that built into a real crack, because he knew they should have.
0:37:52 > 0:37:56He used to supply shops with his fakes and he sent instructions
0:37:56 > 0:38:00to his shopkeepers who sold them, how to make them look old.
0:38:00 > 0:38:03He said what you had to do was put gum Arabic in the corners
0:38:03 > 0:38:05and then put it in the Hoover bag.
0:38:05 > 0:38:09That was Reg Newland's instructions, so when you look inside here,
0:38:09 > 0:38:12- there's all sorts of little bits of dirt.- Yeah.
0:38:12 > 0:38:14That's from the Hoover bag.
0:38:14 > 0:38:17So what you've got is a great piece,
0:38:17 > 0:38:19- because, I mean, you learn more, I think, from a fake.- Yeah.
0:38:19 > 0:38:23You probably do, especially a classic fake like this.
0:38:23 > 0:38:26So there's lots of fakes made nowadays and they're clever,
0:38:26 > 0:38:28but Reg Newland was one of the best.
0:38:28 > 0:38:30But, erm, had it been the real one,
0:38:30 > 0:38:34you'd be looking probably at sort of £3,000 or more
0:38:34 > 0:38:36for a real Derby deer,
0:38:36 > 0:38:41but for a Torquay one, let's say £100.
0:38:41 > 0:38:44Yeah, thank you for telling me.
0:38:44 > 0:38:49- But learn from it, and go on collecting, that's the joy.- Yeah.
0:39:13 > 0:39:16And we see an awful lot of Queen Victoria's knickers
0:39:16 > 0:39:19on the Antiques Roadshow. I'm not quite sure why
0:39:19 > 0:39:23so many people have so much of her underwear,
0:39:23 > 0:39:26other than to say she obviously had quite a lot of it.
0:39:26 > 0:39:29But, look, she was obviously a lady of some considerable girth
0:39:29 > 0:39:32towards the end of her reign, so they're pretty sizeable,
0:39:32 > 0:39:34and the interesting thing about them...
0:39:34 > 0:39:35Well, before Queen Victoria,
0:39:35 > 0:39:38women didn't really wear knickers actually,
0:39:38 > 0:39:40if you think about Jane Austen's time and before then,
0:39:40 > 0:39:42there wasn't a lot going on under the dresses.
0:39:42 > 0:39:45But towards the end of Queen Victoria's reign
0:39:45 > 0:39:47wearing knickers was a lot more common,
0:39:47 > 0:39:51and you may have noticed the obvious design element of them.
0:39:51 > 0:39:55They are... Well, they're crotchless,
0:39:55 > 0:39:58I think that's probably the best way to put them,
0:39:58 > 0:40:02and that was, well, for hygiene reasons and also for kind of ease,
0:40:02 > 0:40:05you know, under that crinoline and all those undergarments.
0:40:05 > 0:40:07So, ladies, I just wondered what you thought about
0:40:07 > 0:40:10the design of Queen Victoria's pants. A good idea?
0:40:10 > 0:40:11VOICES IN CROWD: No.
0:40:11 > 0:40:14- No?- No.- Definitely not.
0:40:14 > 0:40:15No.
0:40:15 > 0:40:18I don't think this is a fashion we're going to see again.
0:40:22 > 0:40:25- It's not the day for a cup of tea, is it?- It isn't really, is it?
0:40:25 > 0:40:28But if it was, what a wonderful teapot to make it in.
0:40:28 > 0:40:29Have you had it long?
0:40:29 > 0:40:32No, well, it doesn't actually belong to me, it belongs to a friend
0:40:32 > 0:40:35of the family who unfortunately has had a knee operation, and so
0:40:35 > 0:40:39I said I was coming along here, she said, would I bring it along?
0:40:39 > 0:40:41- So remember everything I tell you. - Yeah.
0:40:41 > 0:40:45It's a splendid teapot, it is just over 200 years old.
0:40:45 > 0:40:48- It's about 1790.- Is it? - So I think if we were to use it,
0:40:48 > 0:40:51- we'd have to use very exclusive tea bags.- We certainly would.
0:40:51 > 0:40:52- Or maybe even leaf tea.- Yes!
