Browse content similar to Wentworth Woodhouse 2. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
# Gloria... # | 0:00:04 | 0:00:05 | |
It's fair to say we like to hold our Roadshow days | 0:00:07 | 0:00:09 | |
at grand stately homes, | 0:00:09 | 0:00:11 | |
and today's venue near Rotherham is no exception. | 0:00:11 | 0:00:13 | |
Look at it. Gorgeous. | 0:00:13 | 0:00:16 | |
But this is nothing - wait till you see the other side. | 0:00:16 | 0:00:18 | |
This is Wentworth Woodhouse | 0:00:22 | 0:00:24 | |
with the longest facade of any grand house | 0:00:24 | 0:00:27 | |
between here and Istanbul. | 0:00:27 | 0:00:29 | |
It's twice as long as Buckingham Palace | 0:00:29 | 0:00:32 | |
and we're here for a return visit. | 0:00:32 | 0:00:34 | |
Welcome to the Antiques Roadshow from South Yorkshire. | 0:00:34 | 0:00:37 | |
Completed in 1760, | 0:01:27 | 0:01:29 | |
Wentworth Woodhouse has long been | 0:01:29 | 0:01:31 | |
one of the great country houses of Europe. | 0:01:31 | 0:01:34 | |
It was once home to the Fitzwilliams, | 0:01:34 | 0:01:36 | |
a powerful aristocratic family that included a Prime Minister. | 0:01:36 | 0:01:40 | |
But since the end of the Second World War, | 0:01:40 | 0:01:42 | |
Wentworth has been in decline. | 0:01:42 | 0:01:44 | |
Worst of all, parts of the house have started sinking. | 0:01:46 | 0:01:49 | |
Take a look at these doors here, | 0:01:49 | 0:01:51 | |
particularly the door handles. | 0:01:51 | 0:01:52 | |
See how this one is lower than this one? | 0:01:52 | 0:01:54 | |
The cause is said to be | 0:01:54 | 0:01:56 | |
the very substance that made the Fitzwilliam family | 0:01:56 | 0:01:59 | |
one of the richest in Victorian England - | 0:01:59 | 0:02:01 | |
coal. | 0:02:01 | 0:02:02 | |
It drove the steam engines of the Industrial Revolution | 0:02:05 | 0:02:09 | |
and Wentworth sat on the richest coal seam in Yorkshire. | 0:02:09 | 0:02:14 | |
Thousands of miners worked deep underground | 0:02:14 | 0:02:16 | |
for the Fitzwilliams. | 0:02:16 | 0:02:17 | |
But after the Second World War, Britain needed rebuilding | 0:02:19 | 0:02:22 | |
and there was a shortage of coal. | 0:02:22 | 0:02:24 | |
So the Minister for Fuel and Power, Manny Shinwell, | 0:02:24 | 0:02:27 | |
ordered the Wentworth grounds to be dug up for open-cast mining, | 0:02:27 | 0:02:32 | |
a move seen by many as class warfare. | 0:02:32 | 0:02:34 | |
The land was ripped up all the way to the edge of the drive here, | 0:02:38 | 0:02:43 | |
leaving the house effectively marooned in a coal field. | 0:02:43 | 0:02:48 | |
The house survived the digging and blasting, | 0:02:50 | 0:02:52 | |
but a year later, in 1947, the coal industry was nationalised. | 0:02:52 | 0:02:57 | |
Overnight, the Fitzwilliam family was stripped | 0:02:57 | 0:03:00 | |
of all its income from mining. | 0:03:00 | 0:03:02 | |
This was the beginning of the end for Wentworth Woodhouse. | 0:03:02 | 0:03:07 | |
In 1948, unable to afford the upkeep of this palatial home | 0:03:07 | 0:03:11 | |
and crippled by death duties, | 0:03:11 | 0:03:13 | |
the family sold off the contents. | 0:03:13 | 0:03:16 | |
The building was then leased to the council as a PE college. | 0:03:16 | 0:03:19 | |
The Fitzwilliams finally sold Wentworth Woodhouse in 1989. | 0:03:19 | 0:03:23 | |
The current owners have done | 0:03:25 | 0:03:27 | |
a lot of restoration on the house, | 0:03:27 | 0:03:28 | |
but there's still an awful lot to go | 0:03:28 | 0:03:30 | |
and they're just beginning to welcome people here on tours, | 0:03:30 | 0:03:33 | |
so we're delighted today to invite the people of South Yorkshire here | 0:03:33 | 0:03:36 | |
for the Antiques Roadshow. | 0:03:36 | 0:03:37 | |
And remember, you can try your hand at being an expert | 0:03:40 | 0:03:43 | |
by playing along with our valuation game. | 0:03:43 | 0:03:45 | |
Press the red button on your remote control | 0:03:45 | 0:03:47 | |
or use our app | 0:03:47 | 0:03:48 | |
to see if you've got an eye for antiques. | 0:03:48 | 0:03:51 | |
Well, from a crowded Roadshow queue into a crowd of Samurai. | 0:03:53 | 0:03:58 | |
-Yes. -Bringing us from dark Yorkshire | 0:03:58 | 0:04:01 | |
to the brilliance of a bygone Japan. | 0:04:01 | 0:04:03 | |
Tell me, what is the story of these two pieces? | 0:04:03 | 0:04:06 | |
Well, from being a little girl, | 0:04:06 | 0:04:08 | |
they were in my cousin's house - first cousin - | 0:04:08 | 0:04:11 | |
and I always loved them, and she knew I loved them | 0:04:11 | 0:04:14 | |
and she gave them to me before she passed away... | 0:04:14 | 0:04:17 | |
-Uh-huh. -..and asked me to safeguard them. | 0:04:17 | 0:04:19 | |
-Well, we see a great deal of Japanese ceramics. -Yes. | 0:04:19 | 0:04:23 | |
And the irony of Satsuma ware - | 0:04:23 | 0:04:25 | |
which is what both of these pieces belong to - | 0:04:25 | 0:04:27 | |
is that on these pieces, we see ancient Japan, | 0:04:27 | 0:04:31 | |
the traditional Japan of the Samurai, | 0:04:31 | 0:04:33 | |
being depicted at a time when, in fact, Japan was going through | 0:04:33 | 0:04:36 | |
a massive modernisation and transformation. | 0:04:36 | 0:04:38 | |
So all of these fabulous gatherings of Samurai - | 0:04:38 | 0:04:41 | |
my goodness, look at the... | 0:04:41 | 0:04:43 | |
-Well, look at the hairdos on some of them. -Yeah. | 0:04:43 | 0:04:45 | |
-They've really stepped out into the Yorkshire Moors, haven't they, here? -Yeah. | 0:04:45 | 0:04:49 | |
And the painting is fantastic. | 0:04:49 | 0:04:51 | |
The ability to get all of these figures into a great crowd, | 0:04:51 | 0:04:54 | |
overlapping and still having a sense of space | 0:04:54 | 0:04:57 | |
is legendary for the Japanese artists. | 0:04:57 | 0:05:00 | |
If we turn it upside down, we see a lovely Satsuma mark. | 0:05:00 | 0:05:05 | |
The Satsuma mon, this circular mon, | 0:05:05 | 0:05:07 | |
incorporates the cross of the Satsuma family. | 0:05:07 | 0:05:12 | |
The Satsuma families were actually Christian, | 0:05:12 | 0:05:14 | |
which is why you get this circle with a cross in it. | 0:05:14 | 0:05:17 | |
Now, I'm going to have a closer look at this figure. | 0:05:17 | 0:05:20 | |
Um...do you have a favourite out of these two? | 0:05:20 | 0:05:24 | |
I love this, because every time you look at it, | 0:05:24 | 0:05:26 | |
-you see something different. -Yes. | 0:05:26 | 0:05:28 | |
But I love the serenity of that, I think...I think she's beautiful. | 0:05:28 | 0:05:32 | |
Well, Japanese figures from this period | 0:05:32 | 0:05:34 | |
are generally made of ivory. | 0:05:34 | 0:05:36 | |
And Satsuma ware figures are much, much rarer. | 0:05:36 | 0:05:40 | |
So vases we see a-plenty, but figures are much, much fewer. | 0:05:40 | 0:05:44 | |
-Right. -Again, she comes from a bygone era in Japan. | 0:05:44 | 0:05:49 | |
These were both made right at the end of the 19th century. | 0:05:49 | 0:05:52 | |
When looking at this, I immediately think of Madame Butterfly, you know? | 0:05:52 | 0:05:56 | |
That was the sort of huge appeal, this sense of another period, | 0:05:56 | 0:06:01 | |
which flooded into Europe. | 0:06:01 | 0:06:02 | |
I think she is exquisite. | 0:06:02 | 0:06:04 | |
Her dress is covered | 0:06:04 | 0:06:06 | |
with these beautiful scattered autumnal leaves | 0:06:06 | 0:06:09 | |
and fragments of brocade, | 0:06:09 | 0:06:10 | |
and then she's wearing that beautiful bustle - or obi - | 0:06:10 | 0:06:14 | |
at the back. | 0:06:14 | 0:06:15 | |
And as you feel on both of these vases, | 0:06:15 | 0:06:18 | |
the gold that they use in decorating this | 0:06:18 | 0:06:21 | |
actually sits proud on the surface. | 0:06:21 | 0:06:23 | |
So these are good things. | 0:06:23 | 0:06:25 | |
Two pieces of Satsuma, late 19th century, | 0:06:25 | 0:06:28 | |
a vase and a figure, both at the upper end of quality. | 0:06:28 | 0:06:32 | |
Right. | 0:06:32 | 0:06:33 | |
In terms of value, have you any idea? | 0:06:33 | 0:06:35 | |
When I first inherited them, we had someone look at them, | 0:06:35 | 0:06:39 | |
and he said somewhere about 400 for this one | 0:06:39 | 0:06:43 | |
and probably about 250 for the lady. | 0:06:43 | 0:06:45 | |
-That was how long ago? -Three years? -OK. | 0:06:45 | 0:06:48 | |
I think the vase is extremely detailed, | 0:06:48 | 0:06:50 | |
it's very high quality and I think, even today, | 0:06:50 | 0:06:54 | |
-in today's market, which is middling... -Right. | 0:06:54 | 0:06:57 | |
..I would say that that's probably still capable of making | 0:06:57 | 0:07:00 | |
-well over £1,000. -Really? | 0:07:00 | 0:07:02 | |
-Better than the figure you were given. -That surprises me. | 0:07:02 | 0:07:04 | |
-The figure...she is rather badly rubbed, you know. -Yes. | 0:07:04 | 0:07:07 | |
The gilding on the base has basically perished, more or less. | 0:07:07 | 0:07:11 | |
-And I have to take that into account on valuation. -Yes, of course. | 0:07:11 | 0:07:14 | |
So I'm going to put a mere | 0:07:14 | 0:07:15 | |
-£1,500 to £2,000. -Really? | 0:07:15 | 0:07:18 | |
-Yeah. -Gosh, that's a surprise! | 0:07:18 | 0:07:20 | |
So, together, | 0:07:20 | 0:07:21 | |
it's going to be somewhere between £2,500 and £3,000. | 0:07:21 | 0:07:25 | |
That's a real surprise! | 0:07:25 | 0:07:27 | |
Now, I suppose it shouldn't surprise me, | 0:07:32 | 0:07:34 | |
but here you've got a pretty table | 0:07:34 | 0:07:36 | |
-and a man of the cloth, shall I say? -Indeed. | 0:07:36 | 0:07:39 | |
What brings you two together? | 0:07:39 | 0:07:42 | |
I just love oak furniture, that is my passion. | 0:07:42 | 0:07:45 | |
I like formal dining and it fits in with that | 0:07:45 | 0:07:48 | |
because of the surprise element to it. | 0:07:48 | 0:07:50 | |
As if by magic... | 0:07:50 | 0:07:51 | |
-That is... -CROWD: Ooh! | 0:07:53 | 0:07:54 | |
SHE LAUGHS | 0:07:54 | 0:07:56 | |
That is wonderful. | 0:07:56 | 0:07:57 | |
It's to put the church collection plates on. | 0:07:57 | 0:07:59 | |
