0:00:05 > 0:00:07If I were to tell you that we were at a country house with
0:00:07 > 0:00:11the greatest facade in Europe, what would you think?
0:00:11 > 0:00:15Versailles? Or, closer to home, Chatsworth? Blenheim?
0:00:15 > 0:00:19Well, equally impressive in terms of history,
0:00:19 > 0:00:22but tucked away in a quiet corner of Yorkshire,
0:00:22 > 0:00:28the answer is Wentworth Woodhouse, spectacular, but relatively unknown.
0:00:28 > 0:00:30Welcome to the Antiques Roadshow from Rotherham.
0:01:18 > 0:01:21The monumental east side of Wentworth Woodhouse was
0:01:21 > 0:01:24added in the 1700s by Thomas Watson,
0:01:24 > 0:01:27one of the wealthiest landowners in the country.
0:01:27 > 0:01:31He wanted to outdo nearby relatives and impress political bigwigs.
0:01:32 > 0:01:35Everything about it is just staggering.
0:01:39 > 0:01:41At 615 feet long,
0:01:41 > 0:01:45you have to step back some distance just to be able to take it all in.
0:01:45 > 0:01:47# Gloria, Gloria! #
0:01:47 > 0:01:53It is said to have 365 rooms, one for every day of the year.
0:01:53 > 0:01:55The actual amount is a bit lower,
0:01:55 > 0:01:57but no-one can agree on the exact number.
0:01:59 > 0:02:01There were rooms for everything.
0:02:01 > 0:02:05There was one for preparing candles, there was one for the family barber.
0:02:05 > 0:02:08In more recent years, there was one just for storing light bulbs.
0:02:08 > 0:02:13The whole place is so gargantuan that in Victorian years,
0:02:13 > 0:02:15guests were given baskets of confetti to lay
0:02:15 > 0:02:18a trail from their bedroom to dinner.
0:02:18 > 0:02:20Just so they could find their way back again.
0:02:24 > 0:02:27And if they did get lost wandering along the five miles
0:02:27 > 0:02:31of corridors and tunnels, they might have found themselves
0:02:31 > 0:02:35wandering through splendid spaces like the pillared hall.
0:02:38 > 0:02:41Or the Whistlejacket room, named after the most expensive
0:02:41 > 0:02:44and, to my mind, the most beautiful painting of a racehorse.
0:02:45 > 0:02:47Unfortunately, this is just a copy.
0:02:47 > 0:02:50The original is in the National Gallery.
0:02:53 > 0:02:56They might even have stumbled into the very heart
0:02:56 > 0:02:57of Wentworth Woodhouse.
0:02:57 > 0:02:59The grandest room of all,
0:02:59 > 0:03:01the marble saloon.
0:03:04 > 0:03:09In the 1760s, this was called the finest room in England.
0:03:09 > 0:03:12And at 60 foot across and 40 foot high,
0:03:12 > 0:03:15it certainly has the Wentworth wow factor.
0:03:18 > 0:03:21It remained the family home for nearly 200 years,
0:03:21 > 0:03:25during which time it was inherited by the Fitzwilliams.
0:03:25 > 0:03:28But by 1948, burdened with financial problems,
0:03:28 > 0:03:31they had to sell the contents and lease out the house.
0:03:31 > 0:03:34But we will tell that story on our next visit.
0:03:35 > 0:03:38Now it's time, on this is rare open day,
0:03:38 > 0:03:41to welcome our visitors to Wentworth Woodhouse.
0:03:41 > 0:03:45All eager to see our experts and this colossus of a stately home.
0:03:45 > 0:03:48And if you would like more information about the programme
0:03:48 > 0:03:52or further details about some of the items featured in this episode,
0:03:52 > 0:03:58please log onto our website.
0:03:59 > 0:04:02Well, there is nothing like taking a nice
0:04:02 > 0:04:05cup of tea on the lawn of a very great English house.
0:04:05 > 0:04:08And you have brought your own tea service. Tell me about it. Right.
0:04:08 > 0:04:09What we know about it
0:04:09 > 0:04:13is that Grandma and Grandad bought it in the late 1950s
0:04:13 > 0:04:15from a private house sale
0:04:15 > 0:04:19where they were selling quite a number of antiques.
0:04:19 > 0:04:22And, basically, it has been in the family ever since.
0:04:22 > 0:04:23Bought in the 1950s. Yes.
0:04:23 > 0:04:25And then somebody in the family
0:04:25 > 0:04:31wrote to a well-known auction house in 1966 and received this letter.
0:04:31 > 0:04:32I will just quote the middle bit.
0:04:32 > 0:04:38"We feel that it might be better for you to keep it for a few years
0:04:38 > 0:04:42and see then to what extent the market has improved."
0:04:42 > 0:04:43That's right.
0:04:43 > 0:04:46That's just another way of saying, "I'm sorry, it's worth nothing." No!
0:04:46 > 0:04:48So the question we now have to ask is,
0:04:48 > 0:04:5250 years on, is it still worth nothing? I hope not.
0:04:52 > 0:04:54OK, we'll put that away.
0:04:54 > 0:04:57The tea service that you have brought along is actually
0:04:57 > 0:05:00very, very unusual. Do you use it? No, we don't, actually.
0:05:00 > 0:05:04It is stored away in bubble wrap and doesn't see the light of day, really.
0:05:04 > 0:05:08That is a shame. I think, break out the cucumber sandwiches.
0:05:08 > 0:05:11A good idea, yes. It is made by the Wedgwood factory, and
0:05:11 > 0:05:16it really shows you how developed English tea drinking had become.
0:05:16 > 0:05:21This was made sometime in the 1880s, 1890s, and this is designed
0:05:21 > 0:05:24to save the lady of the house any effort whatsoever.
0:05:24 > 0:05:27It is a beautiful invention and, of course, we all know, having been
0:05:27 > 0:05:31to Chinese restaurants, that these things are called Lazy Susans.
0:05:31 > 0:05:37They rotate like this. So, there you have a rotating Lazy Susan.
0:05:37 > 0:05:41But the teapot into which our manservant has brought
0:05:41 > 0:05:48and filled it with water is on this wonderful stirrup-shaped pivot,
0:05:48 > 0:05:52so that here we go... Do you take your milk first? Oh, yes, please.
0:05:52 > 0:05:55I shall be Mother. There we are. A little milk in there.
0:05:55 > 0:06:02And then we aim... Let's hope the aim is good. Ooh, look at that.
0:06:02 > 0:06:05Perfect. Lovely. I mean, this is just such a wonderful invention.
0:06:05 > 0:06:08I would love to have one of these at home.
0:06:08 > 0:06:11This sort of contraption would have been very expensive to produce.
0:06:11 > 0:06:14You have not only got the bone china,
0:06:14 > 0:06:20but a patent shaped teapot in a silver-plated stirrup support.
0:06:20 > 0:06:23So, a factory has to work with another factory to produce
0:06:23 > 0:06:27this patent item. And I think, for that reason, we don't see them.
0:06:27 > 0:06:29Very rare. I haven't seen one before.
0:06:29 > 0:06:33To a collector of patent objects,
0:06:33 > 0:06:37someone whose collection sensibilities go beyond
0:06:37 > 0:06:42just porcelain, this is a wonderfully Victorian timepiece.
0:06:42 > 0:06:47OK. So I think we can say that the time has come, 50 years on,
0:06:47 > 0:06:50something like this would be worth somewhere in the region of,
0:06:50 > 0:06:53let's say, conservatively - because there are one or two
0:06:53 > 0:07:00little cracks - somewhere between ?500 and ?800. Lovely.
0:07:00 > 0:07:04Absolutely brilliant. One lump or two? Oh, one, please.
0:07:08 > 0:07:11A little picture of pigs by Briton Riviere,
0:07:11 > 0:07:17the famous Victorian animal painter. Probably about 1870. Oh, yeah?
0:07:17 > 0:07:18Yes, rather fun. Why pigs?
0:07:18 > 0:07:22Because I am married to a pig farmer and we farm very near here.
0:07:22 > 0:07:25That is on the estate? It is on the estate at Wentworth Woodhouse. Yes.
0:07:25 > 0:07:29The farm was actually built from the winnings of the racehorse
0:07:29 > 0:07:32Whistlejacket. The one painted by Stubbs that used to hang here?
0:07:32 > 0:07:34Yes, yes. That's the one.
0:07:34 > 0:07:37His winnings built the farm and the racehorses used to be
0:07:37 > 0:07:39housed down there, and then it was turned into a pig farm.
0:07:39 > 0:07:40Into a working pig farm.
0:07:40 > 0:07:43It was from my mother, originally my grandfather's. Right.
0:07:43 > 0:07:46He thought, being married to a pig farmer, I'd like the picture.
0:07:46 > 0:07:48Very appropriate. He is quite right. They are fun, aren't they?
0:07:48 > 0:07:50It is called Great Expectations
0:07:50 > 0:07:52and I suppose this could be you bringing the swill? It could be!
0:07:52 > 0:07:55Yes. I don't do an awful lot of work on the farm,
0:07:55 > 0:07:56I tend to leave that to my husband.
0:07:56 > 0:07:59But I will go up occasionally on the feed round.
0:07:59 > 0:08:02And Great Expectations because, of course, they are very hungry. Yes.
0:08:02 > 0:08:04A terrific fun picture.
0:08:04 > 0:08:07Now, I was thinking about it, because Briton Riviere is
0:08:07 > 0:08:10a very, very good painter of animals, particularly dogs.
0:08:10 > 0:08:12And he always said you have to know the dog
0:08:12 > 0:08:13before you can paint it properly.
0:08:13 > 0:08:16And so what you look for in these pictures
0:08:16 > 0:08:20is that extraordinary psychological reading of an animal.
0:08:20 > 0:08:22You can get its character, you can
0:08:22 > 0:08:26get its soul out of a Briton Riviere picture. Very, very well painted.
0:08:26 > 0:08:28So I looked at it quite carefully
0:08:28 > 0:08:32and then I looked at the signature, which is very bright red, isn't it?
0:08:32 > 0:08:35Yes, it is. Now, in my trade, picture dealing, that is
0:08:35 > 0:08:38a bit of a red rag to a bull.
0:08:38 > 0:08:39Because I worry about pictures
0:08:39 > 0:08:42that are a little bit too red in the signature.
0:08:42 > 0:08:44And I had a very close look at it and I looked
0:08:44 > 0:08:46for characterisation in the animals
0:08:46 > 0:08:47and I looked for all sorts of things.