0:40:52 > 0:40:55Because it doesn't belong to you, you might not have noticed,
0:40:55 > 0:40:57it's actually marked by the potter.
0:40:57 > 0:41:00We've got J Aynsley here for John Aynsley.
0:41:00 > 0:41:02John Aynsley actually founded Aynsley China,
0:41:02 > 0:41:04which is a company still going today.
0:41:04 > 0:41:06But he started in London in the mid-18th century
0:41:06 > 0:41:08learning his trade as an engraver,
0:41:08 > 0:41:11and of course engraving and transfer printing on pottery
0:41:11 > 0:41:15was still a new and a very desirable technique, so he was a clever man.
0:41:15 > 0:41:19He went to London, he came back to his family home in Stoke-on-Trent,
0:41:19 > 0:41:21set up a pottery factory.
0:41:21 > 0:41:26And you can see, the engraving, that it is really beautifully done
0:41:26 > 0:41:28and very clear, and it is in great condition.
0:41:28 > 0:41:32It's a Masonic print - "Keep within the compass", it's entitled,
0:41:32 > 0:41:35we've got a Masonic man here under...
0:41:35 > 0:41:39I think actually he's ended up in jail so this is maybe in the centre.
0:41:39 > 0:41:41If you keep within the compass,
0:41:41 > 0:41:44you have a lovely prosperous life with your farm and your windmill.
0:41:44 > 0:41:47If you step outside the compass you end up in jail,
0:41:47 > 0:41:48so it's a moral teapot.
0:41:48 > 0:41:53And then on the other side... we have a lady as well.
0:41:54 > 0:41:57This is all transfer-printed from a copper plate
0:41:57 > 0:42:00and then hand-painted. And of course what it did,
0:42:00 > 0:42:03it made quite complicated designs available,
0:42:03 > 0:42:05not to the masses, to the middle classes.
0:42:05 > 0:42:10So it's a good thing, it's in pretty much perfect condition,
0:42:10 > 0:42:13there's a couple of little chips, we can forgive that for its age.
0:42:13 > 0:42:17It's very clear, it's Masonic which is always very saleable.
0:42:17 > 0:42:21When you go home tonight, tell your friend it's worth £800.
0:42:21 > 0:42:23£800! Oh, she will be pleased.
0:42:23 > 0:42:26So if she uses it, remember, very fancy tea bags.
0:42:26 > 0:42:29- Very fancy tea bags, right. Thank you very much.- It's a pleasure.
0:42:35 > 0:42:39We've got here items relating to the 1901-1904 expedition
0:42:39 > 0:42:42- to the Antarctic.- Mm.
0:42:42 > 0:42:45How does this relate to you and your family?
0:42:45 > 0:42:48Well, I was given these by my grandmother,
0:42:48 > 0:42:50who is this lady here,
0:42:50 > 0:42:54- and when she was in her 80s, she came to live with us.- OK.
0:42:54 > 0:42:57And she was pretty well bedridden, and every morning she'd...
0:42:57 > 0:43:01I'd go into her bedroom and she had a box of treasures by the bed,
0:43:01 > 0:43:05and she'd pull things out and she'd tell me the stories.
0:43:05 > 0:43:07And in the end she gave me the Discovery ribbon
0:43:07 > 0:43:09and these other things,
0:43:09 > 0:43:12because I'd joined a children's club called Discoverers,
0:43:12 > 0:43:14and she thought I could wear it to the club,
0:43:14 > 0:43:15but my mother wouldn't let me.
0:43:15 > 0:43:18How sad! And what stories did she tell you?
0:43:18 > 0:43:23Well, she told me about her engagement to Charles Royds.
0:43:23 > 0:43:24- Charles Royds?- Yes.
0:43:24 > 0:43:28- He was the lieutenant on the Discovery.- That's right, yes.
0:43:28 > 0:43:31And we all know the other big names there - you know, Shackleton -
0:43:31 > 0:43:35- but Royds, one of the great heroes of the expedition.- Yes.
0:43:35 > 0:43:38I didn't know that at the time, she just called him Charlie.
0:43:38 > 0:43:40What happened to the engagement?
0:43:40 > 0:43:44- Um, her family didn't approve, sadly. - Oh, no!
0:43:44 > 0:43:48And pressure was put on for him to disconnect from her.