LAUGHTER | 0:07:59 | 0:08:00 | |
But it works like magic - suddenly, it's transformed | 0:08:00 | 0:08:03 | |
into a completely different piece of furniture. | 0:08:03 | 0:08:05 | |
These are familiar in the 18th century, | 0:08:05 | 0:08:08 | |
made in mahogany and called dumb waiters. | 0:08:08 | 0:08:11 | |
You're a bit of a man out of your time, though, | 0:08:11 | 0:08:13 | |
because dining furniture is not exactly | 0:08:13 | 0:08:15 | |
-the thing of the time, is it? -That's right. | 0:08:15 | 0:08:18 | |
Much to my family's chagrin, | 0:08:18 | 0:08:19 | |
I trawl internet websites and auction sites, | 0:08:19 | 0:08:23 | |
oak antique shop websites | 0:08:23 | 0:08:26 | |
and I saw this some months ago. | 0:08:26 | 0:08:27 | |
I managed to buy it. | 0:08:27 | 0:08:29 | |
I snuck it into the house and I said to my wife, | 0:08:29 | 0:08:31 | |
"Oh, that old thing? I've had it for years, dear." | 0:08:31 | 0:08:34 | |
So, yes, I love the pollard oak. | 0:08:34 | 0:08:36 | |
Because people think it's walnut - the grain is beautiful. | 0:08:36 | 0:08:38 | |
-And it's beautiful and it's useful. -Absolutely right. | 0:08:38 | 0:08:41 | |
And do you use it as a dumb waiter? | 0:08:41 | 0:08:43 | |
Yes, I love formal dining, | 0:08:43 | 0:08:45 | |
so I've got oak furniture, oak dining furniture | 0:08:45 | 0:08:48 | |
and I collect Victorian - | 0:08:48 | 0:08:49 | |
anything to do with Victorian dining, I collect. | 0:08:49 | 0:08:51 | |
And of course, all the three bits turn. | 0:08:51 | 0:08:56 | |
-How magnificent. -So you can just turn round to whatever you want. | 0:08:56 | 0:09:01 | |
-And then at the end of the meal, you can just... -You just... | 0:09:01 | 0:09:05 | |
Just close it up for me. | 0:09:05 | 0:09:07 | |
-That is magical, isn't it? -Yeah. -It's very interesting. | 0:09:10 | 0:09:13 | |
I think that period in the early part of the 19th century, | 0:09:13 | 0:09:15 | |
-they were passionate about metamorphic furniture. -Yes. | 0:09:15 | 0:09:18 | |
-So anything that could be changed into something else. -Yes. | 0:09:18 | 0:09:21 | |
And of course, also, gradually, | 0:09:21 | 0:09:24 | |
that would help cope without servants | 0:09:24 | 0:09:27 | |
or for a less wealthy class of people who didn't - | 0:09:27 | 0:09:30 | |
or had perhaps one servant, and could lay this up. | 0:09:30 | 0:09:33 | |
I think it's a lovely little thing | 0:09:33 | 0:09:35 | |
and you could play with it for hours, really, couldn't you? | 0:09:35 | 0:09:38 | |
Um...valuation. | 0:09:38 | 0:09:39 | |
As I say, the brown furniture is not doing so well at the moment | 0:09:39 | 0:09:44 | |
but I think something like this, because of all that it's got going - | 0:09:44 | 0:09:48 | |
this lovely decorative top, the interest, | 0:09:48 | 0:09:52 | |
the difference encapsulated in it... | 0:09:52 | 0:09:55 | |
1,000 to 1,500? | 0:09:55 | 0:09:57 | |
Well, that's very pleasing. I paid 700 for it. | 0:09:57 | 0:10:00 | |
-Ah! Well. -I thought I got a good bargain. | 0:10:00 | 0:10:02 | |
The family, though, curse my brown furniture. | 0:10:02 | 0:10:04 | |
I've a beautiful pollard oak sideboard, | 0:10:04 | 0:10:06 | |
For years, I told the children, "Don't scratch it!" | 0:10:06 | 0:10:08 | |
They said to me, "When you die, we'll bury you in that." | 0:10:08 | 0:10:11 | |
I said, "That's fine, but when you lower me down, | 0:10:11 | 0:10:13 | |
"don't scratch the sideboard". | 0:10:13 | 0:10:15 | |
-LAUGHING: -Wonderful! -Thank you. | 0:10:15 | 0:10:16 | |
"The Fitzwilliam Medal for Kindness." | 0:10:22 | 0:10:24 | |
Now, what's that got to do with this chap? | 0:10:24 | 0:10:28 | |
-Well, this gentleman's my grandfather. -Right. | 0:10:28 | 0:10:31 | |
He was born in 1886. | 0:10:31 | 0:10:34 | |
And he went to work in the mines in Elsecar, | 0:10:34 | 0:10:36 | |
although he lived in Wentworth, | 0:10:36 | 0:10:38 | |
he went down and he was in charge of the pit ponies, | 0:10:38 | 0:10:41 | |
helped care for the pit ponies. | 0:10:41 | 0:10:43 | |
So how far away is that from where we are? | 0:10:43 | 0:10:45 | |
-About a mile. -Right, lovely. -A mile, mile and a half. -So it's very local. | 0:10:45 | 0:10:48 | |
Did you actually meet him? | 0:10:48 | 0:10:50 | |
Yes - my grandfather died when I was the age of seven, | 0:10:50 | 0:10:53 | |
so I had seven happy years, you know - | 0:10:53 | 0:10:55 | |
helping him in the allotment... | 0:10:55 | 0:10:56 | |
I just remember this really kind gentleman. | 0:10:56 | 0:10:59 | |
So wonderful that here, | 0:10:59 | 0:11:00 | |
for kindness to pit ponies, | 0:11:00 | 0:11:02 | |
he's receiving this medal from the Fitzwilliams | 0:11:02 | 0:11:05 | |
in this amazing house that we've got here. | 0:11:05 | 0:11:07 | |
-Very proud. -I'm not surprised, I'm not surprised. | 0:11:07 | 0:11:10 | |
And of course, here, what we've got is a tiny coal cart for the mines. | 0:11:10 | 0:11:16 | |
You know, pit ponies... | 0:11:16 | 0:11:17 | |
I mean, it's a thing we tend to think must be Victorian, | 0:11:17 | 0:11:20 | |
but I can remember them when I was a child. | 0:11:20 | 0:11:22 | |
-Right. -They were still down the mines, particularly in Wales. | 0:11:22 | 0:11:26 | |
-Yes. -And there were societies to look after them. | 0:11:26 | 0:11:29 | |
I've never seen one before. There can't be many of them around. | 0:11:29 | 0:11:33 | |
I don't know of any more and my family don't know of any more. | 0:11:33 | 0:11:36 | |
If we just flip him over, | 0:11:36 | 0:11:37 | |
we've got the hallmarks there for 1904. | 0:11:37 | 0:11:40 | |
-Oh, right. -So does that tie in with when he...? | 0:11:40 | 0:11:43 | |
-He would have been 18, wouldn't he? -Yeah. | 0:11:43 | 0:11:46 | |
Putting a value on, very difficult - | 0:11:46 | 0:11:49 | |
there's no precedent for it that I can think of. | 0:11:49 | 0:11:51 | |
But anybody interested in mining history, | 0:11:51 | 0:11:54 | |
I mean, this has got to be one of the most extraordinary objects, | 0:11:54 | 0:11:57 | |
-an extraordinarily rare object. -Yes. | 0:11:57 | 0:11:59 | |
Whether it's worth £100, £500, | 0:11:59 | 0:12:03 | |
I have actually no idea. | 0:12:03 | 0:12:05 | |
If I was going to have a stab at it, | 0:12:05 | 0:12:06 | |
say 200, 250? | 0:12:06 | 0:12:08 | |
It will never be for sale, never. | 0:12:08 | 0:12:10 | |
It's my grandpa's medal and we're just so proud of it. | 0:12:10 | 0:12:12 | |
Of course. That's exactly how it should be. | 0:12:12 | 0:12:15 | |
These are lovely letters and notes, all the rest of it, | 0:12:18 | 0:12:21 | |
written from Enid Blyton. | 0:12:21 | 0:12:23 | |
Of course, this is her typical red-headed notepaper | 0:12:23 | 0:12:26 | |
and it starts off, "Dear Girls, | 0:12:26 | 0:12:28 | |
"thank you so much for your lovely letter." | 0:12:28 | 0:12:30 | |
She then goes on and on and she says, | 0:12:30 | 0:12:32 | |
-"Please thank Miss Hughes." -Yes. -So who was Miss Hughes? | 0:12:32 | 0:12:35 | |
-Miss Hughes was a great aunt of ours. -Yes. -And she was a teacher. | 0:12:35 | 0:12:39 | |
-At this school? -At the Open Air School in Barnsley | 0:12:39 | 0:12:42 | |
which was for children who had TB. | 0:12:42 | 0:12:44 | |
So how did Enid Blyton get on to Miss Hughes? | 0:12:44 | 0:12:48 | |
Or how did Miss Hughes get on to Enid Blyton? | 0:12:48 | 0:12:50 | |
Miss Hughes must have written - | 0:12:50 | 0:12:51 | |
we don't know if it was an exercise for the children | 0:12:51 | 0:12:53 | |
-to write to Enid Blyton. -Yes. | 0:12:53 | 0:12:55 | |
And she replied to them. | 0:12:55 | 0:12:57 | |
Well, you know, the funny thing about these | 0:12:57 | 0:12:59 | |
is that they're all George VI postage stamps on them, | 0:12:59 | 0:13:03 | |
-so they're all before Enid Blyton really became terribly famous. -Oh. | 0:13:03 | 0:13:07 | |
-This is pre-Noddy. -Really? Oh! | 0:13:07 | 0:13:10 | |
-So she wasn't terribly famous then. -No. | 0:13:10 | 0:13:13 | |
Do you know, this is very typical Enid Blyton. | 0:13:13 | 0:13:16 | |
-She is so meticulous with her fans. -Right. | 0:13:16 | 0:13:19 | |
-She was good enough to write back to the children. -Yes. | 0:13:19 | 0:13:22 | |
She starts off, "My dear girls", as though she was writing generally. | 0:13:22 | 0:13:25 | |
-In this one, "Dear Children". -Yes. | 0:13:25 | 0:13:28 | |
But I notice in this postcard here, she writes to "Dear John", | 0:13:28 | 0:13:31 | |
and she's also sent here - which is, I think, incredibly good, | 0:13:31 | 0:13:35 | |
because I've never seen these before - | 0:13:35 | 0:13:37 | |
these two photographs here. | 0:13:37 | 0:13:39 | |
One of herself, this is Enid Blyton | 0:13:39 | 0:13:42 | |
sitting on her wishing well in her garden, | 0:13:42 | 0:13:45 | |
and this is the house here - what is this house? | 0:13:45 | 0:13:47 | |
-It's called The Old Thatch. -The Old Thatch. | 0:13:47 | 0:13:49 | |
We've got from the letter head there. | 0:13:49 | 0:13:51 | |
"The Old Thatch, Bourne End, Bucks." | 0:13:51 | 0:13:53 | |
And so these are of her | 0:13:53 | 0:13:54 | |
and she's annotated those on the back... | 0:13:54 | 0:13:56 | |
-Yes, she has. -..which is absolutely lovely. | 0:13:56 | 0:13:58 | |
And of course, she became so famous afterwards, | 0:13:58 | 0:14:00 | |
-writing all those Noddy books. -Yes. | 0:14:00 | 0:14:02 | |
-And she's very collectable. -Is she? -Yes. | 0:14:02 | 0:14:05 | |
-So, how much do you think that is? -No... | 0:14:05 | 0:14:07 | |
I reckon about £1,500. | 0:14:07 | 0:14:09 | |
Oh, really?! Gosh! | 0:14:09 | 0:14:12 | |
It's a lovely collection and it just shows you | 0:14:12 | 0:14:14 | |
-what a lovely person she was. -Yes. -Yes. | 0:14:14 | 0:14:17 | |
Fiona's mentioned that your organisation | 0:14:19 | 0:14:21 | |
helped save this building - | 0:14:21 | 0:14:23 | |
tell me about it. | 0:14:23 | 0:14:24 | |
Um, in 1947, the Earl that was in residence died, | 0:14:24 | 0:14:29 | |