0:08:47 > 0:08:51I looked for delicacy and skill in the watercolour. And I saw it.
0:08:51 > 0:08:54But then, I thought, is it really by him?
0:08:54 > 0:08:57OK. Also, it is an incredibly elaborate frame
0:08:57 > 0:08:58you have got on this.
0:08:58 > 0:09:01Yes, it is. I must admit I am not overly fond of the frame.
0:09:01 > 0:09:04It is the picture I like. It looks a bit incongruous. It does.
0:09:04 > 0:09:07A Palladian pig. Yes. Rather oddly done.
0:09:07 > 0:09:09You see, pictures that are framed very elaborately,
0:09:09 > 0:09:12often you are too busy concentrating on the grand frame
0:09:12 > 0:09:14to think, well, could this possibly be right?
0:09:14 > 0:09:16You can probably guess where I'm going.
0:09:16 > 0:09:19Yes. I'm afraid I don't think it is by Briton Riviere. OK.
0:09:19 > 0:09:22I think the addition of a signature makes it a fake. Right.
0:09:22 > 0:09:24Until that is put on, it is a copy.
0:09:24 > 0:09:27Right. Now, the distinction may seem very small
0:09:27 > 0:09:28but, actually, it is quite big.
0:09:28 > 0:09:32Because one intends to deceive and the other is a homage. Yes.
0:09:32 > 0:09:37But it is still a great picture. Now, I did also look it up.
0:09:37 > 0:09:40Yeah? Which is, I know, cheating, but it was quite useful in this case.
0:09:40 > 0:09:44There is a print almost exactly that size that was made after
0:09:44 > 0:09:47the real original picture in 1871.
0:09:47 > 0:09:50And I'm pretty sure that what somebody has done is copy it
0:09:50 > 0:09:52very, very carefully. And if you look, there is
0:09:52 > 0:09:55a slight clunkiness around the top of the black pig's head.
0:09:55 > 0:09:59Can you see? He has not entirely understood the anatomy of the pig.
0:09:59 > 0:10:03Now, Briton Riviere used to go into knackers' yards,
0:10:03 > 0:10:07he used to look at the anatomy of animals very, very carefully.
0:10:07 > 0:10:09And he drew them non-stop.
0:10:09 > 0:10:11So one thing he really did do was get the shape of a pig,
0:10:11 > 0:10:12and a pig's head. Right.
0:10:12 > 0:10:17And there is a slight disjointed inarticulacy about these animals
0:10:17 > 0:10:21which makes me think, yes, definitely not right. OK.
0:10:21 > 0:10:24Had it been the original Briton Riviere, I suppose
0:10:24 > 0:10:26I would have put a couple of thousand pounds on it.
0:10:26 > 0:10:28But actually, the truth of the matter is, it is
0:10:28 > 0:10:33only worth ?200 to ?300. OK. That's very nice, anyway. Thank you.
0:10:33 > 0:10:35But it's a lot of fun, isn't it? Yes, it is. Yes. I do like it.
0:10:40 > 0:10:43Well, I have to start off by saying that we are up against it today.
0:10:43 > 0:10:46Because it is blowing a gale, and if you can hear any creaking,
0:10:46 > 0:10:47it is our canopy.
0:10:47 > 0:10:49But the great thing about this programme,
0:10:49 > 0:10:51it is a learning curve for me.
0:10:51 > 0:10:54Because I am out there to tell people about what they have got.
0:10:54 > 0:10:58But now and then, I need to be told, and you need to tell me
0:10:58 > 0:11:01about the lady involved with the stained-glass panel.
0:11:01 > 0:11:05Right. Well, the lady is my grandmother's first cousin,
0:11:05 > 0:11:11Lilian Pocock. Her parents were both artists with the Royal Academy.
0:11:11 > 0:11:13And she was educated by her mother,
0:11:13 > 0:11:15together with her seven brothers and sisters.
0:11:15 > 0:11:18She became a stained-glass artist.
0:11:18 > 0:11:23This was a panel that she exhibited in Paris in 1913,
0:11:23 > 0:11:25just before the outbreak of the war.
0:11:25 > 0:11:29That is a picture of her as a little girl, painted by her aunt,
0:11:29 > 0:11:33who was also a stained-glass window artist.
0:11:33 > 0:11:34So, it runs in the family, really.
0:11:34 > 0:11:37So, was she a local girl? Was she Yorkshire?
0:11:37 > 0:11:39No, no. She was down in London. Was she, now?
0:11:39 > 0:11:41Yes, the family came from London.
0:11:41 > 0:11:44When you look at a stained-glass window like this,
0:11:44 > 0:11:47you would be forgiven for thinking it could be roundabout 1890.
0:11:47 > 0:11:50Um... But let's have a look at it,
0:11:50 > 0:11:54because I think it is such a beautiful composition.
0:11:54 > 0:11:57I am for ever seeing images of Adam and Eve
0:11:57 > 0:12:00and I never thought I would want to take one home
0:12:00 > 0:12:02and put it on the wall. Having said that,
0:12:02 > 0:12:06I would have to put this in the window to see it properly.
0:12:06 > 0:12:09Because if we just... Let's just take that face.
0:12:09 > 0:12:12I mean, that is just remarkable.
0:12:12 > 0:12:16The expression, it says everything.
0:12:16 > 0:12:20That is pure fear, isn't it? And I feel sorry for Adam. Look at him.
0:12:20 > 0:12:25I mean, he is looking somewhat desolate.
0:12:25 > 0:12:26So, an interesting composition,
0:12:26 > 0:12:31and also, I can see here it is lettered with a text from the Bible.
0:12:31 > 0:12:35I have got to admit that, on the learning curve,
0:12:35 > 0:12:38I have never heard of Lilian Pocock.
0:12:38 > 0:12:41I put my hand up, and I should, really.
0:12:41 > 0:12:45Because there is a stained-glass panel here, a photograph of it,
0:12:45 > 0:12:47of St Nicholas, I believe.
0:12:47 > 0:12:51And that just happens to be in a church less than three miles
0:12:51 > 0:12:54from where I live in Buckinghamshire.
0:12:54 > 0:12:58So, it just shows the proficiency of her work.
0:12:58 > 0:13:03What is interesting, though, is with so many Arts and Crafts designers,
0:13:03 > 0:13:06they are multi-taskers as well.
0:13:06 > 0:13:09They can turn their hand to so many different things.
0:13:09 > 0:13:11Is that a Christmas card? It is a Christmas card, yes.
0:13:11 > 0:13:13Printed and then signed by her, is it? Yes.
0:13:13 > 0:13:17And next to that, December On The Downs, which...?
0:13:17 > 0:13:19They're a book of poems that she wrote.
0:13:19 > 0:13:22She wrote the poems and she has illustrated it as well.
0:13:22 > 0:13:26So, how can I do this? I have not come across this lady before.
0:13:26 > 0:13:28I am presented with a stained-glass panel
0:13:28 > 0:13:31and I've got to give you some indication as to value.
0:13:31 > 0:13:34I often think, what would I pay for it in a gallery?
0:13:34 > 0:13:38I think I would have to pay somewhere between ?2,000 and ?3,000
0:13:38 > 0:13:40for that stained-glass panel.
0:13:40 > 0:13:44But the look in your eye tells me that no matter what I say,
0:13:44 > 0:13:47it is going nowhere! No, it is not going anywhere.
0:13:47 > 0:13:48Just back to my study,
0:13:48 > 0:13:51where it sits on the windowsill, so I can look at it.
0:13:51 > 0:13:53You are a very lucky lady. I am.
0:13:58 > 0:14:00You have brought me Zeus the Thunderer. Really?
0:14:00 > 0:14:02And what is he doing with you?
0:14:02 > 0:14:07Um... This belonged to my grandad's second wife, and it was passed to
0:14:07 > 0:14:11my mother, and since my mother passed away, it has been passed to me.
0:14:11 > 0:14:15And you wear it, do you love it? I do wear it. It is beautiful.
0:14:15 > 0:14:17I really love it.
0:14:17 > 0:14:20I took it to a local jeweller and they said that it was just
0:14:20 > 0:14:25gold coloured, and there was nothing of value to the brooch.
0:14:25 > 0:14:28Well, in a funny way, I think they were barking up the wrong tree.
0:14:28 > 0:14:31The value of this object is in the cameo, rather than in the setting.
0:14:31 > 0:14:33The context of this object
0:14:33 > 0:14:36has an enormous amount to do with the house that we are in.
0:14:36 > 0:14:38Because it is the passion for the antique,
0:14:38 > 0:14:40and in the 18th and 19th century,
0:14:40 > 0:14:44the people were so interested in ancient Greek and Rome
0:14:44 > 0:14:47that it pervaded every aspect of the decorative arts,
0:14:47 > 0:14:48including jewellery.
0:14:48 > 0:14:51And the other thing is, if you were living here,
0:14:51 > 0:14:54you would not only furnish the inside of your house with
0:14:54 > 0:14:57ancient sculptures and with bas-reliefs
0:14:57 > 0:15:01of Zeus the Thunderer and Aphrodite and Cupid and Psyche,
0:15:01 > 0:15:05you would also go to where they once lived, these gods, if you like,
0:15:05 > 0:15:08and go to the Mediterranean countries,
0:15:08 > 0:15:11and that was going on in the 18th century,
0:15:11 > 0:15:12but also in the 19th century.
0:15:12 > 0:15:15But it wasn't enough just to go there and look at ancient Rome
0:15:15 > 0:15:18and ancient Greece and see the frescoes and the mosaics,
0:15:18 > 0:15:21but you want to bring something back.
0:15:21 > 0:15:23And this is the highest level of souvenir -
0:15:23 > 0:15:25"souvenir" is to remember,
0:15:25 > 0:15:29and so this is a way in which you'd remember your grand tour.
0:15:29 > 0:15:32And so we're brought an enormous number of cameos
0:15:32 > 0:15:33to the Antiques Roadshow,
0:15:33 > 0:15:36and most of them are not of this kind of quality,
0:15:36 > 0:15:38this is a very superior one.
0:15:38 > 0:15:40It's not the greatest cameo,
0:15:40 > 0:15:42because that might have been carved from stone.
0:15:42 > 0:15:45This is actually carved from shell. Yes. And it's a soft material.
0:15:45 > 0:15:46A cameo, of course,
0:15:46 > 0:15:50is carving down the white layer to reveal the darker layer beneath.