0:43:48 > 0:43:51She was always a little bit scathing about that.
0:43:51 > 0:43:55- So he came back from the expedition in 1904, one assumes.- Yeah.
0:43:55 > 0:43:57And they were engaged then for a while?
0:43:57 > 0:44:00Yes, and this family album is very happy photos of them
0:44:00 > 0:44:02playing golf and whatnot and...
0:44:02 > 0:44:04And then it all went wrong in...
0:44:04 > 0:44:06- And then it went wrong. - 1906, 1907...?
0:44:06 > 0:44:08She never said exactly what the time scale was.
0:44:08 > 0:44:10Well, a wonderful story,
0:44:10 > 0:44:14and as a little girl you must have been enthralled by it.
0:44:14 > 0:44:16- Oh, yes, yes.- Listening to it all. So what have you got here?
0:44:16 > 0:44:22You've got HMS Crescent, which was the flagship of the Navy
0:44:22 > 0:44:26in North America, and then he became lieutenant of the Discovery.
0:44:26 > 0:44:29- Yes.- So these are both hat bands.
0:44:29 > 0:44:31- Yes.- Which they would have worn.- Yes.
0:44:31 > 0:44:33- And you've got the album.- Yes.
0:44:33 > 0:44:35This tiny thing over here in the corner.
0:44:35 > 0:44:37Now, that is what gets me very excited.
0:44:37 > 0:44:44It is a medal given to people who participated in a sports day.
0:44:44 > 0:44:47Now, they were down there for three years,
0:44:47 > 0:44:50they didn't work every day and on odd occasions
0:44:50 > 0:44:52they had a festival and a sports day.
0:44:52 > 0:44:55And this was a medal that must have been struck in the UK
0:44:55 > 0:44:58- and then taken out there in advance...- Yes.
0:44:58 > 0:45:03..for a number of sports - sledding, skating, skiing and shooting,
0:45:03 > 0:45:05- and maybe a few more. - Oh, I see, right.
0:45:05 > 0:45:08So they must have taken out five or six.
0:45:08 > 0:45:11- This is one of them. - Oh, my goodness!
0:45:11 > 0:45:14And it's been sitting in the drawer all these years!
0:45:14 > 0:45:17- Well, for me to see it is very exciting.- Yes.
0:45:17 > 0:45:20I can't say, "Well, one appeared at auction two or three years ago
0:45:20 > 0:45:22"and made x amount, so this one's worth y."
0:45:22 > 0:45:25So if I were you, I certainly wouldn't part with it
0:45:25 > 0:45:29unless somebody gave me at least £10,000.
0:45:29 > 0:45:32Oooh! SHE LAUGHS
0:45:32 > 0:45:36Well, I think Granny would have been very surprised at that one.
0:45:36 > 0:45:40She just thought it was interesting and fun.
0:45:40 > 0:45:42Well, it is interesting and you've got something
0:45:42 > 0:45:45that will live with you for the rest of your life.
0:45:45 > 0:45:47- Memories of Granny, really. - Brilliant memories.
0:45:47 > 0:45:50- And her big romance.- Great.
0:45:55 > 0:45:57Are you a seasoned drinker?
0:45:57 > 0:46:00Yeah, but I wouldn't drink out of that, I've seen what's inside it.
0:46:00 > 0:46:01You've seen what's inside it?
0:46:01 > 0:46:04It's full of dust and stuff like that and bits of spider and things.
0:46:04 > 0:46:07- Dust and stuff and bits of spider?! - Yeah.
0:46:07 > 0:46:09- It could almost be a curse, couldn't it?- Could be, yeah.
0:46:09 > 0:46:14- What's kept in it?- Pampas grass and Palm Sunday crosses from Mass.
0:46:14 > 0:46:16OK. What have you found out about it?
0:46:16 > 0:46:18I thought that was a Bellarmine jug.
0:46:18 > 0:46:21- I've seen ones in local museums which were in worse condition.- Yes.
0:46:21 > 0:46:24And have been broken and are smaller,
0:46:24 > 0:46:27and I assumed from this that it would be a copy.
0:46:27 > 0:46:29OK, you've got the right name, Bellarmine.