and it was the third successive death that occurred in the family, | 0:14:29 | 0:14:34 | |
which meant death duties were very heavy, | 0:14:34 | 0:14:37 | |
and the sister of the 6th Earl, Lady Mabel Smith, | 0:14:37 | 0:14:42 | |
came up with the idea | 0:14:42 | 0:14:44 | |
that maybe a physical education college could be set up here. | 0:14:44 | 0:14:47 | |
And the college was called? | 0:14:47 | 0:14:48 | |
Lady Mabel College of Physical Education. | 0:14:48 | 0:14:52 | |
Having been round the house and seen all the rooms, | 0:14:52 | 0:14:54 | |
it's quite an amazing thing to think about, | 0:14:54 | 0:14:56 | |
it being used for physical education. | 0:14:56 | 0:14:58 | |
What was it like? | 0:14:58 | 0:14:59 | |
Absolutely inspirational, wasn't it? | 0:14:59 | 0:15:01 | |
-Yeah, lovely. -Absolutely inspirational. | 0:15:01 | 0:15:04 | |
You go in a room and you know that Pavlova danced for King George V, | 0:15:04 | 0:15:08 | |
Yehudi Menuhin played, visitors to the house, kings, queens. | 0:15:08 | 0:15:13 | |
-And you were a tutor here. -I was a tutor, yes. | 0:15:13 | 0:15:15 | |
-For how long? -Almost 23 years. | 0:15:15 | 0:15:19 | |
How many students did you have at any one time? | 0:15:19 | 0:15:21 | |
It rose to 550. This was... | 0:15:21 | 0:15:25 | |
We were constantly being urged to train more teachers | 0:15:25 | 0:15:30 | |
because they were needed, | 0:15:30 | 0:15:31 | |
but eventually of course, because of the lease, | 0:15:31 | 0:15:35 | |
we couldn't expand, we couldn't build | 0:15:35 | 0:15:37 | |
and so this is why we eventually had to amalgamate | 0:15:37 | 0:15:41 | |
with Sheffield City Polytechnic | 0:15:41 | 0:15:42 | |
and the building closed. | 0:15:42 | 0:15:44 | |
So what was your feelings when it closed? | 0:15:44 | 0:15:47 | |
Sadness, great sadness. It was such a great pity. | 0:15:47 | 0:15:51 | |
To think of all these taking place in this magnificent building. | 0:15:51 | 0:15:56 | |
Absolutely. We had assemblies in this room. | 0:15:56 | 0:16:00 | |
This was the main dance area. | 0:16:00 | 0:16:02 | |
And this was your memories of what you were wearing in those days. | 0:16:02 | 0:16:05 | |
-Yes, indeed. -All your equipment here. | 0:16:05 | 0:16:08 | |
So you obviously do have very, very strong feelings for this. | 0:16:08 | 0:16:11 | |
Absolutely. We meet once a year in the village | 0:16:11 | 0:16:13 | |
with 100 plus students | 0:16:13 | 0:16:15 | |
and we reminisce till the cows come home, literally. | 0:16:15 | 0:16:18 | |
Well, it's wonderful to think that all this happened in this building. | 0:16:18 | 0:16:22 | |
And as you say, a fantastic place to have a school. | 0:16:22 | 0:16:25 | |
In terms of the valuation for something like this, | 0:16:25 | 0:16:28 | |
it obviously means a tremendous amount to all of you | 0:16:28 | 0:16:30 | |
and it's wonderful that it's being kept as an archive. | 0:16:30 | 0:16:33 | |
For other people, | 0:16:33 | 0:16:34 | |
it's not going to be worth a tremendous amount of money. | 0:16:34 | 0:16:36 | |
It's...you know, obviously, | 0:16:36 | 0:16:38 | |
-there's some sports memorabilia. -Yeah. -Yes. | 0:16:38 | 0:16:40 | |
It's going to be £100, something like that. | 0:16:40 | 0:16:43 | |
But I mean, for you... | 0:16:43 | 0:16:45 | |
Yes, it's priceless. It's priceless. | 0:16:45 | 0:16:47 | |
When I see a tray like this, I immediately look to the back. | 0:16:53 | 0:16:56 | |
I'm a bit disappointed | 0:16:56 | 0:16:58 | |
-because someone has put this hessian on there. -Yes. | 0:16:58 | 0:17:01 | |
But it should have the name of one of the great tray makers - | 0:17:01 | 0:17:05 | |
Jennens and Bettridge or Henry Clay. | 0:17:05 | 0:17:07 | |
But when you turn it round... | 0:17:07 | 0:17:09 | |
..you know it's one of the greats. | 0:17:10 | 0:17:12 | |
The quality is just unbelievable. Tell me about it. | 0:17:12 | 0:17:16 | |
I came by it about ten years ago. | 0:17:16 | 0:17:19 | |
I bought a house. | 0:17:19 | 0:17:21 | |
The people who lived in the house were downsizing, they were retiring, | 0:17:21 | 0:17:24 | |
and they left quite a few bits of furniture | 0:17:24 | 0:17:27 | |
and odd paintings and things, | 0:17:27 | 0:17:29 | |
-and this was hung above the fireplace in the sitting room. -Right. | 0:17:29 | 0:17:33 | |
And we just loved it. | 0:17:33 | 0:17:34 | |
It's a picture of Newton Chambers, Thorncliffe Works, | 0:17:34 | 0:17:37 | |
their old original iron works, when the company was founded, | 0:17:37 | 0:17:40 | |
which I think was in the late 1700s or early 1800s. | 0:17:40 | 0:17:45 | |
The house actually belonged to Newton Chambers, | 0:17:45 | 0:17:47 | |
it was one of their houses by the works, | 0:17:47 | 0:17:49 | |
-where the works is now. -Oh, OK. | 0:17:49 | 0:17:50 | |
-It was owned by, I presume, someone from the company. -Right. | 0:17:50 | 0:17:55 | |
I think it's oil, but I'm not sure | 0:17:55 | 0:17:57 | |
and really, that's as much as I know, other than that we love it. | 0:17:57 | 0:18:00 | |
It's the most beautiful thing, we think. | 0:18:00 | 0:18:02 | |
Oh, just stunning, and I can see why you love it, | 0:18:02 | 0:18:05 | |
and what you've found out is all bang-on - | 0:18:05 | 0:18:07 | |
I would date this to about 1815-1820, | 0:18:07 | 0:18:11 | |
-first quarter of the 19th century. -Right. | 0:18:11 | 0:18:13 | |
And what's so great about it | 0:18:13 | 0:18:15 | |
is it just portrays a little snapshot of life at an iron works | 0:18:15 | 0:18:19 | |
in the early 19th century, | 0:18:19 | 0:18:20 | |
-which you just don't see on objects like this. -Right. | 0:18:20 | 0:18:23 | |
Whoever had this tray made would have had this painting commissioned. | 0:18:23 | 0:18:27 | |
-Right. -You'd have been pretty wealthy to afford it. | 0:18:27 | 0:18:29 | |
-It's in papier mache. -Yes. | 0:18:29 | 0:18:31 | |
All hand painted, like you say, in oils. | 0:18:31 | 0:18:33 | |
-Its charm really is about how naive the painting is. -I see. | 0:18:33 | 0:18:37 | |
-And that, to me, is... -It's everyday working life. | 0:18:37 | 0:18:40 | |
Just...it's so lovely, it's so lovely. | 0:18:40 | 0:18:42 | |
And trays like this were made in centres | 0:18:42 | 0:18:44 | |
such as Birmingham and Wolverhampton, | 0:18:44 | 0:18:46 | |
that's where the majority of this type of tray was made. | 0:18:46 | 0:18:49 | |
-But I think this could have been painted locally. -Right, right. | 0:18:49 | 0:18:53 | |
-Is it dirty? Does it need cleaning? -It's... | 0:18:53 | 0:18:56 | |
To me, this is exactly how it should be. | 0:18:56 | 0:18:59 | |
It's got a little layer of dirt on it, | 0:18:59 | 0:19:01 | |
-probably where it's been hung over the fireplace. -Yes. | 0:19:01 | 0:19:03 | |
I wouldn't touch it. As soon as you touch it, | 0:19:03 | 0:19:05 | |
they become too bright and they look over the top, | 0:19:05 | 0:19:09 | |
so I would leave it exactly as it is. | 0:19:09 | 0:19:10 | |
There's no signature on it just to know who...? | 0:19:10 | 0:19:12 | |
-You won't find a signature. -No. | 0:19:12 | 0:19:14 | |
I think, at auction... | 0:19:14 | 0:19:16 | |
£3,000 to £5,000? | 0:19:16 | 0:19:18 | |
Thousand? | 0:19:18 | 0:19:19 | |
Thousand?! | 0:19:20 | 0:19:21 | |
Gosh! Well, I knew it was nice, | 0:19:23 | 0:19:25 | |
but I never thought of it being worth that sort of value. | 0:19:25 | 0:19:28 | |
Now, my gran had a mahogany sideboard just like this | 0:19:31 | 0:19:34 | |
and I'm sure viewers at home will just say, "Oh, I remember that", | 0:19:34 | 0:19:38 | |
because these were made, if not in thousands, | 0:19:38 | 0:19:40 | |
in tens of thousands. | 0:19:40 | 0:19:42 | |
-So as a piece of furniture, you know...they're not rare. -No. | 0:19:42 | 0:19:45 | |
And who did it belong to? | 0:19:45 | 0:19:47 | |
Well, it belonged to my mother and father-in-law, | 0:19:47 | 0:19:49 | |
who were married in 1928 | 0:19:49 | 0:19:51 | |
and they bought it in the first year of their marriage | 0:19:51 | 0:19:54 | |
to furnish the house. | 0:19:54 | 0:19:55 | |
-So we know exactly when it was made. -Exactly so. | 0:19:55 | 0:19:58 | |
So a very standard piece of furniture, | 0:19:58 | 0:20:00 | |
but this is something different - | 0:20:00 | 0:20:01 | |
it metamorphises into something that's not just a sideboard. | 0:20:01 | 0:20:04 | |
-Exactly. -And I think it all happens at your end. | 0:20:04 | 0:20:07 | |
-So it's a music centre. -It is indeed - Lo-Fi! | 0:20:10 | 0:20:13 | |
Of course, my wife's known it all her life, | 0:20:13 | 0:20:15 | |
I've known it for over 50 years. | 0:20:15 | 0:20:17 | |
Our children love to hear it being played, | 0:20:17 | 0:20:19 | |
our grandchildren love to hear it being played | 0:20:19 | 0:20:22 | |
and we inherited it about 20-odd years ago and we love it. | 0:20:22 | 0:20:26 | |
What I also like about it is that it's in working condition. | 0:20:26 | 0:20:29 | |
But there's no volume control, is there? | 0:20:29 | 0:20:31 | |
No, there's no knob, but that's the volume control. | 0:20:31 | 0:20:35 | |
So that's loud, then you close it, and that's soft. | 0:20:35 | 0:20:38 | |
-Exactly, exactly. -I love it. | 0:20:38 | 0:20:40 | |
And this is the hiss suppression system, | 0:20:40 | 0:20:42 | |
the Dolby - you close the lid! | 0:20:42 | 0:20:44 | |
Well, we know who made it, | 0:20:44 | 0:20:46 | |
there's the trade label on the front. | 0:20:46 | 0:20:48 | |
Did the records come with the gramophone? | 0:20:48 | 0:20:50 | |
Yes, the records are nearly all belonging | 0:20:50 | 0:20:52 | |
to my mother and father-in-law. | 0:20:52 | 0:20:54 | |
He was a Labour Party activist | 0:20:54 | 0:20:57 | |
and so some of the records we found are - | 0:20:57 | 0:20:59 | |
I didn't even know they existed - official Labour Party records, | 0:20:59 | 0:21:03 | |
and they're all very politically correct if you read the labels. | 0:21:03 | 0:21:07 | |