0:15:50 > 0:15:52And so it's a very, very nice one indeed.
0:15:52 > 0:15:54There's another signal to that as well.
0:15:54 > 0:15:57The back, we can just see very hesitant stock numbers
0:15:57 > 0:16:01and a signature, so the person that carved this cameo in Naples,
0:16:01 > 0:16:04in about 1880, felt that he was interested enough
0:16:04 > 0:16:06to leave his own mark on it.
0:16:06 > 0:16:08I think in honour of the fact
0:16:08 > 0:16:11that it's a really rather good shell cameo,
0:16:11 > 0:16:13possibly by one of the greatest hands,
0:16:13 > 0:16:17by Tommaso Saulini, for instance, working in Italy and Rome,
0:16:17 > 0:16:19you'd want to mount it to honour that, in a weird way.
0:16:19 > 0:16:23So, this is a gold mount. Right!
0:16:23 > 0:16:27And sometimes they're a pinchbeck and sometimes a base metal.
0:16:27 > 0:16:30And it would have been the sort of thing that a lady would have worn
0:16:30 > 0:16:31during the day in a house like this.
0:16:31 > 0:16:33Albeit in the 19th century.
0:16:33 > 0:16:35And she would have thought it modest,
0:16:35 > 0:16:36but it would show her status
0:16:36 > 0:16:38as somebody who appreciated the antique,
0:16:38 > 0:16:41who loved all things ancient, and that she was a scholarly woman.
0:16:41 > 0:16:44Now, how does that add up? Are you going to wear it now?
0:16:44 > 0:16:45SHE LAUGHS I don't know!
0:16:45 > 0:16:46Don't know!
0:16:46 > 0:16:49I think it might have to go in some safe somewhere.
0:16:49 > 0:16:53But there's no... There is no hallmark on the gold, is that...?
0:16:53 > 0:16:54No. No, we don't care.
0:16:54 > 0:16:57There was no obligation to mark gold,
0:16:57 > 0:16:59and in a funny way, the mount, in my view,
0:16:59 > 0:17:02is the least interesting part of this concept, really,
0:17:02 > 0:17:06because this is about art, and about appreciation, about the antique,
0:17:06 > 0:17:10the king...the greatest of all of all the gods, and here we find it.
0:17:10 > 0:17:13I think it's very enviable. It's not going to be a great value,
0:17:13 > 0:17:16because there were an enormous number of them made,
0:17:16 > 0:17:20and it's probably worth, even with a gold mount, ?400, ?500, ?600.
0:17:20 > 0:17:23But it's not the point to me. No.
0:17:23 > 0:17:27It's about context and about revivifying this subject,
0:17:27 > 0:17:29which you've done, you brought it.
0:17:29 > 0:17:31That's wonderful. Thank you very much.
0:17:34 > 0:17:37This is a very grand piece of furniture,
0:17:37 > 0:17:40and very appropriate that it should be seen
0:17:40 > 0:17:41in front of a house like this,
0:17:41 > 0:17:43because it's around the same date,
0:17:43 > 0:17:49it has all of the sophistication of a very good maker,
0:17:49 > 0:17:53and now I understand that, in fact, it came from this house.
0:17:53 > 0:17:57Yes, me parents bought it in 1949.
0:17:57 > 0:17:58And how do you know that?
0:17:58 > 0:18:00We've got the catalogue! Oh, right, OK.
0:18:02 > 0:18:04Ah! Now...
0:18:04 > 0:18:08So, here we've got the Wentworth Woodhouse arms, coat of arms,
0:18:08 > 0:18:10on the front, and then it says, "Important sale
0:18:10 > 0:18:14"of a large portion of the contents of Wentworth Woodhouse, Yorkshire."
0:18:14 > 0:18:16And I think this is it.
0:18:16 > 0:18:23"A handsome Louis XVI-style walnut escritoire, canted at the corners
0:18:23 > 0:18:26"and veneered with deep fruitwood bandings," and so on and so forth.
0:18:26 > 0:18:29And it's an interesting catalogue entry,
0:18:29 > 0:18:32because I disagree with nearly all of it. Right!
0:18:32 > 0:18:36Except that it's a very fine piece of furniture.
0:18:36 > 0:18:39It has a French influence, but it's, to me, very clearly English,
0:18:39 > 0:18:43rather than Louis XVI, which suggests French.
0:18:43 > 0:18:49And I think the wood here is mahogany rather than walnut,
0:18:49 > 0:18:53and with kingwood, a wonderful coloured wood,
0:18:53 > 0:18:55going round the banding, round the drawers,
0:18:55 > 0:18:57and really giving quite a fancy look to it.
0:18:57 > 0:19:03And it dates to around the time of the house, 1760 to 1780,
0:19:03 > 0:19:04that sort of period. Ah.
0:19:04 > 0:19:06It has a classical feeling to it,
0:19:06 > 0:19:11and yet it also has these lovely handles, which are slightly rococo.
0:19:11 > 0:19:14And if we open the secretaire part,
0:19:14 > 0:19:17there you've got the drawers in the inside,
0:19:17 > 0:19:20which really show the character of the colour
0:19:20 > 0:19:22as it would have been when it was first made.
0:19:22 > 0:19:24Much, much more colourful than it is now,
0:19:24 > 0:19:27and it would probably have been even more colourful than that.
0:19:27 > 0:19:30Kingwood is a purplish colour when it's new,
0:19:30 > 0:19:34and mahogany is quite a red colour, and you can see that from the inside
0:19:34 > 0:19:38here, because these little drawers are, in fact, made of mahogany.
0:19:38 > 0:19:41With beautiful little dovetail joints... Yeah.
0:19:41 > 0:19:44Lovely, lovely workmanship.
0:19:44 > 0:19:46Would clearly have been in a family room,
0:19:46 > 0:19:49but an important family room, I would think. Right.
0:19:49 > 0:19:51Which members of the family could work and write
0:19:51 > 0:19:54and keep their correspondence private. Right.
0:19:54 > 0:19:58It has this sophisticated canted corner - curved, canted corner -
0:19:58 > 0:20:03which is inlaid with lighter wood to make it look like fluting,
0:20:03 > 0:20:05which you get on classical columns.
0:20:05 > 0:20:08One of the difficulties about this piece -
0:20:08 > 0:20:11and let's pop it up and shut the drawer -
0:20:11 > 0:20:13you can see that it, like Wentworth Woodhouse,
0:20:13 > 0:20:15has had quite a hard life. Yes.
0:20:15 > 0:20:18It's now got very little colour on the front,
0:20:18 > 0:20:20it's all kind of bleached out.
0:20:20 > 0:20:23What can you do to it to...? Well, this is a bit of a problem.
0:20:23 > 0:20:26To get back to the colours of the period colour,
0:20:26 > 0:20:28which is more what you've got on the top,
0:20:28 > 0:20:31it would need an extremely skilled craftsman, furniture restorer,
0:20:31 > 0:20:35and it could cost you ?2,000, ?3,000 to restore it.
0:20:35 > 0:20:36Crikey.
0:20:36 > 0:20:40The curious thing is that you might find a decorator
0:20:40 > 0:20:44who would pay ?3,000, ?4,000 for this piece
0:20:44 > 0:20:47in the condition that it's in, because of the way it looks...
0:20:47 > 0:20:50Right. ..in a kind of distressed state. Yeah!
0:20:50 > 0:20:52If you see what I mean. Yeah.
0:20:52 > 0:20:54It's slightly difficult - if somebody was to buy it
0:20:54 > 0:21:00and spend the money on having it really sympathetically restored,
0:21:00 > 0:21:04I could see this going for, I don't know, ?10,000.
0:21:04 > 0:21:07In a way, I like it as it is. I do, yes.
0:21:07 > 0:21:10With just a few little repairs, with the history of it all in there.
0:21:10 > 0:21:11Yeah.
0:21:11 > 0:21:14You've got a piece that is really of very, very high quality here.
0:21:14 > 0:21:16Yes, yes.
0:21:16 > 0:21:21And it gives you a direct connection with the house. It is, yeah!
0:21:21 > 0:21:28# Into each heart some tears must fall
0:21:28 > 0:21:33# But someday the sun will shine. #
0:21:34 > 0:21:36Here we are, good old Yorkshire weather.
0:21:36 > 0:21:40It's raining, I'm struggling to hold the umbrella against the wind,
0:21:40 > 0:21:42and we've cracked open the rain macs.
0:21:42 > 0:21:44Any minute now I'm going to have to put one on myself.
0:21:44 > 0:21:48But actually, I think it could turn sunny.
0:21:48 > 0:21:50I can see a tiny sailor's patch of blue in the sky,
0:21:50 > 0:21:52so I've got my fingers crossed.
0:21:52 > 0:21:57# Into each life some rain must fall
0:21:57 > 0:22:04# But too much is falling in mine. #
0:22:05 > 0:22:12For me, your vase is the absolute epitome of Regency elegance.
0:22:12 > 0:22:17It combines a gorgeous shape with this fantastic decoration.
0:22:17 > 0:22:20That floral panel, there, is hand-painted.
0:22:20 > 0:22:23It's a little work of art on a piece of porcelain.
0:22:23 > 0:22:27But the really infuriating thing about it is...
0:22:27 > 0:22:29it's got no mark, has it?
0:22:29 > 0:22:32I don't know, because I haven't looked, myself.
0:22:32 > 0:22:34Well, there is no mark there. Right.
0:22:34 > 0:22:38Why did someone make such a lovely, rich, wonderful object
0:22:38 > 0:22:39and not put a mark on it?
0:22:39 > 0:22:41What can you tell me about it?
0:22:41 > 0:22:45Well, I've actually brought it on behalf of my mother's partner,
0:22:45 > 0:22:47who couldn't be here today.
0:22:47 > 0:22:49So, I'm telling the story as he told me.
0:22:49 > 0:22:54And it was actually bought by his father, I think it was in 1959.
0:22:54 > 0:22:56I don't know why he bought it - presumably he liked it.
0:22:56 > 0:22:58I can see why. Yeah!
0:22:58 > 0:23:01I think what's been special for Peter,
0:23:01 > 0:23:04who owns it, is that it's a local pottery,
0:23:04 > 0:23:07or he thinks it is, but there's some confusion about that.
0:23:07 > 0:23:09OK, and how does the confusion arise?