0:46:29 > 0:46:32- Yes.- Cardinal Bellarmine, a man famous for his long sermons
0:46:32 > 0:46:35- and his long beard.- Yeah.
0:46:35 > 0:46:39And whose face was then copied on these stoneware flagons,
0:46:39 > 0:46:42otherwise very plain, but with this little bit of decoration
0:46:42 > 0:46:45- in the form of this grimacing Cardinal Bellarmine.- Yeah.
0:46:45 > 0:46:47Which gives the whole group this name.
0:46:47 > 0:46:50Made of stoneware covered in a wash of iron oxide
0:46:50 > 0:46:55and then fired in a kiln where salt is thrown into the kiln,
0:46:55 > 0:47:00it disperses around the kiln and it gives you this tiger glaze sheen.
0:47:00 > 0:47:02OK.
0:47:02 > 0:47:04Occasionally, as here, you've got a medallion,
0:47:04 > 0:47:07and just occasionally symbols like these,
0:47:07 > 0:47:09which may well denote the establishment,
0:47:09 > 0:47:12the pub or the tavern for which this was made.
0:47:12 > 0:47:16Because these flagons are basically for storing spirits or wines.
0:47:17 > 0:47:21- But getting back to the spiders, the dust.- Yeah.
0:47:21 > 0:47:27It was a tradition in this country, back in the 17th and 18th century,
0:47:27 > 0:47:33just about, to put a Bellarmine bottle by the front door.
0:47:33 > 0:47:38- Yeah, OK.- Because when a building was consecrated,
0:47:38 > 0:47:41you had to keep the evil spirits away,
0:47:41 > 0:47:45and usually what they put into these was nail clippings...
0:47:45 > 0:47:47Yeah.
0:47:47 > 0:47:51..carpenter's nails, and just topped up with a little bit of urine.
0:47:51 > 0:47:54Oh, lovely(!)
0:47:54 > 0:47:57Which is why you shouldn't have drunk out of it.
0:47:57 > 0:48:01Um, and then they were enclosed and they were dug, literally,
0:48:01 > 0:48:04into the ground underneath the threshold of the door.
0:48:04 > 0:48:05OK.
0:48:05 > 0:48:09These were known as witches' bottles.
0:48:09 > 0:48:13- Oh! - And they keep away evil spirits.
0:48:13 > 0:48:14I'm not going to sell it then, am I?
0:48:14 > 0:48:19No, you would bring down a curse on the whole family
0:48:19 > 0:48:21because it's such a big one.
0:48:21 > 0:48:24Yeah, you'd get a lot of evil in there.
0:48:24 > 0:48:25THEY LAUGH
0:48:25 > 0:48:27Anyhow, joking apart,
0:48:27 > 0:48:30people do collect Bellarmine bottles for their ceramic importance.
0:48:30 > 0:48:32Incidentally, let's just look at this,
0:48:32 > 0:48:35look at the way the potter has just left his own personal mark,
0:48:35 > 0:48:38he's drawn that lovely loop handle
0:48:38 > 0:48:41and then just to make sure it sits in place on the body,
0:48:41 > 0:48:44he's gone like this with his thumb, he's pushed.
0:48:44 > 0:48:46That has stuck in there since the late 17th century.
0:48:46 > 0:48:49- It's as old as that?- Yes.
0:48:49 > 0:48:53Oh, I thought it'd have to be a copy because it's still complete.
0:48:53 > 0:48:56No, it's... it's in very good condition.
0:48:56 > 0:48:59But should you be brave enough to risk the curse
0:48:59 > 0:49:03and sell a bottle, you would get somewhere, I think,
0:49:03 > 0:49:06between £400 and £700 for it.
0:49:06 > 0:49:08Oh, that's fair enough.
0:49:08 > 0:49:11But always look over your shoulder...
0:49:12 > 0:49:13Oh, yes!
0:49:13 > 0:49:15LAUGHTER
0:49:18 > 0:49:20How evil do you think this snake really looks?
0:49:20 > 0:49:24Um, I think he's fairly evil, yes.
0:49:24 > 0:49:27- Yes.- And now he's amazingly evil.
0:49:27 > 0:49:30Oh, that poor frog, it is just terrible!
0:49:30 > 0:49:34You don't happen to be born in... what would it be, 1966, do you?