But we have one here, The Red Flag. | 0:21:07 | 0:21:09 | |
We'll certainly listen to that, but first of all... | 0:21:09 | 0:21:12 | |
It's not of any great value. | 0:21:12 | 0:21:13 | |
-No. -But two reasons to actually retain things is sentimental - | 0:21:13 | 0:21:16 | |
and obviously, this belonged to your family - and fun. | 0:21:16 | 0:21:19 | |
You've got both - you've got something that's sentimental to you and your family | 0:21:19 | 0:21:22 | |
and it's certainly a fun object. | 0:21:22 | 0:21:24 | |
In value terms, we're talking maybe... | 0:21:24 | 0:21:26 | |
I don't know - £150, £200, maybe a bit more? | 0:21:26 | 0:21:29 | |
-But who cares? -No. -It works, it's fun. | 0:21:29 | 0:21:31 | |
-Let's listen to the music. -Right, off with the brakes. | 0:21:31 | 0:21:35 | |
# The people's flag is deepest red | 0:21:35 | 0:21:39 | |
# It shrouded oft our martyr'd dead | 0:21:39 | 0:21:43 | |
# And 'ere their limbs grow stiff and cold | 0:21:43 | 0:21:47 | |
# Their hearts' blood dyed its ev'ry fold... # | 0:21:47 | 0:21:50 | |
So tell me, | 0:21:51 | 0:21:53 | |
what does the wheel, | 0:21:53 | 0:21:57 | |
the Archimedes screw, | 0:21:57 | 0:22:00 | |
and this bottle have in common? | 0:22:00 | 0:22:02 | |
I don't know. | 0:22:02 | 0:22:03 | |
They are perfect designs - they have never been bettered. | 0:22:03 | 0:22:08 | |
Nobody has come up - yet - with a better wheel. | 0:22:08 | 0:22:11 | |
-The round disc of a wheel works, it's unlikely to be threatened. -Yes. | 0:22:11 | 0:22:17 | |
I live on the Romney Marsh in Kent | 0:22:17 | 0:22:19 | |
and Archimedes screws pull water uphill. | 0:22:19 | 0:22:23 | |
Archimedes, 4,000 years ago, never been beaten. | 0:22:23 | 0:22:27 | |
The cylindrical bottle, 1760 - it's never been bettered. | 0:22:27 | 0:22:33 | |
The glass making has improved, it's now a more refined object, | 0:22:33 | 0:22:37 | |
it's not so bumpy-wumpy as this one. | 0:22:37 | 0:22:41 | |
This is where it started. | 0:22:41 | 0:22:43 | |
This is one of the earliest bottles | 0:22:43 | 0:22:45 | |
that leads today to the standard wine bottle. | 0:22:45 | 0:22:48 | |
The first English bottle, a century earlier than this, | 0:22:48 | 0:22:51 | |
was almost round, a globe with a little spout on it, | 0:22:51 | 0:22:55 | |
-the English bottle. -Yes. | 0:22:55 | 0:22:57 | |
But the round bottle had problems - how did you store your wine in it? | 0:22:57 | 0:23:01 | |
You had to keep a round bottle vertical, | 0:23:01 | 0:23:04 | |
because otherwise it would roll over. | 0:23:04 | 0:23:06 | |
You can stack 10,000 of these on top of one another | 0:23:06 | 0:23:11 | |
and they keep the cork wet. | 0:23:11 | 0:23:13 | |
If you get a dry cork, air gets in the wine, | 0:23:14 | 0:23:17 | |
-you have vinegar. -Yes. | 0:23:17 | 0:23:19 | |
So what you have, really, is the birth of the future. | 0:23:19 | 0:23:23 | |
A major landmark in packaging history. | 0:23:23 | 0:23:27 | |
So, I've finished burbling, where does this one... | 0:23:27 | 0:23:30 | |
How do you know this one? | 0:23:30 | 0:23:31 | |
Actually, it came from Captain Vernon-Wentworth | 0:23:31 | 0:23:34 | |
at Stainborough Castle, | 0:23:34 | 0:23:36 | |
and Vernon-Wentworth was actually the cousin of the Earl Fitzwilliam | 0:23:36 | 0:23:40 | |
-who owned this property. -OK. | 0:23:40 | 0:23:42 | |
And they were cousins. | 0:23:42 | 0:23:43 | |
-And a lady gave it to me who was in service to Captain Wentworth. -Yes. | 0:23:43 | 0:23:48 | |
Well, we have his initial sealed onto the bottle | 0:23:48 | 0:23:51 | |
and it's as wild a kind of creation... | 0:23:51 | 0:23:55 | |
Look at the marks in it and all over the place! | 0:23:55 | 0:23:57 | |
But what we have is an important thing socially. | 0:23:57 | 0:24:00 | |
-Value, £200 to £300. -Right. | 0:24:00 | 0:24:04 | |
No fortune, but boy, have I loved telling that story! | 0:24:04 | 0:24:07 | |
Yes, that's fabulous. Thank you very much. | 0:24:07 | 0:24:10 | |
Well, bearing in mind we're in the Marble Saloon, | 0:24:14 | 0:24:16 | |
I think it's rather appropriate | 0:24:16 | 0:24:18 | |
that you've brought along a white marble bust. | 0:24:18 | 0:24:20 | |
But not just any old bust - | 0:24:20 | 0:24:22 | |
first glances tell me this is not a Yorkshire lass. | 0:24:22 | 0:24:24 | |
How did this woman arrive in your life? | 0:24:24 | 0:24:26 | |
She arrived in my life, the late '70s, | 0:24:26 | 0:24:29 | |
maybe 35 years ago. | 0:24:29 | 0:24:31 | |
Going past a junk shop every morning | 0:24:31 | 0:24:34 | |
and I saw this one morning in the junk shop, | 0:24:34 | 0:24:37 | |
went in, offered £100 | 0:24:37 | 0:24:40 | |
and I took it straightaway, took it out with me | 0:24:40 | 0:24:42 | |
and I've had it ever since. | 0:24:42 | 0:24:44 | |
I think she's absolutely lovely. | 0:24:44 | 0:24:46 | |
-I'm getting a love at first sight scenario. -I think it was. | 0:24:46 | 0:24:50 | |
As soon as I saw it in the window. | 0:24:50 | 0:24:51 | |
It's the last thing I see at night | 0:24:51 | 0:24:53 | |
and the first thing I see in the morning. | 0:24:53 | 0:24:55 | |
Let's have a look at the girl herself. | 0:24:55 | 0:24:56 | |
She is a Baccante, she is a follower of Dionysus - | 0:24:56 | 0:25:01 | |
a religion that, you know, that actually endorsed | 0:25:01 | 0:25:04 | |
and encouraged revelry on a grand scale | 0:25:04 | 0:25:08 | |
and drinking to Olympic standards. | 0:25:08 | 0:25:11 | |
But the way it's been carved, it's a tour de force, | 0:25:11 | 0:25:14 | |
because you've only got to look at the complex carving | 0:25:14 | 0:25:17 | |
that's gone on here. | 0:25:17 | 0:25:18 | |
I mean, look - each one of those grapes, individually carved. | 0:25:18 | 0:25:22 | |
And this over her shoulder is like a lion's skin. | 0:25:22 | 0:25:25 | |
It's all in a name with sculpture | 0:25:25 | 0:25:27 | |
and the name's on the back and it says - | 0:25:27 | 0:25:31 | |
and I've got me specs on now because I've arrived at that age - | 0:25:31 | 0:25:34 | |
if I can turn it round, | 0:25:34 | 0:25:36 | |
it says here "A Carrier." | 0:25:36 | 0:25:39 | |
Have you done your homework? | 0:25:39 | 0:25:41 | |
-I've done a little bit, I've done a little bit of homework. -Go on. | 0:25:41 | 0:25:45 | |
-French. -Yeah. -Mid 1800s. -Yeah. | 0:25:45 | 0:25:48 | |
-Erm...came over here in 1850 to work for Minton. -Correct. | 0:25:48 | 0:25:54 | |
And later changed his name after about 1867, | 0:25:55 | 0:26:00 | |
changed his name to Carrier-Belleuse. | 0:26:00 | 0:26:02 | |
-That's the man. -So I think this is an earlier work. | 0:26:02 | 0:26:06 | |
He did come over to Minton, he was encouraged to come over | 0:26:06 | 0:26:09 | |
by a man called Leon Arnoux, | 0:26:09 | 0:26:12 | |
and Arnoux had been at Sevres. | 0:26:12 | 0:26:14 | |
And Minton's were very clever - they got Arnoux on board | 0:26:14 | 0:26:16 | |
and, you know, basically, he brought some great sculptors on board | 0:26:16 | 0:26:20 | |
and they made all that wonderful, you know, majolica. | 0:26:20 | 0:26:23 | |
And Belleuse - you know, Carrier-Belleuse - | 0:26:23 | 0:26:26 | |
did make for Minton. | 0:26:26 | 0:26:27 | |
And I know that he did a sculpture called Baccante in 1863. | 0:26:27 | 0:26:33 | |
There are a couple of things that are on the minus scale, OK? | 0:26:33 | 0:26:37 | |
One is, of course, you haven't got the original base. | 0:26:37 | 0:26:40 | |
-It was never there. -It was never there. | 0:26:40 | 0:26:42 | |
You've been very clever insofar as you've had a piece turned, | 0:26:42 | 0:26:46 | |
it looks like burr wood | 0:26:46 | 0:26:47 | |
and it gives...it almost gives a marble effect. | 0:26:47 | 0:26:49 | |
The other thing is, unfortunately, over the years, | 0:26:49 | 0:26:52 | |
I think she's been kept outside and she's weathered. | 0:26:52 | 0:26:55 | |
From a collecting point of view, that's an important issue. | 0:26:55 | 0:26:58 | |
So she's quite matt - she almost looks like icing sugar | 0:26:58 | 0:27:02 | |
when she should have a nice, sort of, bloom to her. | 0:27:02 | 0:27:05 | |
But, having said all that, £100? | 0:27:05 | 0:27:08 | |
-£100, I paid. -£100. | 0:27:08 | 0:27:10 | |
Bearing in mind the condition, I don't think you could buy this | 0:27:10 | 0:27:13 | |
for less than £2,500, maybe £3,000, | 0:27:13 | 0:27:16 | |
depending whether you're buying in Sheffield | 0:27:16 | 0:27:18 | |
or whether you're buying in Harrogate. | 0:27:18 | 0:27:20 | |
LAUGHING: I see! Yes, yes. | 0:27:20 | 0:27:22 | |
Well, that's fine - as I say, I wouldn't part with it, | 0:27:22 | 0:27:24 | |
no matter what it was worth. | 0:27:24 | 0:27:26 | |
If you said it was £100 or £100,000, | 0:27:26 | 0:27:28 | |
I still wouldn't part with it. | 0:27:28 | 0:27:29 | |
So I'm afraid it's going to stop with me. | 0:27:29 | 0:27:32 | |
I always think of these clocks | 0:27:33 | 0:27:35 | |
as being rather unusual, | 0:27:35 | 0:27:37 | |
and I tend to think of them as lighthouse clocks, | 0:27:37 | 0:27:39 | |
but actually, this is more of the town centre clock, isn't it? | 0:27:39 | 0:27:42 | |
-Yes, clock tower. -And we have four dials, which is rather fun. | 0:27:42 | 0:27:46 | |
Is it something you bought? | 0:27:46 | 0:27:47 | |
No - it's been passed down to me from my grandfather, | 0:27:47 | 0:27:50 | |
through my mother. | 0:27:50 | 0:27:51 | |
He won it, he was a cross-country runner and he won the race | 0:27:51 | 0:27:55 | |
and so he was presented with a clock. | 0:27:55 | 0:27:57 | |
-That's a fairly generous present, actually. -I think so, too! | 0:27:57 | 0:28:00 | |
When do you reckon he won the race? | 0:28:00 | 0:28:02 | |
We think it's about 1900. | 0:28:02 | 0:28:04 | |
That would pretty much fit in with the clock. | 0:28:04 | 0:28:07 | |
I think it's great - | 0:28:07 | 0:28:09 | |
you've got the typical, sort of, architectural brickwork, | 0:28:09 | 0:28:11 | |
we've got balustrading | 0:28:11 | 0:28:12 | |