0:23:09 > 0:23:11Well, the confusion's happened
0:23:11 > 0:23:13because he had it valued in the '70s
0:23:13 > 0:23:15and they didn't think it was Rockingham,
0:23:15 > 0:23:17they thought it was Coalport.
0:23:17 > 0:23:20Is it or isn't it? That's the big question. Yes.
0:23:20 > 0:23:22So, unhelpfully, it's not marked.
0:23:22 > 0:23:25Well, the absolutely wonderful fact is -
0:23:25 > 0:23:28standing here in Wentworth Woodhouse -
0:23:28 > 0:23:30is that this vase is Rockingham.
0:23:30 > 0:23:34And the Rockingham factory had a very, very generous patron,
0:23:34 > 0:23:36and that patron was Earl Fitzwilliam,
0:23:36 > 0:23:39who lived in this house.
0:23:39 > 0:23:43And the factory itself was down the road from here in Swinton.
0:23:43 > 0:23:48So, this is a piece of local porcelain, of Yorkshire porcelain,
0:23:48 > 0:23:53made around about 1830 under the patronage of the owners
0:23:53 > 0:23:54of this magnificent building.
0:23:54 > 0:23:55And I would say, also,
0:23:55 > 0:23:58I have noticed there's a bit of damage on this vase, isn't there?
0:23:58 > 0:23:59Yeah. There's a chip there
0:23:59 > 0:24:02and there's a crack round the back of it.
0:24:02 > 0:24:04Yes. People like their porcelain perfect, normally.
0:24:04 > 0:24:06It doesn't matter too much,
0:24:06 > 0:24:09because this wonderful Rockingham porcelain vase
0:24:09 > 0:24:13is worth ?1,500. Wow!
0:24:14 > 0:24:19Oh, I'm surprised at that. Not a bad improvement on 21 quid. Yeah!
0:24:21 > 0:24:25I bought this book at an auction in part of a job lot that I bought,
0:24:25 > 0:24:27and it was another book I was after,
0:24:27 > 0:24:30and this was just something that came with it.
0:24:30 > 0:24:32This is the works of Lord Byron
0:24:32 > 0:24:34published in Paris in 1831.
0:24:34 > 0:24:36And it's got a letter. It's got a letter inside,
0:24:36 > 0:24:39which is addressed to the publishers of the book,
0:24:39 > 0:24:43denying that Byron wrote a thing called The Vampyre,
0:24:43 > 0:24:44whatever that was.
0:24:44 > 0:24:48So, this is a letter - it's got crossings out... Yes.
0:24:48 > 0:24:51..and it's foxed. And here it is, signed by Byron.
0:24:51 > 0:24:53Signed by Byron. And, of course, he's using a quill... Yes.
0:24:53 > 0:24:56Yeah. So, there's a big quill mark there.
0:24:56 > 0:25:00And this is Venice, April 27th, 1819.
0:25:00 > 0:25:01That's right.
0:25:01 > 0:25:04And it's all... The envelope is all part of it,
0:25:04 > 0:25:06so the envelope is here...
0:25:06 > 0:25:10On the back here is, "To Monsieur Galignani," in Paris.
0:25:10 > 0:25:12So, it's all in there.
0:25:12 > 0:25:14Yes. Incredibly exciting, isn't it? Yes.
0:25:14 > 0:25:16I mean, that IS Byron's signature, isn't it?
0:25:16 > 0:25:20To have something which is written by Byron is exciting.
0:25:20 > 0:25:21Do you like Byron?
0:25:21 > 0:25:23Er, he's a little bit heavy for me.
0:25:23 > 0:25:25A bit heavy. Yeah, he's a bit heavy.
0:25:25 > 0:25:28In his time he was called "mad, bad and dangerous to know", you know.
0:25:28 > 0:25:31But...he's a bit heavy for you.
0:25:31 > 0:25:33But I'm delighted. I'm so pleased you brought this in,
0:25:33 > 0:25:38because this letter comes in time after time to the Roadshow.
0:25:38 > 0:25:40It is a facsimile. Oh, is it? It's not an original.
0:25:40 > 0:25:42Oh, I see.
0:25:42 > 0:25:44It's not an original - it's absolutely wonderful.
0:25:44 > 0:25:47It looks exactly like an original, doesn't it? It does, it does.
0:25:47 > 0:25:48But it's an engraving.
0:25:48 > 0:25:50You can't see the platemarks,
0:25:50 > 0:25:53because it's been specially made like this,
0:25:53 > 0:25:56but it looks exactly like a Byron letter.
0:25:56 > 0:25:59It IS a Byron letter, but it was sent to Galignani.
0:25:59 > 0:26:02Now, Galignani...offices in Paris were burnt down,
0:26:02 > 0:26:06and with it all the Byron letters, including this letter.
0:26:06 > 0:26:09So, that's how we know it's a facsimile? No.
0:26:09 > 0:26:11This letter... This letter was burnt, the original was burnt.
0:26:11 > 0:26:14This is the only thing we have of it. Right.
0:26:14 > 0:26:17But it occurs in every single edition of the Galignani edition.
0:26:17 > 0:26:21Oh! And as I say, people come in to the Roadshow
0:26:21 > 0:26:24and very often it's folded like this
0:26:24 > 0:26:26and it's got the original envelope,
0:26:26 > 0:26:29and they say, "We've brought you a Byron letter."
0:26:29 > 0:26:31And I say, "Is it about The Vampyre?"
0:26:31 > 0:26:33And they say, "How did you know?"
0:26:33 > 0:26:36It's a curiosity. What are we going to value it at?
0:26:36 > 0:26:37I would think very little, actually.
0:26:37 > 0:26:40Very little. Well, I'm going to say ?50, how about that?
0:26:40 > 0:26:43That's... Now, had it been the original, the long-lost,
0:26:43 > 0:26:45the one that escaped from the fire and all that sort of thing,
0:26:45 > 0:26:47we'd be talking...I don't know,
0:26:47 > 0:26:5150,000? Good heavens! But 50 will do. Yeah, 50 will do.
0:26:51 > 0:26:53Thank you. As an extra part of another lot.
0:26:53 > 0:26:55That's great, Thank you for bringing it in. Yeah.
0:26:55 > 0:26:56Thank you very much.
0:26:59 > 0:27:02So, I guess this is your sherry glass, is it?
0:27:02 > 0:27:03It's a punchbowl.
0:27:03 > 0:27:05It's a punchbowl, is it? Yes. OK.
0:27:05 > 0:27:07And you've known it for ever?
0:27:07 > 0:27:12Yes, it's been in the family ever since I was child. OK.
0:27:12 > 0:27:17And it belonged to my grandfather, who was a member of the hunt.
0:27:17 > 0:27:20The Beverley Hunt. OK. Yes.
0:27:20 > 0:27:26And the story that me mother always told me was the squire or the lord
0:27:26 > 0:27:32of wherever this hunt was borrowed ?5 from my grandfather
0:27:32 > 0:27:37and he never gave him the money back.
0:27:37 > 0:27:41And then two years later, there was a knock on the door
0:27:41 > 0:27:45and he said, "I'd like you to have this punchbowl."
0:27:45 > 0:27:48And so this has been a kind of treasured family possession
0:27:48 > 0:27:49ever since?
0:27:49 > 0:27:56Yes, and then when my grandparents died, it belonged my mother. OK.
0:27:56 > 0:28:01And when the war was on and I was a child,
0:28:01 > 0:28:06we had an underground shelter built in the garden,
0:28:06 > 0:28:08and when the sirens used to go,
0:28:08 > 0:28:12we used to go and sleep down there overnight,
0:28:12 > 0:28:17and my father used to carry me down wrapped in a blanket
0:28:17 > 0:28:20and my mother used to follow on behind
0:28:20 > 0:28:23with the punchbowl wrapped in a blanket!
0:28:23 > 0:28:26Oh, sweet! Isn't that lovely?
0:28:26 > 0:28:30I mean, the fact is that working people didn't have stuff, did they?
0:28:30 > 0:28:32I mean, today we're just oozing with stuff,
0:28:32 > 0:28:35we've got so much junk in our lives,
0:28:35 > 0:28:39but the fact is that this was elevated to a status of value
0:28:39 > 0:28:41just next to that of their child.
0:28:41 > 0:28:43They cared for it, didn't they?
0:28:43 > 0:28:46They liked it a lot! My mother did, yeah.
0:28:46 > 0:28:48I see. And she wasn't all that keen on you?
0:28:51 > 0:28:54And my mother used to say...
0:28:54 > 0:28:57She could play a little tune on it, like this...
0:28:57 > 0:29:01The Bluebells of Scotland, she used to say she played on it.
0:29:01 > 0:29:03I don't...
0:29:03 > 0:29:05It WILL ring.
0:29:05 > 0:29:09It's got a very deep, low hum that's coming off here.
0:29:09 > 0:29:11It's English.
0:29:11 > 0:29:13It is a punchbowl, absolutely right,
0:29:13 > 0:29:16and that story... Cos the hunt was seriously into punch.
0:29:16 > 0:29:19Punch was a... You'd have everybody's punchbowl,
0:29:19 > 0:29:23and there were two ways of dispensing it - one was to ladle it,
0:29:23 > 0:29:28but the other way was to do it in a little device that worked on vacuum.
0:29:28 > 0:29:30You could just hold it up - a toddy lifter.
0:29:30 > 0:29:32You could lift up the drink, lift your thumb,
0:29:32 > 0:29:34and it would go into your glass. Oh!
0:29:34 > 0:29:38Entirely handmade, 1865, thereabout.
0:29:38 > 0:29:40So, it's quite early. Yes.
0:29:40 > 0:29:43In terms of value today, nobody's going to use it as a punchbowl,
0:29:43 > 0:29:46because people don't drink punch like they used to,
0:29:46 > 0:29:50but the fact is, it's a really nice antique decorating piece.
0:29:50 > 0:29:53And this will sit very nicely -
0:29:53 > 0:29:55not that you're thinking of selling it, or would sell it -
0:29:55 > 0:29:58but the fact is that it is a great decorating piece,
0:29:58 > 0:30:01and I suppose if it went to auction, wouldn't go for a fortune,
0:30:01 > 0:30:04but probably about ?200 or ?300, I should think.
0:30:04 > 0:30:08Oh, very nice. Which is not nearly as good as your story.
0:30:08 > 0:30:11Oh, well, that's very interesting, and very nice to know.
0:30:11 > 0:30:13Thanks for coming in. All right. Thank you!