0:49:34 > 0:49:36That's awfully kind of you to say so, but no.
0:49:36 > 0:49:39I was actually born in the Year Of The Dragon.
0:49:39 > 0:49:40Ah! Year Of The Snake was '66.
0:49:40 > 0:49:43- Lovely thing, Japanese ivory. - Uh-huh.
0:49:43 > 0:49:47Made at the end of the Meiji period, round about 1900.
0:49:47 > 0:49:50One of the zodiac animals, they're quite popular in Japanese art,
0:49:50 > 0:49:54to make dragons and snakes and so on and so forth.
0:49:54 > 0:49:57Value on this one, around about £600.
0:49:57 > 0:50:00No! You are joking, aren't you?!
0:50:00 > 0:50:04Oh, that's fabulous! My mum will be delighted, thank you so much.
0:50:04 > 0:50:07Well, unless you're a frog, it's gorgeous.
0:50:07 > 0:50:09It is rather lovely, we love it.
0:50:12 > 0:50:15To be immortalised by a great sculptor or artist
0:50:15 > 0:50:16is a rare privilege,
0:50:16 > 0:50:18and you've had the good fortune,
0:50:18 > 0:50:21at clearly a very young age,
0:50:21 > 0:50:25to be caught by Jacob Epstein, very, very famous sculptor.
0:50:25 > 0:50:30Indeed, Sir Robert Sainsbury, of the Sainsbury Centre behind us,
0:50:30 > 0:50:33his first acquisition as a collector was of a Jacob Epstein,
0:50:33 > 0:50:37- which gives you some idea of... - How important it is.
0:50:37 > 0:50:40Yeah, just how prominent an artist you're dealing with.
0:50:40 > 0:50:45I think he was fascinated with the plaits, that's what he told me.
0:50:45 > 0:50:48OK, so, I mean, I don't want to define your age on this,
0:50:48 > 0:50:50but we're talking, what, 1950s?
0:50:50 > 0:50:51Yes, 1950s.
0:50:51 > 0:50:53And how did that come about?
0:50:53 > 0:50:58Well, my mother saw an exhibition and she fell in love with his work,
0:50:58 > 0:51:02and she got to contact his agent and sent a photograph,
0:51:02 > 0:51:04and after a while he agreed to do it.
0:51:04 > 0:51:08Because so prominent a sculptor probably wanted to make sure that
0:51:08 > 0:51:10his subject was up to it.
0:51:10 > 0:51:12Yes, I suppose so!
0:51:12 > 0:51:16- And I have to say, he's done a fantastic job.- Yes.
0:51:16 > 0:51:18For an artist who was pretty high-risk, wasn't he?
0:51:18 > 0:51:21He was, yes, but my mother was absolutely determined.
0:51:21 > 0:51:24I mean, we're talking about a man who was known for his
0:51:24 > 0:51:29close to the bone, sexually explicit portrait sculpture.
0:51:29 > 0:51:32- Mm.- A man who actually, of course, was born in America,
0:51:32 > 0:51:37Upper East Side New York, Jewish-Polish extraction,
0:51:37 > 0:51:40comes to London and really shakes things up.
0:51:40 > 0:51:44And his civic sculpture, of course, being very famous.
0:51:44 > 0:51:46So you sent the photograph and then you meet the man?
0:51:46 > 0:51:52I met the man, I went to his studio. And I can visualise it now,
0:51:52 > 0:51:56a big place, and he'd got all these busts all over the place,
0:51:56 > 0:51:59and he made me sit up on a stool and he looked at me,
0:51:59 > 0:52:01and he'd got this enormous bit of clay
0:52:01 > 0:52:07and he worked away with his nail and his thumb like this, for a week.
0:52:07 > 0:52:09Yes, I can sort of see what you mean,
0:52:09 > 0:52:11there is a bit of nail and thumb in the hair.
0:52:11 > 0:52:15And then he obviously did something very imaginative
0:52:15 > 0:52:18with your curls, he's given them a sort of buoyancy, a movement.
0:52:18 > 0:52:21Those are plaits, yes, plaits which were doubled up with a bow.
0:52:21 > 0:52:23And it gives us something to look through,
0:52:23 > 0:52:26- some sort of tracery in the background.- Yes, yes.