and we have the four dials, | 0:28:12 | 0:28:14 | |
so it could be seen from all angles within a room. | 0:28:14 | 0:28:18 | |
-Where do you have it at home? -In our downstairs bedroom. | 0:28:18 | 0:28:21 | |
-So people can't actually see each dial. -No. | 0:28:21 | 0:28:24 | |
What it needs to be is on a centre table | 0:28:24 | 0:28:26 | |
-or a pedestal rather like this. -Yes, that's right, yes. | 0:28:26 | 0:28:29 | |
You obviously have it running at home | 0:28:29 | 0:28:30 | |
-because it's in lovely condition. -Yes. | 0:28:30 | 0:28:32 | |
And underneath, you've got a brass cover... | 0:28:32 | 0:28:36 | |
..to a lovely platform | 0:28:37 | 0:28:39 | |
and then the whole thing, the hands set here, | 0:28:39 | 0:28:41 | |
which turns - as you probably know - all the hands | 0:28:41 | 0:28:45 | |
and each dial turns as one | 0:28:45 | 0:28:48 | |
which is a good bit of gearing if nothing else. | 0:28:48 | 0:28:50 | |
-It's signed by Henry Marc... -Right. | 0:28:50 | 0:28:53 | |
..who was a pretty prominent Frenchman | 0:28:53 | 0:28:55 | |
who made all sorts of good clocks, | 0:28:55 | 0:28:57 | |
carriage clocks and all sorts of things, | 0:28:57 | 0:28:58 | |
particularly at that time. | 0:28:58 | 0:29:00 | |
It's quite commercial these days | 0:29:00 | 0:29:02 | |
and I would have no hesitation in telling you that, at an auction, | 0:29:02 | 0:29:06 | |
it would fetch...ooh... | 0:29:06 | 0:29:09 | |
..£900 to £1,200. | 0:29:11 | 0:29:13 | |
-Oh, gosh! Thank you. -Is that a lot more than you thought? | 0:29:14 | 0:29:18 | |
Absolutely, yes, yes. | 0:29:18 | 0:29:20 | |
It's the multi-dial that does it. | 0:29:20 | 0:29:22 | |
If it was single dial, it would be 250, | 0:29:22 | 0:29:25 | |
but it just makes it so much more interesting. | 0:29:25 | 0:29:27 | |
A very generous present. | 0:29:27 | 0:29:29 | |
-Thank you. -Thanks. | 0:29:29 | 0:29:31 | |
The scale and elegance of Wentworth Woodhouse | 0:29:34 | 0:29:36 | |
makes it easy to admire, | 0:29:36 | 0:29:39 | |
but living in and looking after a vast house like this | 0:29:39 | 0:29:42 | |
is a mammoth undertaking. | 0:29:42 | 0:29:45 | |
It's a job that doesn't seem to faze current owner Clifford Newbold. | 0:29:45 | 0:29:49 | |
What possessed you, 13 years ago, to buy Wentworth Woodhouse? | 0:29:49 | 0:29:53 | |
The house with the longest facade in Europe. | 0:29:53 | 0:29:56 | |
Were you looking for a little country pile? | 0:29:56 | 0:29:59 | |
Well, I was looking for a small country house, | 0:29:59 | 0:30:02 | |
an historic house which did require a certain amount of restoration work | 0:30:02 | 0:30:09 | |
to be done on it, and quite small. | 0:30:09 | 0:30:12 | |
So what happened? | 0:30:12 | 0:30:13 | |
We were reading a Sunday newspaper and it was talking about this house | 0:30:13 | 0:30:18 | |
which was on the market, for sale, | 0:30:18 | 0:30:22 | |
and jokingly, the family said to me, | 0:30:22 | 0:30:24 | |
"Well, let's go and have a look at it". | 0:30:24 | 0:30:26 | |
We went over and the whole family fell in love with it. | 0:30:26 | 0:30:30 | |
The caretaker gave me a key | 0:30:30 | 0:30:32 | |
and I looked at it, and what was the key? | 0:30:32 | 0:30:35 | |
A little Yale key for a great big house like this. | 0:30:35 | 0:30:40 | |
And I thought that something was wrong. | 0:30:40 | 0:30:43 | |
Now how many of you, as a family, are living here in the house now? | 0:30:43 | 0:30:47 | |
It's my wife and two sons. | 0:30:47 | 0:30:50 | |
We've got the house split up into different sections, | 0:30:50 | 0:30:54 | |
and we've all got our own section. | 0:30:54 | 0:30:55 | |
Some of the rooms are in a state of considerable disrepair, aren't they? | 0:30:55 | 0:30:58 | |
-Yes, yes. -So... | 0:30:58 | 0:30:59 | |
But we've concentrated on the principal rooms | 0:30:59 | 0:31:03 | |
to get them more into working order. | 0:31:03 | 0:31:05 | |
I hope you won't mind me saying - | 0:31:05 | 0:31:07 | |
you're 87 and you've taken on a pretty daunting task | 0:31:07 | 0:31:11 | |
at a time when many people might think about taking it a little bit easy. | 0:31:11 | 0:31:15 | |
Do you never wake up and think, "What have I done?" | 0:31:15 | 0:31:18 | |
No, no, no. | 0:31:18 | 0:31:20 | |
I'm perfectly happy, the family were behind me, I was behind it, | 0:31:20 | 0:31:25 | |
and I've thoroughly enjoyed it. | 0:31:25 | 0:31:29 | |
But as a little end to the story I was telling | 0:31:29 | 0:31:32 | |
about receiving the key for the house - | 0:31:32 | 0:31:35 | |
I was searching round some rooms and found a box of keys | 0:31:35 | 0:31:39 | |
and I found this key. | 0:31:39 | 0:31:42 | |
And it's the key of the front door | 0:31:43 | 0:31:47 | |
and that key is basically 300 years old. | 0:31:47 | 0:31:52 | |
So now I've finally got the proper key of the front door. | 0:31:52 | 0:31:56 | |
-Thank you very much, and good luck. -Thank you. | 0:31:57 | 0:32:01 | |
# Time on my hands | 0:32:01 | 0:32:05 | |
# You in my arms | 0:32:05 | 0:32:09 | |
# Nothing but love in view... # | 0:32:09 | 0:32:16 | |
Well, it's like being on board ship, here - | 0:32:17 | 0:32:19 | |
we're under a creaky tent in terrible conditions. | 0:32:19 | 0:32:21 | |
But you've brought me a family archive. | 0:32:21 | 0:32:23 | |
Tell me about it. Is it your family? | 0:32:23 | 0:32:26 | |
Yes, my grandmother's cousin was Alfred Lyndhurst Pocock. | 0:32:26 | 0:32:30 | |
He was a young artist with the Royal Academy | 0:32:30 | 0:32:32 | |
and he was working on the Victoria Memorial | 0:32:32 | 0:32:35 | |
outside Buckingham Palace | 0:32:35 | 0:32:37 | |
when the Queen wanted somebody to make some wax models | 0:32:37 | 0:32:41 | |
of some of the Sandringham animals that she wanted to have carved. | 0:32:41 | 0:32:44 | |
And he was recommended from the Royal Academy, | 0:32:44 | 0:32:47 | |
so he made the wax models for her. | 0:32:47 | 0:32:49 | |
Then he turned up the next day | 0:32:49 | 0:32:52 | |
with a couple of the pebbles he'd carved into animals | 0:32:52 | 0:32:54 | |
and she was so impressed | 0:32:54 | 0:32:55 | |
that she persuaded Faberge to take him on as a carver. | 0:32:55 | 0:32:59 | |
Well, this is one of the most spectacular commissions | 0:32:59 | 0:33:01 | |
the British royal family gave to Faberge | 0:33:01 | 0:33:03 | |
in the very early 20th century - 1905, 1906, 1907. | 0:33:03 | 0:33:07 | |
It was actually at the suggestion of Mrs Keppel, the King's friend, | 0:33:07 | 0:33:11 | |
and she suggested to the King | 0:33:11 | 0:33:13 | |
that he should have the farmyard animals | 0:33:13 | 0:33:15 | |
in the menagerie at Sandringham | 0:33:15 | 0:33:18 | |
sculpted by Faberge. | 0:33:18 | 0:33:20 | |
And this is very, very exciting stuff indeed. | 0:33:20 | 0:33:22 | |
Faberge came to Sandringham with his wax modellers | 0:33:22 | 0:33:25 | |
and they sculpted Queen Alexandra's pets and farmyard animals | 0:33:25 | 0:33:30 | |
and they were modelled in wax first, to make the composition free, | 0:33:30 | 0:33:33 | |
to make it real sculpture | 0:33:33 | 0:33:34 | |
and then given to the lapidary | 0:33:34 | 0:33:36 | |
for him to translate the wax model into stone | 0:33:36 | 0:33:39 | |
and that was the work of your predecessor. | 0:33:39 | 0:33:41 | |
Very exciting stuff. | 0:33:41 | 0:33:42 | |
And here we see Carl Faberge himself and this is a well-known portrait, | 0:33:42 | 0:33:47 | |
one of the very, very few that we have of him | 0:33:47 | 0:33:50 | |
and it derives from a famous photograph | 0:33:50 | 0:33:51 | |
where he's sorting precious stones with tweezers. | 0:33:51 | 0:33:54 | |
We can see it's captioned here, "Faberge", | 0:33:54 | 0:33:56 | |
which is the work of Pocock | 0:33:56 | 0:33:58 | |
because this is a plaster of Paris cast | 0:33:58 | 0:34:00 | |
that he's worked up from the famous photograph of Faberge, | 0:34:00 | 0:34:03 | |
but it's an endorsement of the fact | 0:34:03 | 0:34:05 | |
that Pocock was very excited by this commission, | 0:34:05 | 0:34:07 | |
because it was a Royal commission. | 0:34:07 | 0:34:09 | |
But I think probably the nub of it | 0:34:09 | 0:34:11 | |
was that Faberge was in a bit of a panic every now and again | 0:34:11 | 0:34:14 | |
to meet these commissions | 0:34:14 | 0:34:16 | |
and to find a lapidary in London was a hard thing to do, | 0:34:16 | 0:34:20 | |
that would meet the specifications of what he had grown used to. | 0:34:20 | 0:34:23 | |
And so there aren't many things that we can attribute | 0:34:23 | 0:34:27 | |
both to Faberge and Pocock | 0:34:27 | 0:34:29 | |
but one of them, possibly more, remain in the Royal collection. | 0:34:29 | 0:34:33 | |
I like to attribute this one to Pocock | 0:34:33 | 0:34:35 | |
and it's a fluorite Pekingese. | 0:34:35 | 0:34:37 | |
And it's a freer technique than we associate with Faberge, | 0:34:37 | 0:34:41 | |
it's altogether... | 0:34:41 | 0:34:43 | |
I wouldn't say it's cruder in any way, | 0:34:43 | 0:34:45 | |
but it's a more free hand | 0:34:45 | 0:34:46 | |
and it's not quite as meticulous as the St Petersburg lapidaries. | 0:34:46 | 0:34:50 | |
The word "lapidary" is very important in this regard | 0:34:50 | 0:34:52 | |
because it means stone-cutters. | 0:34:52 | 0:34:54 | |
What does your family feel about it? | 0:34:54 | 0:34:56 | |
Well, we're very proud of him | 0:34:56 | 0:34:58 | |
and we're proud to have things, like this, that he's produced. | 0:34:58 | 0:35:02 | |
We've got quite a number of things - none of his animal carvings, | 0:35:02 | 0:35:06 | |
but we've got a number of plaques. | 0:35:06 | 0:35:08 | |
-There's one of my grandmother. -Yes, marvellous. | 0:35:08 | 0:35:10 | |
And it's very rare to see an image of him at all | 0:35:10 | 0:35:12 | |
-and I think you've got one here, isn't it? -Yes. | 0:35:12 | 0:35:15 | |
He's standing next to my grandmother, there, at a family wedding. | 0:35:15 | 0:35:18 | |