0:30:16 > 0:30:19Now, of its type, this is a very good quality skeleton clock.
0:30:22 > 0:30:24Is it something you love?
0:30:24 > 0:30:26I do, because it was me father's, yes.
0:30:26 > 0:30:29The only thing I know about it is that it was handed down
0:30:29 > 0:30:31from eldest son to eldest son,
0:30:31 > 0:30:34and my father obviously handed it down to me,
0:30:34 > 0:30:37and I'm led to believe that it was his father's before him.
0:30:37 > 0:30:38Well, let's talk through it.
0:30:38 > 0:30:42These things can be judged on, A, their scrolls
0:30:42 > 0:30:46and, B, the number of spokes in the wheels.
0:30:46 > 0:30:48Right. The basic ones are four-spokers,
0:30:48 > 0:30:50then you get five-spokers,
0:30:50 > 0:30:52but all these wheels are six-spoked,
0:30:52 > 0:30:56particularly you can see there, six-spoked wheels. Right.
0:30:56 > 0:31:01And even down to the skeletonised barrel here, is also six-spoked.
0:31:01 > 0:31:02Now, on a cheaper clock,
0:31:02 > 0:31:05that would have just been one solid piece of brass.
0:31:05 > 0:31:08Right. So, this is lovely quality.
0:31:08 > 0:31:12Lovely pillars, lovely scrolls, and, of course,
0:31:12 > 0:31:16you've got the passing strike - that's a "ding" on the hour. Uh-huh.
0:31:16 > 0:31:20As the time moved round, the hammer pulls back, and on the hour...
0:31:21 > 0:31:23DING
0:31:23 > 0:31:26Just the "ding" of that - what we call a passing strike. Yeah.
0:31:26 > 0:31:29So, really... I called it a clock, I should have called it a timepiece,
0:31:29 > 0:31:31because it's just basically a ticking clock,
0:31:31 > 0:31:33except that single "ding". Right.
0:31:33 > 0:31:36Now, Sharpe of Bawtry.
0:31:36 > 0:31:37We're not too far from Bawtry, are we?
0:31:37 > 0:31:40No, about 25 mile away. And have you been a local man?
0:31:40 > 0:31:42All my life, yes. All your life.
0:31:42 > 0:31:46It's absolutely typical of the 1860s.
0:31:46 > 0:31:48It obviously hasn't been used for a long time,
0:31:48 > 0:31:50because I see that the suspension is broken.
0:31:50 > 0:31:52When do you last remember it working?
0:31:52 > 0:31:55Probably when I was about 14, 15 year old.
0:31:55 > 0:31:58Then after that, it just became obsolete as a clock.
0:31:58 > 0:32:02I can actually remember, me father, he could strip that down.
0:32:02 > 0:32:05He used to strip it all down - every piece come off it -
0:32:05 > 0:32:07and he'd clean it, and off it went again.
0:32:07 > 0:32:09Wow.
0:32:09 > 0:32:12That's really good to hear, that he was able to do that. Well...
0:32:12 > 0:32:14Did he train you on at all?
0:32:14 > 0:32:17He might have shown me one or two times, how to do it, but...
0:32:17 > 0:32:20I hadn't got me father's patience for it.
0:32:20 > 0:32:23So, you've never had it dealt with in the meantime, have you?
0:32:23 > 0:32:24I haven't, no.
0:32:24 > 0:32:27My mother wanted to have it repaired, and I resisted,
0:32:27 > 0:32:31because the last person that worked on that were me father.
0:32:31 > 0:32:35And it's something that says nobody else should touch it.
0:32:35 > 0:32:37I would like to see it working, from my point of view,
0:32:37 > 0:32:39but I quite understand your viewpoint,
0:32:39 > 0:32:41that the last person to work on it was your dad.
0:32:41 > 0:32:43Yeah. You don't want to touch it. That's correct, yes.
0:32:43 > 0:32:45So, there we are. It's staying like that.
0:32:45 > 0:32:47I love it.
0:32:47 > 0:32:49And I don't think I'd be sticking my neck out
0:32:49 > 0:32:51by saying that even in this condition, at auction,
0:32:51 > 0:32:55it's going to fetch between ?1,200 and ?1,500.
0:32:55 > 0:32:57You're joking!
0:32:57 > 0:32:59Wow.
0:32:59 > 0:33:01So... Wow.
0:33:01 > 0:33:03..the main thing is that you cherish it,
0:33:03 > 0:33:06and I hope it's worth a little bit more than you thought.
0:33:06 > 0:33:08It's certainly worth a lot more than I thought, yes.
0:33:13 > 0:33:15These are absolutely gorgeous.
0:33:15 > 0:33:16But what are they for,
0:33:16 > 0:33:18and when did you last use them?
0:33:18 > 0:33:19When I was young,
0:33:19 > 0:33:22we lived in a large house and it had a big dining room table,
0:33:22 > 0:33:26and we'd have salt on the table, one near me dad and one near me mum,
0:33:26 > 0:33:30and then we'd have our little spoons, silver spoons, to put our salt on.
0:33:30 > 0:33:31That's exactly what they are. Yes.
0:33:31 > 0:33:33And actually, as salts,
0:33:33 > 0:33:36they wouldn't be out of place in the house that we're in. Yes.
0:33:36 > 0:33:39They are designed for this sort of a house.
0:33:39 > 0:33:41Fantastic quality.
0:33:41 > 0:33:44Is this all silver? It is, solid silver.
0:33:44 > 0:33:47Cast sliver. And there you can see the nuts and bolts,
0:33:47 > 0:33:49where the cherubs actually attach.
0:33:49 > 0:33:51This bit here, is this silver as well, or...?
0:33:51 > 0:33:54Everything is silver.
0:33:54 > 0:33:56Right. And this is gold...? That's gilding.
0:33:56 > 0:34:00Is that because of the salt? That's to protect from the salt.
0:34:00 > 0:34:02Yeah. They're actually Russian. Oh, right!
0:34:02 > 0:34:07And when we get to the marks, which are hidden down there,
0:34:07 > 0:34:10they're actually made in St Petersburg... Wow!
0:34:10 > 0:34:14Wonderful centre. ..by a chap, and there's marks in there, CT,
0:34:14 > 0:34:16it's Carl Tegelstein. Right.
0:34:16 > 0:34:19Interestingly, I've seen pieces by him before,
0:34:19 > 0:34:22and they're always this fabulous quality.
0:34:22 > 0:34:23I know they're a devil to clean.
0:34:23 > 0:34:26Yes, well, if you had these, it wasn't the thing that worried you!
0:34:26 > 0:34:28Yes, there'd be somebody else doing it! Exactly.
0:34:28 > 0:34:29Right. Exactly.
0:34:29 > 0:34:31Where did they come from?
0:34:31 > 0:34:33What are you doing with Russian salts of this quality?
0:34:33 > 0:34:35I've no idea, because I don't think anybody in the family
0:34:35 > 0:34:38ever went to Russia. My dad was a doctor,
0:34:38 > 0:34:42and often he got given gifts instead of, you know, payment for...
0:34:42 > 0:34:45You know, it's amazing how often I've come across fabulous things
0:34:45 > 0:34:47where a doctor... Yeah.
0:34:47 > 0:34:50You know, tapestries and things like that, he got given.
0:34:50 > 0:34:53What is interesting, as well, is that for rococo revival
0:34:53 > 0:34:58in the 19th century, these are very early rococo revival.
0:34:58 > 0:34:59So...
0:34:59 > 0:35:03How much are a pair of Carl Tegelstein double salts
0:35:03 > 0:35:05going to be worth?
0:35:05 > 0:35:07Er...
0:35:07 > 0:35:11I think we're probably looking at least...
0:35:11 > 0:35:14?5,000.
0:35:14 > 0:35:16Mm...very nice, yeah!
0:35:16 > 0:35:18Great! You're happy.
0:35:18 > 0:35:20Yes! I thought maybe a couple of hundred quid!
0:35:20 > 0:35:23I'll give you 300 now!
0:35:23 > 0:35:24No, no.
0:35:24 > 0:35:27And they could well go in excess of that. Right.
0:35:27 > 0:35:31Because this... If you think of the market for Russian silver today,
0:35:31 > 0:35:36the tremendous amount of money that these oligarchs have,
0:35:36 > 0:35:38I mean, wow, a Russian oligarch
0:35:38 > 0:35:40would love to have this pair of salts.
0:35:47 > 0:35:50No prizes for guessing whose work we're featuring
0:35:50 > 0:35:52in this week's Rogues Gallery.
0:35:52 > 0:35:53Clarice Cliff, of course.
0:35:53 > 0:35:55These have been brought along by Judith Miller.
0:35:55 > 0:35:58And normally in Rogues Gallery, we're trying to spot one fake,
0:35:58 > 0:36:00but this week she's pulled a bit of a fast one,
0:36:00 > 0:36:05because three of these are fake and only one is genuine.
0:36:05 > 0:36:06Can you tell which is which?
0:36:06 > 0:36:08Here's Judith with some clues.
0:36:08 > 0:36:10MUSIC: "Pink Panther Theme" by Henry Mancini
0:36:10 > 0:36:14With its whimsical landscape and bold colour palette,
0:36:14 > 0:36:17this vase appears to be a classic Clarice Cliff creation.
0:36:17 > 0:36:19But is it?
0:36:20 > 0:36:23Smothered in triangles and diamonds,
0:36:23 > 0:36:26this is a typical early Clarice Cliff pattern,
0:36:26 > 0:36:28but is it all that it seems?
0:36:30 > 0:36:33Art Deco at its absolute best.
0:36:33 > 0:36:35Striking shapes, daring patterns.
0:36:35 > 0:36:39But did Clarice ever design this piece?
0:36:40 > 0:36:42Finally, like all the others,
0:36:42 > 0:36:44this is marked with the classic backstamp.
0:36:44 > 0:36:47It's what looks like a 1930s cream jug,
0:36:47 > 0:36:49but did Clarice make this?
0:36:53 > 0:36:58Now, Judith, we see a lot of Clarice Cliff coming along to the programme.
0:36:58 > 0:37:01It sort of divides people. I mean, what do you all think?
0:37:01 > 0:37:03Fans of Clarice Cliff, raise your hands.
0:37:03 > 0:37:08Oh! Oh. Come on! Oh, OK, well done with the crutch back there.
0:37:08 > 0:37:11What about you? I love it.