0:52:26 > 0:52:29I think it's absolutely lovely. The curious thing is that Epstein,
0:52:29 > 0:52:31even although he's very famous name,
0:52:31 > 0:52:36is not particularly a very celebrated sculptor on the market.
0:52:36 > 0:52:38But having said that, I mean,
0:52:38 > 0:52:42I'm sure you don't have in mind selling yourself at this stage.
0:52:42 > 0:52:43No, no, not at all.
0:52:43 > 0:52:47But I could see it being worth £6,000, £7,000,
0:52:47 > 0:52:51as a work in bronze by a very famous artist
0:52:51 > 0:52:53who was a firebrand in his youth.
0:52:53 > 0:52:58I agree, yes. Well, I love it dearly, it sits in my drawing room.
0:53:01 > 0:53:04If I hold this necklace like this,
0:53:04 > 0:53:08I think it's then possible to see the sort of sheer scope of it.
0:53:08 > 0:53:10It's a line of white-coloured links
0:53:10 > 0:53:13with pearl-like beads in between,
0:53:13 > 0:53:17and then suspended at the end is a little drop pendant
0:53:17 > 0:53:20with a pearl and little white stones above.
0:53:20 > 0:53:24And it's wearable, isn't it? I mean, I assume that you do wear it.
0:53:24 > 0:53:26I do occasionally. I think it's beautiful.
0:53:26 > 0:53:29Yes, easy to wear with anything, any colour?
0:53:29 > 0:53:31Anything, the length is nice because you can...
0:53:31 > 0:53:36Let me put it down, and then I'll tell you what it is.
0:53:36 > 0:53:40- Now, first of all, do you know what the white metal is?- No.
0:53:40 > 0:53:42- Right, it's not silver.- Right.
0:53:42 > 0:53:45And it's not white gold, it's platinum.
0:53:45 > 0:53:48Oh, gosh! Wow!
0:53:48 > 0:53:51Yes, probably made round about 1900.
0:53:51 > 0:53:56And then in between each of the individual platinum links
0:53:56 > 0:54:00you have little natural pearls.
0:54:00 > 0:54:05And then this rather sweet little drop which has got a diamond cap.
0:54:05 > 0:54:09- Has it?- And a pearl mounted below.
0:54:09 > 0:54:10Now, where did it come from?
0:54:12 > 0:54:15It came to me through my aunt, through my grandmother.
0:54:15 > 0:54:18No information that percolated through the generations
0:54:18 > 0:54:20as to how it was bought, or anything like that?
0:54:20 > 0:54:21No, I've no idea.
0:54:21 > 0:54:23And did the same person who owned the chain
0:54:23 > 0:54:26originally own the contents of this little blue box?
0:54:26 > 0:54:28- I believe so.- Mm.
0:54:28 > 0:54:33Inside is the kind of thing that jewellery valuers like me
0:54:33 > 0:54:37- very much want to see on days like today.- Wow.
0:54:37 > 0:54:41Because within the case is
0:54:41 > 0:54:45a truly beautiful pair of earrings,
0:54:45 > 0:54:49with large pear-shaped drop stones,
0:54:49 > 0:54:52colourless stone tops,
0:54:52 > 0:54:54mounted in gold,
0:54:54 > 0:54:58and you can probably assume what I'm going to tell you,
0:54:58 > 0:55:00that they are diamonds.
0:55:01 > 0:55:03Now, let me tell you about the age of them
0:55:03 > 0:55:08because these earrings are made in around about 1860.
0:55:08 > 0:55:09Right, yes, that would fit.
0:55:09 > 0:55:13- But that's not quite all, really. - Oh, right, OK.
0:55:13 > 0:55:16Because the principal diamond drops which,
0:55:16 > 0:55:21if I remove from the case, you can see that on the back
0:55:21 > 0:55:27you can remove each of them from the top sections, so do you know that?
0:55:27 > 0:55:32You can actually take them off and wear them either as diamond studs...
0:55:32 > 0:55:34- Yeah.- Or as the whole...
0:55:34 > 0:55:37- Well, I was told that you wore the studs during the day.- Daytime.
0:55:37 > 0:55:39Then when you wanted a bit more bling in the evening,
0:55:39 > 0:55:40you put the drops on.