Oh, I see - | 0:35:18 | 0:35:19 | |
that's the very first time I've ever seen an image of him myself | 0:35:19 | 0:35:22 | |
and I've been living this subject for ages | 0:35:22 | 0:35:24 | |
and it's a thrilling, thrilling thing to see | 0:35:24 | 0:35:26 | |
and it's full of context. | 0:35:26 | 0:35:28 | |
I don't know how to value it. It's priceless with you, isn't it? | 0:35:28 | 0:35:31 | |
-It is. -Absolutely priceless. | 0:35:31 | 0:35:32 | |
There's a tiny precedent for these, because they're not unique. | 0:35:32 | 0:35:35 | |
There are casts and they do turn up from time to time | 0:35:35 | 0:35:37 | |
and surprisingly, they're not terribly valuable. | 0:35:37 | 0:35:40 | |
They're £200 to £300 | 0:35:40 | 0:35:42 | |
and beyond that, there's nothing more I can say | 0:35:42 | 0:35:45 | |
except that you've made a very specific link | 0:35:45 | 0:35:47 | |
with one of the most famous goldsmiths that ever lived | 0:35:47 | 0:35:50 | |
with an English craftsman who deserved this great accolade | 0:35:50 | 0:35:54 | |
and it's a thrilling discovery for me. | 0:35:54 | 0:35:56 | |
-Thank you very much. -Thank you. | 0:35:56 | 0:35:58 | |
Well, it will come as no surprise to those viewers out there | 0:36:00 | 0:36:03 | |
that we're looking at Miss Clarice Cliff once more. | 0:36:03 | 0:36:07 | |
But they do say the best things come in small packages, | 0:36:07 | 0:36:10 | |
and, quite frankly, these are perfection. | 0:36:10 | 0:36:13 | |
Tell me, where did they come from? | 0:36:13 | 0:36:14 | |
They belonged to my grandmother. | 0:36:14 | 0:36:17 | |
I got them from my mother and she got them from her mother. | 0:36:17 | 0:36:20 | |
So they've always been around, you've always known them. | 0:36:20 | 0:36:22 | |
Yes, they've always been in the family, | 0:36:22 | 0:36:24 | |
they're just family things, yes. | 0:36:24 | 0:36:26 | |
Well, it's really interesting, because these little vases | 0:36:26 | 0:36:29 | |
form part of a range of vases called the 177 Series. | 0:36:29 | 0:36:33 | |
And it was a collection of miniature little vases | 0:36:33 | 0:36:37 | |
painted in some of her most famous designs, | 0:36:37 | 0:36:40 | |
and there's a lot of debate and conjecture about why they were made. | 0:36:40 | 0:36:43 | |
Some believe that they were tradesmen's samples | 0:36:43 | 0:36:46 | |
to show how an artist would decorate a vase. | 0:36:46 | 0:36:49 | |
Other people think that they were enticers, | 0:36:49 | 0:36:52 | |
given to companies who ran china shops | 0:36:52 | 0:36:55 | |
as a little thank-you. | 0:36:55 | 0:36:57 | |
Other people think that they were just made | 0:36:57 | 0:36:59 | |
as little, beautiful, miniature pieces of Clarice's work. | 0:36:59 | 0:37:02 | |
Whatever they are, these are really nice. | 0:37:02 | 0:37:05 | |
-Do you like them? -Yeah, yeah - I think they're really pretty, | 0:37:05 | 0:37:09 | |
I like the colours. | 0:37:09 | 0:37:10 | |
Well, to look at them just a little closely, | 0:37:10 | 0:37:12 | |
they are actually in a pattern called Inspiration Caprice. | 0:37:12 | 0:37:17 | |
-Oh, right. -And Inspiration Caprice | 0:37:17 | 0:37:19 | |
was Clarice's first-ever landscape design | 0:37:19 | 0:37:22 | |
and it's combined in this wonderful turquoise glaze, | 0:37:22 | 0:37:25 | |
and underneath, it has got the most fantastic back stamp, | 0:37:25 | 0:37:29 | |
all hand painted. | 0:37:29 | 0:37:31 | |
And these two vases will date from around 1929 to 1930. | 0:37:31 | 0:37:37 | |
-So they're rare little survivors. -Right. | 0:37:38 | 0:37:40 | |
So considering that they are small, | 0:37:40 | 0:37:43 | |
they're beautifully formed, | 0:37:43 | 0:37:44 | |
they're wonderfully painted, | 0:37:44 | 0:37:46 | |
they're going to appeal to the collectors. | 0:37:46 | 0:37:48 | |
-Yeah. -So we've got to think about price. | 0:37:48 | 0:37:50 | |
A tiny little Clarice Cliff vase, a pair of them, what are they worth? | 0:37:50 | 0:37:54 | |
Well, if I tell you they're worth | 0:37:54 | 0:37:58 | |
in the region of £800... | 0:37:58 | 0:38:01 | |
-Really? -Yeah. -Wow! | 0:38:01 | 0:38:03 | |
But I'm being slightly mean, | 0:38:03 | 0:38:05 | |
cos they're worth £800 each. | 0:38:05 | 0:38:07 | |
GASPING: Oh! | 0:38:07 | 0:38:09 | |
Wow! | 0:38:09 | 0:38:10 | |
I didn't expect that. | 0:38:10 | 0:38:12 | |
-They're a great example of her miniature work. -OK. | 0:38:12 | 0:38:15 | |
And you're looking well in excess of £1,500 for those. | 0:38:15 | 0:38:18 | |
That's a surprise. | 0:38:18 | 0:38:21 | |
-Well, I'm very pleased to see them, thank you. -Thank you. | 0:38:21 | 0:38:24 | |
Arthur Wharton - a great Victorian sporting hero. | 0:38:27 | 0:38:31 | |
But now faded into total obscurity. | 0:38:31 | 0:38:35 | |
What can you tell me about him and his association with the local area? | 0:38:35 | 0:38:39 | |
Well, Arthur was the first black professional footballer, | 0:38:39 | 0:38:42 | |
he was also the first man to run 100 yards in even time, | 0:38:42 | 0:38:46 | |
ten seconds dead. | 0:38:46 | 0:38:47 | |
He held the world record for over three years. | 0:38:47 | 0:38:50 | |
He was a Victorian sporting hero who actually lived in this area, | 0:38:50 | 0:38:54 | |
played cricket for Greasbrough, just down the road from here. | 0:38:54 | 0:38:57 | |
Gosh - you know, you've told us so much | 0:38:57 | 0:39:01 | |
in just, literally, two or three sentences. | 0:39:01 | 0:39:03 | |
Well, there he is - I mean, where was he originally from? | 0:39:03 | 0:39:06 | |
He was from Accra which is now in Ghana - | 0:39:06 | 0:39:09 | |
then, it was the Gold Coast. | 0:39:09 | 0:39:11 | |
He was sent to England by his uncle for an education, | 0:39:11 | 0:39:14 | |
a public school education, | 0:39:14 | 0:39:16 | |
and then he went on to a Methodist College, | 0:39:16 | 0:39:18 | |
Shoal Hill College at Cannock in the West Midlands, | 0:39:18 | 0:39:20 | |
to study to be, probably, a Methodist preacher | 0:39:20 | 0:39:24 | |
or to go back to his own country as a missionary. | 0:39:24 | 0:39:27 | |
Did he become a preacher? Did he follow that path? | 0:39:27 | 0:39:30 | |
No, when he was at Shoal Hill, | 0:39:30 | 0:39:32 | |
that's when he discovered his sporting prowess, | 0:39:32 | 0:39:34 | |
and soon after Shoal Hill closed, | 0:39:34 | 0:39:37 | |
he went to Darlington, to Cleveland College | 0:39:37 | 0:39:39 | |
where, in 1885, he ran in a race at the cricket club there, | 0:39:39 | 0:39:44 | |
some sort of sports day. | 0:39:44 | 0:39:45 | |
He won it, although he ducked under the tape. | 0:39:45 | 0:39:47 | |
-Oh, no! -HE LAUGHS | 0:39:47 | 0:39:49 | |
The officials wanted to disqualify him, | 0:39:49 | 0:39:51 | |
but the man in second place went, "No, he obviously was the best man." | 0:39:51 | 0:39:54 | |
And within a year, he was breaking the world record. | 0:39:54 | 0:39:56 | |
-So what a fantastic athlete he was. -Yeah, yeah. | 0:39:56 | 0:39:59 | |
-Now, how would a black man cope with such success... -Yeah. | 0:39:59 | 0:40:04 | |
..in a country that was very prejudiced? | 0:40:04 | 0:40:07 | |
And of course, this was the great time of expansion into Africa, | 0:40:07 | 0:40:11 | |
the European powers were grabbing land | 0:40:11 | 0:40:14 | |
and, of course, suppressing the people | 0:40:14 | 0:40:16 | |
that they came across. | 0:40:16 | 0:40:18 | |
But here's a man who completely reversed the attitude - | 0:40:18 | 0:40:23 | |
he was successful, highly educated | 0:40:23 | 0:40:25 | |
and, of course, he was winning races. | 0:40:25 | 0:40:27 | |
I mean, that must have caused a bit of resentment, to say the least. | 0:40:27 | 0:40:30 | |
It did, and he did have a few altercations | 0:40:30 | 0:40:32 | |
with opponents and so on. | 0:40:32 | 0:40:34 | |
However, the research that we've done | 0:40:34 | 0:40:37 | |
has shown that in the communities that he lived, | 0:40:37 | 0:40:40 | |
he was actually very well liked - | 0:40:40 | 0:40:41 | |
-a big crowd turned out for his funeral, for instance. -Yes. | 0:40:41 | 0:40:44 | |
The other thing was he was the first black professional footballer | 0:40:44 | 0:40:48 | |
and when he played for Sheffield United at Sunderland | 0:40:48 | 0:40:51 | |
in February 1894, | 0:40:51 | 0:40:53 | |
he became the first black player in the Football League ever. | 0:40:53 | 0:40:56 | |
So what a tough man, in the face of all this prejudice. | 0:40:56 | 0:40:59 | |
He married a local lass, | 0:40:59 | 0:41:00 | |
so, yeah, he melted in to the local working class culture. | 0:41:00 | 0:41:04 | |
Where do you fit in to all this? | 0:41:04 | 0:41:05 | |
Well, I'm actually Arthur's great-granddaughter. | 0:41:05 | 0:41:08 | |
-Wow! -Well, you must be immensely proud. | 0:41:08 | 0:41:11 | |
I am, I'm exceedingly proud. | 0:41:11 | 0:41:15 | |
When did you find out? | 0:41:15 | 0:41:16 | |
Just through my mum - we found some old photos | 0:41:16 | 0:41:20 | |
and had to trace him back, looking... | 0:41:20 | 0:41:23 | |
We have actually been to Ghana and met family members. | 0:41:23 | 0:41:26 | |
-They didn't know, in Ghana, of Arthur. -Wow. | 0:41:26 | 0:41:31 | |
And of course - you know - what a sad end to his story. | 0:41:31 | 0:41:33 | |
He became a coal miner, I understand, | 0:41:33 | 0:41:35 | |
and probably earning very little. | 0:41:35 | 0:41:37 | |
Yeah - and died a pauper | 0:41:37 | 0:41:40 | |
and was buried in an unmarked grave in Edlington near Doncaster in 1930. | 0:41:40 | 0:41:44 | |
But now he's got a proper headstone, | 0:41:44 | 0:41:46 | |
he's starting to be obviously much more fully understood, | 0:41:46 | 0:41:49 | |
and this is his Bible, I understand. | 0:41:49 | 0:41:51 | |
Yeah, it's got "Shoal Hill College, Cannock, 1882" inside | 0:41:51 | 0:41:55 | |
and his name and... | 0:41:55 | 0:41:57 | |
-Yeah, had a quick look earlier, the Bible was published in 1882. -OK. | 0:41:57 | 0:42:01 | |