0:37:11 > 0:37:14And I think we've all got to remember just how important
0:37:14 > 0:37:16this woman was in the history of British pottery.
0:37:16 > 0:37:20She was born in 1899 and she hated that,
0:37:20 > 0:37:23because she saw herself as a woman of the 20th century.
0:37:23 > 0:37:25She was very modern in her outlook.
0:37:25 > 0:37:27When she went into the potteries at 13,
0:37:27 > 0:37:30all the Staffordshire potteries were making
0:37:30 > 0:37:32little plates and things with flowers on them -
0:37:32 > 0:37:34very conservative, very Victorian.
0:37:34 > 0:37:36She went into Wilkinson's and she went,
0:37:36 > 0:37:40"No, I don't want to do that any more. I'm going to change this."
0:37:40 > 0:37:44This is the Jazz Age, this is the whole excitement of the 1920s,
0:37:44 > 0:37:46and she said, "I want vibrant patterns."
0:37:46 > 0:37:49And she certainly delivered. She certainly did.
0:37:49 > 0:37:52And, of course, just as you were saying with our friends here,
0:37:52 > 0:37:55a lot of people in the potteries hated it.
0:37:55 > 0:37:58I mean, she was really shunned by a lot of the potters
0:37:58 > 0:38:01because they thought this would never sell, nobody would go for it.
0:38:01 > 0:38:03But she said,
0:38:03 > 0:38:06"I want pots for women, painted by women."
0:38:06 > 0:38:08Were they popular at the time?
0:38:08 > 0:38:10They became very popular actually very quickly
0:38:10 > 0:38:12and it really took off.
0:38:12 > 0:38:14Because we do see quite a lot of it on the Roadshow.
0:38:14 > 0:38:18And as I see it coming past me, I think, "How much did this woman do?"
0:38:18 > 0:38:20Well, of course, she had a big team
0:38:20 > 0:38:22and it was over a long period of time.
0:38:22 > 0:38:23Eight million.
0:38:23 > 0:38:26So that's why we see so much on the Roadshow.
0:38:26 > 0:38:29And when it comes to looking at Clarice Cliff
0:38:29 > 0:38:35and trying to assess whether it's genuine or not, how does one begin?
0:38:35 > 0:38:37I imagine with eight million items out there,
0:38:37 > 0:38:40we know there are a few fakes, clearly, as demonstrated here.
0:38:40 > 0:38:42You look for the style. She loved...
0:38:42 > 0:38:45The early period, she loved the geometrics,
0:38:45 > 0:38:47so we look for that, with strong colours.
0:38:47 > 0:38:49We look for great shapes.
0:38:49 > 0:38:52She used very classical shapes and then she made her own shapes.
0:38:52 > 0:38:54The paintresses were incredibly good
0:38:54 > 0:38:56but Clarice said in the early days
0:38:56 > 0:38:59that she wanted them to use exaggerated brushstrokes
0:38:59 > 0:39:03because she wanted everyone to know that it was hand-painted.
0:39:03 > 0:39:05That was really important to her.
0:39:05 > 0:39:09You look for, you know, her blacks are very particular.
0:39:09 > 0:39:12You look for those elements of style.
0:39:12 > 0:39:15So, what do you think? Mm, well...
0:39:15 > 0:39:17OK.
0:39:17 > 0:39:19Looking at the blue on here, that little jug,
0:39:19 > 0:39:21I thought it was too badly painted.
0:39:21 > 0:39:23Looking at the red one, I thought,
0:39:23 > 0:39:25"I didn't know Clarice Cliff did stuff like this."
0:39:25 > 0:39:27Maybe she did in the very early days,
0:39:27 > 0:39:30but it doesn't look like the kind of Clarice Cliff that I've seen.
0:39:30 > 0:39:32So, then it came between the yellow one and the green one.
0:39:32 > 0:39:34There is a difference in the weight of the two.
0:39:34 > 0:39:38In the end, I plumped for this being the genuine one, the green one,
0:39:38 > 0:39:41because of the brushstrokes, because it felt a bit more solid.
0:39:41 > 0:39:44And they've all got Clarice Cliff marks underneath,
0:39:44 > 0:39:45so that wasn't much help.
0:39:45 > 0:39:49So, this is the one I thought was the genuine one. So, come on, then.
0:39:49 > 0:39:53Well, this is the pattern "Applique Caravan".
0:39:53 > 0:39:56So, this was one of her patterns? That was one of her patterns.
0:39:56 > 0:39:58But it's not "Applique Caravan", that is a fake.
0:39:58 > 0:40:01And you can tell that by this orange is not right,
0:40:01 > 0:40:03it hasn't got enough depth to it.
0:40:03 > 0:40:07And you know something that fakers do, they become self-conscious.
0:40:07 > 0:40:09And, you know, this is just too self-conscious
0:40:09 > 0:40:12if you look at a real one. So, that's not the real one. OK.
0:40:12 > 0:40:16This "Blue W", that was made by Wilkinson's in the 1930s,
0:40:16 > 0:40:19but it was painted later.
0:40:19 > 0:40:22It's badly painted. It's badly painted.
0:40:22 > 0:40:26And this is original "Bizarre", this Isis vase.
0:40:26 > 0:40:30The real clue about this one is look at that banding inside.
0:40:30 > 0:40:31Let's have a look. It's really badly done
0:40:31 > 0:40:36Ooh, that is badly done. I wish I'd spotted that. You see?
0:40:36 > 0:40:39That is. And look, you see how on the lid here, it comes out?
0:40:39 > 0:40:42And, you see, this... beautiful Athens jug,
0:40:42 > 0:40:45"Sunspot" pattern,
0:40:45 > 0:40:483? grand, 4 grand. Oh...
0:40:48 > 0:40:50gosh. These...
0:40:50 > 0:40:52zilch.
0:40:52 > 0:40:54Well, that is a blow. I know.
0:40:54 > 0:40:56Well, at least now you know what to look for.
0:40:56 > 0:40:58Have a look at our website
0:40:58 > 0:41:00if you'd like more tips about Clarice Cliff.
0:41:07 > 0:41:10This is an amazingly eclectic collection of jewellery.
0:41:10 > 0:41:12And we've got, I hope you don't mind me saying,
0:41:12 > 0:41:14a rather grumpy looking man here.
0:41:14 > 0:41:16What's the connection? We've always called him Grandfather.
0:41:16 > 0:41:20This is my great-great-great-grandfather.
0:41:20 > 0:41:22Gosh. And he was one of the original settlers
0:41:22 > 0:41:24that went out to South Africa.
0:41:24 > 0:41:29He was an engineer and he was sort of chosen to join a party
0:41:29 > 0:41:32to go out and make a community there.
0:41:32 > 0:41:37And that was in 1820, he went out there.
0:41:37 > 0:41:42And he's always lived on our dining room wall, glaring down at us.
0:41:42 > 0:41:44If anybody said anything wrong, we'd say,
0:41:44 > 0:41:46"Oh, Grandfather doesn't approve."
0:41:46 > 0:41:48So, he's been in our family for a long time.
0:41:48 > 0:41:51When my grandmother died in 1960,
0:41:51 > 0:41:54this was sent over from South Africa to us.
0:41:54 > 0:41:55Oh, fantastic.
0:41:55 > 0:41:58So, all of this jewellery has really come down through him? Yes.
0:41:58 > 0:42:01He went out as a sort of ordinary...
0:42:01 > 0:42:04He wasn't a gentleman, but he was a bit of an entrepreneur.
0:42:04 > 0:42:07He set up his farm and then, within a few years,
0:42:07 > 0:42:11he owned a butcher's and he was a wagon-maker.
0:42:11 > 0:42:13And when he went out, gold and diamonds
0:42:13 > 0:42:14hadn't been found in South Africa,
0:42:14 > 0:42:18but he actually had shares in the first gold and diamond mines.
0:42:18 > 0:42:20Seriously?
0:42:20 > 0:42:23And the Stanton family became one of the richest,
0:42:23 > 0:42:27wealthiest families in South Africa building up the community.
0:42:27 > 0:42:33But two generations later, his great-grandson James, which
0:42:33 > 0:42:38was my great-grandfather, lost all of the riches apart from some bits.
0:42:38 > 0:42:40Some bits of jewellery, which we've got here.
0:42:40 > 0:42:44We've got everything from paste costume jewellery, through to
0:42:44 > 0:42:48wonderful pieces of late Victorian jewellery, as we see here.
0:42:48 > 0:42:50But my eye is drawn a little bit to this gold bangle,
0:42:50 > 0:42:54this delightful little cat brooch and the diamond ring. Yes.
0:42:54 > 0:42:57So if we start with the bangle, what is the story behind that?
0:42:57 > 0:43:01Well, James Stanton, who lost all our family riches,
0:43:01 > 0:43:05it was his wife's birthday coming up and he'd forgotten her birthday.
0:43:05 > 0:43:09So he put his hands into his pockets, took out some gold sovereigns,
0:43:09 > 0:43:12and it was a great handful, and he handed it to one of his workers
0:43:12 > 0:43:16and said, "I've forgotten my wife's birthday,
0:43:16 > 0:43:18"deal with it," and dumped it in this guy's hand.
0:43:18 > 0:43:22There was a total misunderstanding. He melted down the sovereigns,
0:43:22 > 0:43:25had them melted down and had them turned into a bangle,
0:43:25 > 0:43:27rather than buying something. Oh, no.
0:43:27 > 0:43:30My great-grandfather, when it appeared, was a little bit
0:43:30 > 0:43:34sort of bemused, but handed it over anyway as a present.
0:43:34 > 0:43:36Oh, God. How to get it horribly wrong. But never mind.
0:43:36 > 0:43:39Is it something that you wear at the moment, as well?
0:43:39 > 0:43:42There have been a couple of occasions where I've worn it out,
0:43:42 > 0:43:46but it kind of stays in a box now. Stays in a box?
0:43:46 > 0:43:49And the diamond ring, what's the story behind that?
0:43:49 > 0:43:51I wear it as my engagement ring.
0:43:51 > 0:43:52It was handed down to me
0:43:52 > 0:43:56when my grandmother passed away, but it's been in the family for years.
0:43:56 > 0:43:58So, it's really nice to have something
0:43:58 > 0:44:00that's got that sort of heritage to it.
0:44:00 > 0:44:03It is, isn't it? Fabulous that it's an engagement ring
0:44:03 > 0:44:05and there's the sentiment there as well.
0:44:05 > 0:44:07It's really, really quite super.