0:55:40 > 0:55:43What was known as night and day, night and day.
0:55:44 > 0:55:47Now, the reason I've got this bit of white card here
0:55:47 > 0:55:52is because I wanted to show you - I just put my lens like that,
0:55:52 > 0:55:55if I take the earrings out of the case
0:55:55 > 0:55:58and place them against the white card,
0:55:58 > 0:56:02can you see how very colourless they are?
0:56:02 > 0:56:03Yes.
0:56:03 > 0:56:06Now, these are not the same age, the principal diamonds,
0:56:06 > 0:56:08- as the age of the earrings. - Oh, right.
0:56:08 > 0:56:13Because in my opinion, the diamonds are actually 18th-century
0:56:13 > 0:56:16old mined diamonds, the old goods,
0:56:16 > 0:56:19the ones that we want to see but we never see.
0:56:19 > 0:56:21Wow!
0:56:21 > 0:56:23And then, as if that's not enough,
0:56:23 > 0:56:26we've got the diamond top stones as well.
0:56:26 > 0:56:30So night and day earrings. You love them?
0:56:30 > 0:56:32- I love them.- I love them.
0:56:35 > 0:56:37The pearl chain is very desirable.
0:56:37 > 0:56:41Everybody likes natural pearls at the moment,
0:56:41 > 0:56:45and truly a long pearl guard chain is very desirable.
0:56:45 > 0:56:49Would you be pleased to hear it's worth about £4,000 to £5,000,
0:56:49 > 0:56:51- that chain? - GASPING
0:56:51 > 0:56:53Wow, gosh.
0:56:53 > 0:56:55Not bad news?
0:56:56 > 0:56:57That's amazing.
0:56:57 > 0:56:59Shall we move on to the main event?
0:56:59 > 0:57:01OK.
0:57:05 > 0:57:07£25,000.
0:57:07 > 0:57:09AMAZED GASPS
0:57:10 > 0:57:16I knew they were valuable but I... wouldn't have put that much on.
0:57:16 > 0:57:19As a combination, you're not far short of £30,000
0:57:19 > 0:57:22for those two little baubles on the table there.
0:57:22 > 0:57:23That's a lot of money.
0:57:23 > 0:57:25But they're worth it.
0:57:25 > 0:57:27Well, they are beautiful.
0:57:30 > 0:57:31Have a look at this.
0:57:31 > 0:57:34This is the pamphlet that we give to visitors who come to the Roadshow,
0:57:34 > 0:57:38gives a few kinds of guides as to what to expect, and what about this?
0:57:38 > 0:57:41This is a pamphlet from our American cousin,
0:57:41 > 0:57:42the Antiques Roadshow in the States,
0:57:42 > 0:57:45which is a big programme over there, watched by a lot of people.
0:57:45 > 0:57:47And you've come over from the States
0:57:47 > 0:57:50- and you've been to the Antiques Roadshow in the States.- Indeed.
0:57:50 > 0:57:53And what's it like? How is it the same, how is it different?
0:57:53 > 0:57:57Here it's like you're with your closest friends,
0:57:57 > 0:58:00it's out in a garden setting, and it's a very beautiful experience.
0:58:00 > 0:58:03And when we went to Anaheim near Disneyland,
0:58:03 > 0:58:06it was nice, but it was in a convention centre
0:58:06 > 0:58:09and there was no comparison.
0:58:09 > 0:58:11And you get thousands of people coming along to the programmes
0:58:11 > 0:58:13in the States as well, I imagine.
0:58:13 > 0:58:15Oh, yeah, you have to enter a lottery,
0:58:15 > 0:58:16you have to win lottery.
0:58:16 > 0:58:20Only 4% of the people who enter the lottery get a ticket.
0:58:20 > 0:58:23- Oh, my goodness! - They only award 6,000 tickets,
0:58:23 > 0:58:27and then you're told a specific hour of the day to show up.
0:58:27 > 0:58:29There you are, you see? Come along to us
0:58:29 > 0:58:33and you will definitely get seen by an expert, there's no lottery here.
0:58:33 > 0:58:35From the Antiques Roadshow, the original and the best,
0:58:35 > 0:58:37in Norwich, bye-bye.