-So he was handed this, presumably, brand-new. -Yes. | 0:42:01 | 0:42:05 | |
Well, the Bible is an extremely difficult item to value - | 0:42:05 | 0:42:08 | |
I mean, it's of inestimable value, really. | 0:42:08 | 0:42:11 | |
But what I will say | 0:42:11 | 0:42:12 | |
is that the value I give will probably grow, | 0:42:12 | 0:42:15 | |
as the recognition of the man's achievements | 0:42:15 | 0:42:18 | |
and the knowledge of his life goes out to the world. | 0:42:18 | 0:42:22 | |
I would say, at the moment, | 0:42:22 | 0:42:24 | |
it's worth a trivial 300, maybe £500 at auction. | 0:42:24 | 0:42:29 | |
But you can't put a price on a Bible, or photographs, | 0:42:29 | 0:42:32 | |
these reproductions - | 0:42:32 | 0:42:34 | |
it's such a rich history, its value is immense | 0:42:34 | 0:42:36 | |
and, of course, today, with so many football teams | 0:42:36 | 0:42:40 | |
being rich with fabulous African players, | 0:42:40 | 0:42:44 | |
you know, it's just a sheer delight | 0:42:44 | 0:42:46 | |
to see this tradition of great football being carried on, | 0:42:46 | 0:42:50 | |
and Arthur was the first in there. | 0:42:50 | 0:42:53 | |
-Thank you. -Thank you. -Cheers. | 0:42:53 | 0:42:55 | |
# 'S wonderful | 0:42:55 | 0:42:59 | |
# 'S marvellous... # | 0:42:59 | 0:43:01 | |
What's the interest they have for you? | 0:43:01 | 0:43:03 | |
Just the history behind them, | 0:43:03 | 0:43:04 | |
what they're made of and where they're from. | 0:43:04 | 0:43:06 | |
You are tomorrow's historian. That's fantastic. | 0:43:06 | 0:43:09 | |
It's not for the nursery. It's for the bathroom. | 0:43:10 | 0:43:13 | |
Some people did say, at the time, it was a bidet... | 0:43:13 | 0:43:16 | |
It's for washing your bottom, not your baby. | 0:43:16 | 0:43:18 | |
LAUGHTER | 0:43:18 | 0:43:20 | |
Part of my mum's collection, | 0:43:20 | 0:43:21 | |
but she's actually given me these three. | 0:43:21 | 0:43:24 | |
We're talking between 5,000 and 7,000. | 0:43:24 | 0:43:26 | |
SHE EXHALES | 0:43:26 | 0:43:27 | |
# 'S marvellous | 0:43:27 | 0:43:31 | |
# That you should care for me | 0:43:31 | 0:43:38 | |
Do you mind me asking what you had for breakfast this morning? | 0:43:40 | 0:43:43 | |
Er, toast and marmalade. | 0:43:43 | 0:43:44 | |
Not bad, but what this should be laid out with | 0:43:44 | 0:43:47 | |
is devilled kidneys, kippers, scrambled eggs, bacon, | 0:43:47 | 0:43:50 | |
all of the things that you'd expect, | 0:43:50 | 0:43:52 | |
because this would have come from quite a house. | 0:43:52 | 0:43:55 | |
Where did it come from? | 0:43:55 | 0:43:56 | |
Well, it comes from Stainborough Castle originally, | 0:43:56 | 0:43:59 | |
the story says, | 0:43:59 | 0:44:00 | |
and me dad bought it at auction in the 1950s. | 0:44:00 | 0:44:03 | |
-They had a house sale there. -Yeah, and that's when he bought it. | 0:44:03 | 0:44:07 | |
And did he buy it because he fell in love with it, or he wanted it...? | 0:44:07 | 0:44:10 | |
No, he bought the contents of the room. | 0:44:10 | 0:44:11 | |
Which they would do, they would sell literally one room at a time | 0:44:11 | 0:44:16 | |
of this type of quality. | 0:44:16 | 0:44:17 | |
-And me dad bought it for ten and sixpence. -Wow. | 0:44:17 | 0:44:20 | |
This is as near the top of quality furniture that you get. | 0:44:20 | 0:44:25 | |
I mean, it would date from the 1880s and it has a very Italianate form | 0:44:25 | 0:44:29 | |
and when you look at this front here with the inlay, | 0:44:29 | 0:44:32 | |
you would think Italy and tours and all of the things | 0:44:32 | 0:44:36 | |
of that, sort of, high period decoration | 0:44:36 | 0:44:39 | |
you'd expect of that age. | 0:44:39 | 0:44:40 | |
But it's actually English. | 0:44:40 | 0:44:42 | |
Simple ways of telling is if you open the drawer, inside... | 0:44:42 | 0:44:47 | |
This quarter beading here inside the drawer is very English - | 0:44:47 | 0:44:51 | |
I think it's only in England that this was produced. | 0:44:51 | 0:44:54 | |
And it's such nice quality - | 0:44:54 | 0:44:56 | |
I mean, walnut, you've got all the satin wood inlays here, | 0:44:56 | 0:44:59 | |
and ebony inlays | 0:44:59 | 0:45:00 | |
and when this was new... | 0:45:00 | 0:45:02 | |
We're so used to seeing furniture in this muted form, | 0:45:02 | 0:45:05 | |
but this would have been much redder, | 0:45:05 | 0:45:06 | |
you'd have had bright yellows and golds | 0:45:06 | 0:45:09 | |
and this metal work here is so lovely, | 0:45:09 | 0:45:11 | |
-it would have shone. -Right. | 0:45:11 | 0:45:13 | |
We don't understand now - if we'd seen this when it was new, | 0:45:13 | 0:45:16 | |
it would have been so bling, it would have been like, "Whoa!" | 0:45:16 | 0:45:19 | |
But we're just used to it in this, sort of, lovely, muted-down form. | 0:45:19 | 0:45:23 | |
-What actually is it? -A buffet. Yes, a serving buffet. -I see. | 0:45:23 | 0:45:27 | |
It's part of a large suite - | 0:45:27 | 0:45:28 | |
you'd have had a dining table, chairs... | 0:45:28 | 0:45:30 | |
You'd have had someone come from Manchester | 0:45:30 | 0:45:33 | |
or one of those big centres and they would say, | 0:45:33 | 0:45:35 | |
"Right, you've got an Italianate room, | 0:45:35 | 0:45:37 | |
"we'll design you a buffet, a sideboard, | 0:45:37 | 0:45:40 | |
"large dining table, a set of chairs". | 0:45:40 | 0:45:42 | |
You'd have had the whole suite and that's what it would've been from. | 0:45:42 | 0:45:45 | |
-You haven't got the rest? -No, we haven't, no. | 0:45:45 | 0:45:47 | |
What's such a shame is - I've had a good look over it, | 0:45:47 | 0:45:49 | |
can't see any maker's mark. | 0:45:49 | 0:45:50 | |
And it was considered, if your furniture... | 0:45:50 | 0:45:53 | |
If you were making furniture for a house like this or for a castle, | 0:45:53 | 0:45:57 | |
you should be able to go in | 0:45:57 | 0:45:58 | |
and say, "Yes, that's from Lamb of Manchester", or Holland, | 0:45:58 | 0:46:01 | |
or one of those great makers, or Gillows. | 0:46:01 | 0:46:04 | |
But, unfortunately, it isn't and I think it's a real shame. | 0:46:04 | 0:46:07 | |
If it were marked, that would be great. | 0:46:07 | 0:46:10 | |
I still think it's a lovely piece of furniture, and in the '50s, | 0:46:10 | 0:46:12 | |
these were just...not two a penny, | 0:46:12 | 0:46:14 | |
but no-one really took them for the quality that they were, | 0:46:14 | 0:46:17 | |
and everyone wanted to go more into the new styles and more modern. | 0:46:17 | 0:46:21 | |
It's coming back, it's still struggling a bit. | 0:46:21 | 0:46:24 | |
A single buffet on its own | 0:46:24 | 0:46:26 | |
is not the most desirable piece of furniture, | 0:46:26 | 0:46:28 | |
but I think, at auction... | 0:46:28 | 0:46:30 | |
£1,000? | 0:46:30 | 0:46:31 | |
Ah, right! Oh... | 0:46:31 | 0:46:33 | |
I always think, for the quality of these, the price is still down, | 0:46:33 | 0:46:35 | |
but your mission now is to obviously find the rest of the suite, | 0:46:35 | 0:46:38 | |
because if it was a suite, it would make a huge difference to its value. | 0:46:38 | 0:46:42 | |
-Good luck hunting. -Yes. | 0:46:42 | 0:46:43 | |
THEY LAUGH | 0:46:43 | 0:46:45 | |
Well, we see collections of a lot of things | 0:46:49 | 0:46:51 | |
on the Antiques Roadshow | 0:46:51 | 0:46:52 | |
but I'm not sure I've ever seen | 0:46:52 | 0:46:54 | |
a collection of legs or boots before. | 0:46:54 | 0:46:56 | |
Are you a leg man, shall we say? | 0:46:56 | 0:46:58 | |
Well I have to admit, yes, I must be, | 0:46:58 | 0:47:00 | |
by what you see in front of you. | 0:47:00 | 0:47:02 | |
It really started from the very first one, | 0:47:02 | 0:47:05 | |
which was the nail file, which I gave my wife | 0:47:05 | 0:47:08 | |
too many years ago to remember, but more than 50 years ago. | 0:47:08 | 0:47:11 | |
And the number of times when she'd take it out of her handbag, | 0:47:11 | 0:47:14 | |
people would say, "That's unusual." | 0:47:14 | 0:47:17 | |
I sold a collection I had of silver sugar tongs | 0:47:17 | 0:47:19 | |
and with the money I got, I bought two more | 0:47:19 | 0:47:22 | |
and that really started my appetite in them. | 0:47:22 | 0:47:25 | |
And now when I walk round an antique fair, | 0:47:25 | 0:47:27 | |
it's a nice vehicle to take me round as to what I look at. | 0:47:27 | 0:47:30 | |
She looks at jewellery. I look at legs. | 0:47:30 | 0:47:33 | |
And you look at legs, right. You've got, obviously... | 0:47:33 | 0:47:36 | |
I know this is only part of the collection you have. | 0:47:36 | 0:47:39 | |
It's a fairly varied collection. | 0:47:39 | 0:47:41 | |
You've got some here - | 0:47:41 | 0:47:42 | |
this is a little boxwood one | 0:47:42 | 0:47:45 | |
dating from the early 19th century | 0:47:45 | 0:47:47 | |
and then you've got right through | 0:47:47 | 0:47:49 | |
to a promotional item | 0:47:49 | 0:47:51 | |
for Glamour Girl stockings | 0:47:51 | 0:47:52 | |
which would date from the 1950s, 1960s. | 0:47:52 | 0:47:55 | |
You've got some which are bone, | 0:47:55 | 0:47:57 | |
then we have some... | 0:47:57 | 0:47:59 | |
This is a little polished oak one, | 0:47:59 | 0:48:01 | |
then we have ivory, | 0:48:01 | 0:48:03 | |
and, you know, it's a really good cross-section of examples here. | 0:48:03 | 0:48:06 | |
Do you have a particular favourite at all? | 0:48:06 | 0:48:09 | |
Well, I suppose one of the favourite ones is this one, | 0:48:09 | 0:48:12 | |
-which I bought being told that it, in fact, was a stirrup cup. -Right. | 0:48:12 | 0:48:16 | |
OK, well, we'll dispel that myth - | 0:48:16 | 0:48:19 | |
it's actually a vesta, a little match striker. | 0:48:19 | 0:48:22 | |
So you would put your matches in there, | 0:48:22 | 0:48:24 | |
then you'd be able to strike them from the underneath. | 0:48:24 | 0:48:26 | |
It is silver and it has import marks on the side of it there for 1903 | 0:48:26 | 0:48:31 | |
so we know it was imported into Britain in 1903 | 0:48:31 | 0:48:34 | |