0:44:07 > 0:44:10The cut of the stone is what we call an "old" cut.
0:44:10 > 0:44:13So, we're looking at the late 19th, into the early 20th century
0:44:13 > 0:44:16when that cut was being developed.
0:44:16 > 0:44:19And by the time we get to the 1930s, we're getting into
0:44:19 > 0:44:23the very serious, bright, sparkly diamonds that we're aware of today.
0:44:23 > 0:44:25So, really quite...
0:44:25 > 0:44:28Two beautiful pieces of jewellery in their own ways.
0:44:28 > 0:44:32The little cat dates from around about 1890,
0:44:32 > 0:44:35a period when anything fun and amusing
0:44:35 > 0:44:37was becoming popular in jewellery as well.
0:44:37 > 0:44:39So, again, nine-carat gold
0:44:39 > 0:44:42with a little natural seed pearl between the paws.
0:44:42 > 0:44:45So, he really does look as though he's having fun, doesn't he?
0:44:45 > 0:44:46So, it's great...great fun,
0:44:46 > 0:44:48and a lovely collection of jewellery to have.
0:44:48 > 0:44:51And as far as these pieces are concerned,
0:44:51 > 0:44:56the little pussy cat, you'd probably get round about ?150 to ?200.
0:44:56 > 0:44:57Wow!
0:44:58 > 0:45:00The gold bangle is interesting,
0:45:00 > 0:45:05and in today's market, it's going to be worth about ?1,000.
0:45:05 > 0:45:08And then the diamond ring, it weighs just over two carats,
0:45:08 > 0:45:10which is a nice size to have.
0:45:10 > 0:45:12Unfortunately, there is a flaw in there,
0:45:12 > 0:45:14which is a bit of a shame, which you can see.
0:45:14 > 0:45:17But even so, it's still worth between
0:45:17 > 0:45:19?4,000 and ?6,000 at auction.
0:45:19 > 0:45:23And as a whole, these three pieces here, we're looking at somewhere
0:45:23 > 0:45:28between ?5,000 and ?7,000, as a collection of jewellery. Very nice.
0:45:28 > 0:45:31Well, it's been lovely to meet you. And this young man.
0:45:31 > 0:45:33And thank you very much for bringing them in.
0:45:33 > 0:45:35Thank you. Thank you very much.
0:45:38 > 0:45:39The 1920s and '30s
0:45:39 > 0:45:42produced some of the most simply
0:45:42 > 0:45:44elegant pieces of ceramic.
0:45:44 > 0:45:48And this, without doubt, is one of them. It's so strong, isn't it?
0:45:48 > 0:45:49It's so simple.
0:45:49 > 0:45:51But what is your connection with it?
0:45:51 > 0:45:55It belonged to my paternal grandmother.
0:45:55 > 0:45:57We think she bought it at auction.
0:45:57 > 0:46:02My dad always liked it. When my mum and dad got married,
0:46:02 > 0:46:04she gave it to my father.
0:46:04 > 0:46:06So, it's just been hung on the wall ever since.
0:46:06 > 0:46:09It's a piece you've grown up with. You've always known it.
0:46:09 > 0:46:11Always. Yeah. Do you like it?
0:46:11 > 0:46:13I love it, yeah. We all like it.
0:46:13 > 0:46:16It is a beautiful thing. And the fact that it's so strong
0:46:16 > 0:46:18and so Art Deco at the front
0:46:18 > 0:46:20actually belies what's on the back,
0:46:20 > 0:46:25because the back doesn't hold any punches either.
0:46:25 > 0:46:28Look at that for a series of markings.
0:46:28 > 0:46:30And what we're looking at there, all of this detail on the back
0:46:30 > 0:46:33is completely hand-painted.
0:46:33 > 0:46:35And we've got some wonderful information there.
0:46:39 > 0:46:42"Potted by:- Doulton Co."
0:46:45 > 0:46:47So, we're talking about quite a rare piece.
0:46:47 > 0:46:49Richard Garbe, as an artist,
0:46:49 > 0:46:52was really in his heyday around this time.
0:46:52 > 0:46:55We're talking the 1920s and the 1930s.
0:46:55 > 0:47:00He was Head of Sculpture at the Royal College of Art from 1926.
0:47:00 > 0:47:03The nice thing about this, we can actually date it quite closely,
0:47:03 > 0:47:05because Richard Garbe was linked with
0:47:05 > 0:47:07many of the great institutions -
0:47:07 > 0:47:10the Royal Academy and the Royal College of Art -
0:47:10 > 0:47:12and, actually, he was made
0:47:12 > 0:47:15an associate of the Royal Academy in 1929.
0:47:15 > 0:47:21So, for the fact we have "ARA" helps us date this post-1929.
0:47:21 > 0:47:25Now, he worked as a sculptor in wood, in ivory,
0:47:25 > 0:47:27stonemasonry as well,
0:47:27 > 0:47:32but he also did this brief stint at Royal Doulton where he created
0:47:32 > 0:47:36a number of beautiful figurines and these very dramatic masks,
0:47:36 > 0:47:39and they're often identified by the fact that
0:47:39 > 0:47:41they come in just these very simple glazes,
0:47:41 > 0:47:43so the lines and the shapes
0:47:43 > 0:47:46and form of the mask actually just speak for itself.
0:47:46 > 0:47:49So, there were only 100 of these produced.
0:47:50 > 0:47:52And the white ones are rarer.
0:47:52 > 0:47:53There's also some indication that
0:47:53 > 0:47:56they were produced in a celadon jade-green.
0:47:56 > 0:47:57So, a price.
0:47:58 > 0:48:02It's a desirable thing. It's a stylish thing.
0:48:02 > 0:48:06And I think you'd have to look well in excess of ?1,000 to replace it.
0:48:06 > 0:48:07Lovely. Thank you.
0:48:07 > 0:48:11It's a great example of the period and it really sums up the 1930s.
0:48:11 > 0:48:13Thank you very much. Thank you very much
0:48:15 > 0:48:16Do you know, as soon as I saw these,
0:48:16 > 0:48:19I was taken back to the mid-'70s
0:48:19 > 0:48:22and just felt huge guilt,
0:48:22 > 0:48:24because we were never allowed these.
0:48:24 > 0:48:26My parents just considered them too violent,
0:48:26 > 0:48:29but every weekend, I would sneak off with my pocket money
0:48:29 > 0:48:32to the local newsagent's and buy one of these.
0:48:32 > 0:48:35The perfect thing was, you could hide them.
0:48:35 > 0:48:38I had a little stash of these and it just brings back
0:48:38 > 0:48:40such great memories. Are you a collector?
0:48:40 > 0:48:43No, I loved these from when I was a child.
0:48:43 > 0:48:48These came out in the late '50s, and I just loved the artwork.
0:48:48 > 0:48:51I bought the comic because of the artwork on the front.
0:48:51 > 0:48:55The inside didn't mean much to me, it was the artwork.
0:48:55 > 0:48:58And for years, through my teenage years and my adult years,
0:48:58 > 0:49:01I wondered what medium they were painted in, how big they were,
0:49:01 > 0:49:05who painted them. And then I saw some guy selling these. Right.
0:49:05 > 0:49:08And I thought, "I must have some of these, it's part of my childhood."
0:49:08 > 0:49:11And I love the fact that you've got this Cellophane here
0:49:11 > 0:49:14which shows the building up of the comics.
0:49:14 > 0:49:15So, you'd have the original image.
0:49:15 > 0:49:18If you lift that up, you can see how that works.
0:49:18 > 0:49:20This was the overlay.
0:49:20 > 0:49:23So, you'd say, "Right. OK." And they would adjust it and move it around.
0:49:23 > 0:49:24And the same on this one.
0:49:24 > 0:49:28This cut-out has obviously been in the wrong place
0:49:28 > 0:49:29and someone at the top has said,
0:49:29 > 0:49:31"No, we've got to move that up a touch."
0:49:31 > 0:49:33Who were they published by?
0:49:33 > 0:49:34They were published by Fleetway Library.
0:49:34 > 0:49:39They also did Battle, War Picture Library, War At Sea, many others.
0:49:39 > 0:49:42The story goes that Fleetway had this art warehouse,
0:49:42 > 0:49:44which was virtually abandoned,
0:49:44 > 0:49:51where the entire stock of the Fleetway art was stored there.
0:49:51 > 0:49:54The interiors of the comics were all destroyed years ago
0:49:54 > 0:49:55because they were a fire hazard.
0:49:55 > 0:50:00Because these were on boards, they were deemed to be a fire hazard.
0:50:00 > 0:50:03But people used to walk on top of these. They were worthless.
0:50:03 > 0:50:05Worthless then,
0:50:05 > 0:50:08but now they're starting to find a collectors' market.
0:50:08 > 0:50:12Because like you, these range from the '50s up to the mid-'70s,
0:50:12 > 0:50:16and to us, they bring back such memories.
0:50:16 > 0:50:20And to me, they're really one of the neglected, or uncollected,
0:50:20 > 0:50:24forms of artwork. They're so iconic of that period
0:50:24 > 0:50:27and really graphic.
0:50:27 > 0:50:32I would get them framed properly, so that they're conserved.
0:50:32 > 0:50:35I mean, I would pay ?150 to ?200 each.
0:50:35 > 0:50:41So, collectively, you'd see in an auction an estimate of 800 to 1,200.
0:50:41 > 0:50:44If they made a bit more, I wouldn't be surprised. That's good.
0:50:44 > 0:50:46I think my wife might appreciate them more now.
0:50:46 > 0:50:48She might let me put one on the wall.
0:50:48 > 0:50:52It sounds like what my mother was like when I was a child.
0:50:54 > 0:50:56In coming to a show, you just never know
0:50:56 > 0:50:58what you're going to find. I mean, that's really
0:50:58 > 0:51:00one of the great pleasures of doing the show.
0:51:00 > 0:51:03And what a peach! Oh,
0:51:03 > 0:51:05I think that's just yummy!
0:51:05 > 0:51:07So, I need to find out where it comes from.
0:51:07 > 0:51:11Well, I went to visit my uncle and aunt in Belgium last year.
0:51:11 > 0:51:15We visited a glass museum where there was a glassworks
0:51:15 > 0:51:19and I was so impressed by the glass that, when I went home,
0:51:19 > 0:51:22my uncle came out with this and gave it to me.
0:51:22 > 0:51:25How does it figure in his life? Do you know anything about that?
0:51:25 > 0:51:28It was his mother's, and his mother was Russian.
0:51:28 > 0:51:32And he thought that the vase was Russian. OK. But you know different?
0:51:32 > 0:51:36But I noticed it had Galle on it.
0:51:36 > 0:51:39And that's where it has Galle on it, just there.
0:51:39 > 0:51:43Emile Galle, arguably as great as Lalique in terms of pushing
0:51:43 > 0:51:45the boundaries of glass-making,
0:51:45 > 0:51:50cameo being his speciality, where you form glass in layers of colour,
0:51:50 > 0:51:53exactly in the manner of forming a gobstopper -
0:51:53 > 0:51:55as you suck through the colours, another one appears -
0:51:55 > 0:51:59he used acid to selectively burn through
0:51:59 > 0:52:01the layers in order to create the design.
0:52:01 > 0:52:04And I must say that is just beautiful.
0:52:04 > 0:52:06But I'm not sure it's Emile
0:52:06 > 0:52:09because there are three forms of Galle signature.
0:52:09 > 0:52:12This is the classic, in terms of it looks like a signature.
0:52:12 > 0:52:15After his death in 1905,
0:52:15 > 0:52:20they introduced a star onto here, which indicated posthumous Galle.
0:52:20 > 0:52:23Then there's a third type, a third signature,
0:52:23 > 0:52:27which says "Galle TYP" - T-Y-P.
0:52:27 > 0:52:31And T`Y`P stands for type - Galle type.
0:52:31 > 0:52:36But this is the original signature, but I think it is after his death.
0:52:36 > 0:52:38I've shown it to all sorts of people around
0:52:38 > 0:52:40and they've all scratched their head saying,
0:52:40 > 0:52:44"When was this made?" And the consensus seems to be about 1925 -
0:52:44 > 0:52:4720 years after the death of the master.
0:52:47 > 0:52:49Irrespective of the date,
0:52:49 > 0:52:54that is just such a beautifully composed piece.
0:52:54 > 0:52:59You know, with the ice floe and the sky and all the rest of it,
0:52:59 > 0:53:02it's just... It's a corker.
0:53:02 > 0:53:06And I suppose your little present comes to the market,
0:53:06 > 0:53:09I suppose at auction, you selling it,
0:53:09 > 0:53:12that is going to fetch between ?2,000 and ?3,000.
0:53:12 > 0:53:15Oh, my. Right.
0:53:15 > 0:53:20Very good. Very good. Very good. Really? Oh, I'm with you, baby.
0:53:21 > 0:53:23So, I haven't got to give it back to my uncle?
0:53:23 > 0:53:26No, don't give it back to your uncle. No, blow your uncle.
0:53:26 > 0:53:30Don't tell him. Does he watch the Roadshow?
0:53:30 > 0:53:34No, he's in Belgium. Excellent. Great. You're onto a winner.
0:53:36 > 0:53:38When you brought this in to me
0:53:38 > 0:53:40and unwrapped it in this period newspaper - I think
0:53:40 > 0:53:42the period newspaper dates back to the 1950s -
0:53:42 > 0:53:45I had no idea what was going to be inside.
0:53:45 > 0:53:48But you brought out what I can only say is a bit of a shipwreck.
0:53:48 > 0:53:52Yes, definitely. What's the history?
0:53:52 > 0:53:56Well, I was aware of it probably around 1991.
0:53:56 > 0:53:58It belonged to my late husband.
0:53:58 > 0:54:02I was aware he had this ship that he said wanted re-rigging.
0:54:02 > 0:54:03But I never saw it.
0:54:03 > 0:54:06We moved from down south up here about 12 years ago.
0:54:06 > 0:54:09It was moved in all the wrapping as it was, stringed up again,
0:54:09 > 0:54:11I hadn't ever seen it,
0:54:11 > 0:54:14and put into the garage with the storage boxes
0:54:14 > 0:54:16that wouldn't go anywhere else.
0:54:16 > 0:54:19Last year, I did a bit of decluttering in the garage
0:54:19 > 0:54:23and thought, "Well, I'm going to look inside this paper parcel,"
0:54:23 > 0:54:25having never seen it, and it was that.
0:54:25 > 0:54:26Did you think it was a project
0:54:26 > 0:54:29he was going to take on in his retirement?
0:54:29 > 0:54:31Probably. Probably, yes.
0:54:31 > 0:54:33But if it's going back to 1951,
0:54:33 > 0:54:36he was a very young man around the age of 29,
0:54:36 > 0:54:40after the Second World War, coming back into working in London,
0:54:40 > 0:54:43and I don't know much of the story of how he got it,
0:54:43 > 0:54:46because we were married later on in life.
0:54:46 > 0:54:48So, it was before my time.
0:54:48 > 0:54:51Well, it gives me great joy to see it, because I'm very excited
0:54:51 > 0:54:56to see, even in this condition, a model that is extraordinarily rare.
0:54:56 > 0:55:01These were made by French prisoners of war, captured
0:55:01 > 0:55:04and brought back over here to the UK
0:55:04 > 0:55:07in the late 18th, early 19th century.
0:55:07 > 0:55:08Now, a lot of them
0:55:08 > 0:55:13were pressed into the French Navy from the port of Dieppe.
0:55:13 > 0:55:17Dieppe was the centre for ivory carving in the whole of France.
0:55:17 > 0:55:21So, these poor guys, ivory carvers, pressed into the French Navy,
0:55:21 > 0:55:24went to battle, lost, put in the prison over here,
0:55:24 > 0:55:26all they could do in order to feed themselves -
0:55:26 > 0:55:31because in those days you went to prison, they just locked the door
0:55:31 > 0:55:32and they didn't feed you -
0:55:32 > 0:55:35you either had to have money, or you had to be good at gambling,
0:55:35 > 0:55:36or you had to make something.
0:55:36 > 0:55:39So, what these ivory carvers could do was make things -
0:55:39 > 0:55:42not out of ivory, because they wouldn't have any ivory -
0:55:42 > 0:55:45from the bones, the beef bones, from their plate.
0:55:45 > 0:55:49Yes, I've read a little of that, yes.
0:55:49 > 0:55:51And they used to take these into the market, have a little stall.
0:55:51 > 0:55:53They were allowed to freely roam around.
0:55:53 > 0:55:56They would sell them, get a few coins, buy some food
0:55:56 > 0:55:59and be able to live for another week or two
0:55:59 > 0:56:00and make another one of these.
0:56:00 > 0:56:02And they're made all from bone.
0:56:02 > 0:56:05And rigging, they didn't have any string, they used human hair.
0:56:05 > 0:56:08Yes. So, it's not surprising that
0:56:08 > 0:56:10the rigging goes and all the masts come down.
0:56:10 > 0:56:13And the double interest, from my point of view,
0:56:13 > 0:56:17they are absolutely accurate both above and below the water line.
0:56:17 > 0:56:18Really?
0:56:18 > 0:56:21They were not just made by people who just saw a ship and thought,
0:56:21 > 0:56:22"I'll make a model,"
0:56:22 > 0:56:24they are absolutely as a ship would've been.
0:56:24 > 0:56:27So, the detail is really exceptional.
0:56:27 > 0:56:31The other great thing about this is that he, and therefore you,
0:56:31 > 0:56:34have kept all the bits and pieces.
0:56:34 > 0:56:37So, in fact, this is the jigsaw of all jigsaws.
0:56:37 > 0:56:40But somebody somewhere, and there are restorers,
0:56:40 > 0:56:42could put this all back together again. Really?
0:56:42 > 0:56:44Because you've got all the spars here.
0:56:44 > 0:56:47You've got all the detailing here.
0:56:47 > 0:56:50I mean, I know it's all on the floor now, but it's all there,
0:56:50 > 0:56:52so you're not missing very much.
0:56:52 > 0:56:55You've even got this lovely matchbox which has all the blocks.
0:56:55 > 0:56:57I mean, look at the size of those. Tiny.
0:56:57 > 0:56:59They're absolutely tiny, tiny blocks.
0:56:59 > 0:57:01But somebody has carefully put all those away.
0:57:01 > 0:57:05So, to a restorer, it's a big job, but not impossible.
0:57:05 > 0:57:07Right, right.
0:57:07 > 0:57:10In unrestored condition, we're properly talking about
0:57:10 > 0:57:12a figure of between ?8,000 and ?10,000.
0:57:12 > 0:57:14However, if you get it fully restored,
0:57:14 > 0:57:16you're talking about a figure of...
0:57:16 > 0:57:21between ?20,000 and ?25,000. Oh...
0:57:23 > 0:57:25But how much to restore?
0:57:27 > 0:57:29Yes. It might cost half of that to get it restored.
0:57:29 > 0:57:32But get the quote first and then make a decision about it,
0:57:32 > 0:57:34because it would be joyous, wouldn't it... Yes.
0:57:34 > 0:57:37..to put it all back together and see it in its glory
0:57:37 > 0:57:38and then, you know, maybe in time
0:57:38 > 0:57:41you decide you want to sell it, but that's obviously your prerogative.
0:57:41 > 0:57:43I think it's a joy, because it's all there.
0:57:43 > 0:57:45You're not going to have to get anything remade,
0:57:45 > 0:57:48apart from the rigging, and it is a genuine,
0:57:48 > 0:57:52absolutely 100%, Napoleonic prisoner-of-war ship. It is.
0:57:52 > 0:57:55Thank you. Made my day. Oh, thank you very much.
0:57:55 > 0:57:57I'm very pleased. Thank you.
0:57:58 > 0:57:59Who'd have thought it?
0:57:59 > 0:58:01What's effectively a shipwreck
0:58:01 > 0:58:03could have such an astonishing value.
0:58:03 > 0:58:06We very much enjoyed our day here at Wentworth Woodhouse.
0:58:06 > 0:58:08We've been rained on, the sun's come out,
0:58:08 > 0:58:10we've been rained on again,
0:58:10 > 0:58:12but we've carried on regardless.
0:58:12 > 0:58:13That's the Antiques Roadshow spirit.
0:58:13 > 0:58:16Until next time, bye-bye.
0:58:47 > 0:58:48Who do you trust?
0:58:48 > 0:58:50How do you know? How?
0:58:50 > 0:58:53We all have secrets.
0:58:53 > 0:58:57But sometimes, something can happen that leaves you no choice
0:58:57 > 0:58:59but to reveal it -
0:58:59 > 0:59:02to let the world see your secret self.