so it was made probably just marginally before that, | 0:48:34 | 0:48:37 | |
somewhere on the Continent. | 0:48:37 | 0:48:39 | |
Actually, that's a very nice piece. | 0:48:39 | 0:48:41 | |
-It's quite heavy as well. -It is, quite a weighty piece of silver. | 0:48:41 | 0:48:45 | |
You have quite a lot of pipe tampers here. | 0:48:45 | 0:48:48 | |
You would have your pipe tampers | 0:48:48 | 0:48:50 | |
to tamp the tobacco down in the pipe. | 0:48:50 | 0:48:53 | |
You have the pipe there, which dates probably from the 1950s | 0:48:53 | 0:48:57 | |
with the Bakelite leg and the bowl, actually, is wooden on it. | 0:48:57 | 0:49:01 | |
This is one I think that is most unusual | 0:49:01 | 0:49:03 | |
and many people don't know what it's for. | 0:49:03 | 0:49:05 | |
No, and I must admit, I've only ever seen three or four pairs of those. | 0:49:05 | 0:49:11 | |
They're a pair of ends for knitting needles | 0:49:11 | 0:49:13 | |
and there they go. | 0:49:13 | 0:49:15 | |
-A knitting needle in between the two. -Absolutely, joined by the chain. | 0:49:15 | 0:49:18 | |
But, yeah, that's quite an interesting item, very unusual. | 0:49:18 | 0:49:22 | |
Most of these date from the 19th century, | 0:49:22 | 0:49:25 | |
some are slightly earlier, some are into the 20th century. | 0:49:25 | 0:49:28 | |
But, you know, it's a fantastic collection. | 0:49:28 | 0:49:32 | |
With regards to prices on them, | 0:49:32 | 0:49:34 | |
obviously the prices vary a lot. | 0:49:34 | 0:49:36 | |
For the little Glamour Girl promotional item, | 0:49:36 | 0:49:39 | |
perhaps £15 to £20, | 0:49:39 | 0:49:41 | |
the little bone tampers, £40 and £50 apiece. | 0:49:41 | 0:49:44 | |
The little boot actually, that's nice, | 0:49:44 | 0:49:46 | |
-that would be probably around £100 on that. -Oh, right. | 0:49:46 | 0:49:49 | |
-How many do you have? -Just over 50. | 0:49:49 | 0:49:52 | |
Obviously, some are worth more than others, | 0:49:52 | 0:49:55 | |
but I think just what we have on the table, you've probably got | 0:49:55 | 0:49:57 | |
about £1,000 or £1,500 worth. | 0:49:57 | 0:50:00 | |
Excellent, excellent. | 0:50:00 | 0:50:03 | |
-I'll keep looking at legs. -Do! | 0:50:03 | 0:50:05 | |
HE CHUCKLES | 0:50:05 | 0:50:06 | |
So here we are, in one of the supposed 365 rooms | 0:50:09 | 0:50:13 | |
in this fantastic house, Wentworth Woodhouse, | 0:50:13 | 0:50:17 | |
with three pieces of that rare beast, Yorkshire porcelain. | 0:50:17 | 0:50:21 | |
It was made at the Rockingham factory | 0:50:21 | 0:50:23 | |
which is only four miles from where we're standing, | 0:50:23 | 0:50:26 | |
at Swinton, around about 1830-1835. | 0:50:26 | 0:50:30 | |
What's your connection with these pieces? | 0:50:30 | 0:50:32 | |
Well, the story goes | 0:50:32 | 0:50:33 | |
that my four-times great grandfather worked at the factory, | 0:50:33 | 0:50:38 | |
-he was the manager at the factory in about 1822. -Right. | 0:50:38 | 0:50:42 | |
And then his sons followed as students | 0:50:42 | 0:50:45 | |
and then, eventually, they started their own factory. | 0:50:45 | 0:50:49 | |
They didn't make anything so fine as this. | 0:50:49 | 0:50:51 | |
-Well, this is incredibly fine, isn't it? -Yes. | 0:50:51 | 0:50:53 | |
And you look at these three objects | 0:50:53 | 0:50:55 | |
and, personally, I find them quite mind-blowing. | 0:50:55 | 0:50:58 | |
-Enchanting objects, yes, yes. -Enchanting objects, enchanting. | 0:50:58 | 0:51:01 | |
This little piece here - to modern eyes, | 0:51:01 | 0:51:03 | |
it looks rather like a little ashtray, | 0:51:03 | 0:51:05 | |
but I think at the time, | 0:51:05 | 0:51:07 | |
-they would have used it as a pin tray. -Yes, yes. | 0:51:07 | 0:51:10 | |
And it is hand painted, which is quite incredible, | 0:51:10 | 0:51:12 | |
with these wonderful flowers. | 0:51:12 | 0:51:14 | |
I think the painting may have actually been done | 0:51:14 | 0:51:16 | |
by John Cresswell, | 0:51:16 | 0:51:18 | |
-who was one of the floral painters at the factory. -Yes. | 0:51:18 | 0:51:20 | |
Very much in his style. | 0:51:20 | 0:51:22 | |
And this exhibits a really interesting thing - | 0:51:22 | 0:51:24 | |
-the Rockingham mark. -Yes. | 0:51:24 | 0:51:26 | |
Which is based on the crest of the Fitzwilliam family, | 0:51:26 | 0:51:29 | |
-patron of the factory. -Yes. | 0:51:29 | 0:51:31 | |
And the strange thing is behind us is that fabulous marble fireplace. | 0:51:31 | 0:51:36 | |
-With the same... -With the same griffins. | 0:51:36 | 0:51:38 | |
A wonderful connection. | 0:51:38 | 0:51:41 | |
-This is an extraordinary thing, isn't it? -Yes, yes. | 0:51:41 | 0:51:44 | |
That's really attractive. | 0:51:44 | 0:51:45 | |
Again, a bit of a Meissen connection here - | 0:51:45 | 0:51:47 | |
I think this was inspired by a Meissen rose box | 0:51:47 | 0:51:50 | |
made in the 18th century, but when we look at it carefully, | 0:51:50 | 0:51:53 | |
we realise it's made in two parts. | 0:51:53 | 0:51:55 | |
And the top of the rose, she comes out | 0:51:55 | 0:51:57 | |
so I guess you'd have put a little piece of pastille in there and burned it | 0:51:57 | 0:52:01 | |
and a wonderful odour would have come out | 0:52:01 | 0:52:03 | |
and obscured all the grimy smells of early Victorian life, | 0:52:03 | 0:52:08 | |
and again, that has the Rockingham mark. | 0:52:08 | 0:52:12 | |
Slightly larger in scale, | 0:52:12 | 0:52:13 | |
I guess this must be a perfume bottle. | 0:52:13 | 0:52:15 | |
-Yes, yes. -It's got a detachable stopper | 0:52:15 | 0:52:18 | |
and it's covered with finely modelled - | 0:52:18 | 0:52:20 | |
modelled by hand, and painted by hand - | 0:52:20 | 0:52:22 | |
these encrusted flowers. | 0:52:22 | 0:52:23 | |
Again, a reference to Meissen. | 0:52:23 | 0:52:25 | |
I think it's absolutely beautiful. | 0:52:25 | 0:52:27 | |
It is, it's incredible ware | 0:52:27 | 0:52:29 | |
and the great thing about Rockingham, | 0:52:29 | 0:52:31 | |
above all other factories, | 0:52:31 | 0:52:32 | |
it has its own distinctive look, it has its... | 0:52:32 | 0:52:35 | |
It sort of speaks with its own Yorkshire accent, | 0:52:35 | 0:52:37 | |
it's different from all that stuff made farther south in Staffordshire, | 0:52:37 | 0:52:41 | |
it's got its own style. | 0:52:41 | 0:52:42 | |
-Yes. -It really has. | 0:52:42 | 0:52:44 | |
Are these things that came down through the family | 0:52:44 | 0:52:48 | |
from your connection with the factory? | 0:52:48 | 0:52:50 | |
No, no, they've not - they're things that we bought | 0:52:50 | 0:52:53 | |
because we've got an interest in it | 0:52:53 | 0:52:55 | |
after finding out that the family had done lots of work there. | 0:52:55 | 0:53:01 | |
Well, I suppose we'd better look at some values. | 0:53:01 | 0:53:03 | |
And the little pin tray there by John Cresswell | 0:53:03 | 0:53:07 | |
is worth around about £1,000 - | 0:53:07 | 0:53:09 | |
-maybe £800 to £1,200. -Gosh! Surprising. | 0:53:09 | 0:53:13 | |
Despite its larger size, this scent bottle - | 0:53:13 | 0:53:16 | |
it's sometimes the smaller things | 0:53:16 | 0:53:18 | |
that make more money, | 0:53:18 | 0:53:19 | |
but that's going to be... | 0:53:19 | 0:53:20 | |
-£600 or £700, something like that? -Very nice too. | 0:53:20 | 0:53:23 | |
But the bric-a-brac intrigues me. | 0:53:23 | 0:53:27 | |
-Presumably, it was cheap. -About £28, I think. | 0:53:27 | 0:53:30 | |
£28 for that rose box. | 0:53:30 | 0:53:32 | |
Well, I've only ever seen examples in books and museums, | 0:53:32 | 0:53:36 | |
I've never actually handled one before. | 0:53:36 | 0:53:38 | |
-Oh, good. -That's how rare it is. | 0:53:38 | 0:53:40 | |
And your £28 is now certainly | 0:53:40 | 0:53:45 | |
-£1,500 or maybe £2,000, possibly more. -Gosh! | 0:53:45 | 0:53:50 | |
THEY LAUGH | 0:53:52 | 0:53:54 | |
-It was worth coming. -Good, good, good - so actually, | 0:53:54 | 0:53:58 | |
you've got about £3,000 here. | 0:53:58 | 0:53:59 | |
Yes! Gosh. | 0:53:59 | 0:54:00 | |
Now, the last time I saw you with this tiny, tiny thing, | 0:54:04 | 0:54:07 | |
you just hurled it into the bottom of your handbag, | 0:54:07 | 0:54:09 | |
-just like that, didn't you? -Yes. | 0:54:09 | 0:54:10 | |
Now, who asked you to bring it, and why? | 0:54:10 | 0:54:13 | |
My mother-in-law - she was given | 0:54:13 | 0:54:15 | |
a big bag of paste jewellery and what-have-you | 0:54:15 | 0:54:18 | |
by an old lady that she used to do gardening work for, | 0:54:18 | 0:54:20 | |
they didn't think it was anything. | 0:54:20 | 0:54:22 | |
-And so you raked it out of the bottom of your bag. -Yes. | 0:54:22 | 0:54:25 | |
And you showed it to me and it was rather startling, I must say, | 0:54:25 | 0:54:27 | |
because the thing about it, and it probably alerted her, | 0:54:27 | 0:54:30 | |
is that it absolutely shrieks of quality, doesn't it? | 0:54:30 | 0:54:32 | |
-Yes. -It's got a little voice, a very powerful little voice, | 0:54:32 | 0:54:35 | |
tiny, tiny object. | 0:54:35 | 0:54:37 | |
It's a core of gold and perhaps silver underneath here, too, | 0:54:37 | 0:54:40 | |
hand engraved with a sort of sunburst, | 0:54:40 | 0:54:43 | |
so every time you move it, it moves like silk. | 0:54:43 | 0:54:46 | |
And then the artist has sat | 0:54:46 | 0:54:48 | |
and painted the first layer of enamel with these dendrites, | 0:54:48 | 0:54:51 | |
these funny, tree-like ornaments which are hand painted, | 0:54:51 | 0:54:55 | |
and then fired again, | 0:54:55 | 0:54:58 | |
and then covered with a flux of pure white enamel | 0:54:58 | 0:55:02 | |
-which protects the surface of the paint. -Oh, I see. | 0:55:02 | 0:55:05 | |
And then a little division, if you like, of gold laurels. | 0:55:05 | 0:55:10 | |
And this is all fine and dandy and it's tiny. | 0:55:10 | 0:55:13 | |
But the one signal to what it might be, | 0:55:13 | 0:55:16 | |
-is that it's actually Easter egg-shaped. -Yes. | 0:55:16 | 0:55:20 | |
And makes one give it a second look | 0:55:20 | 0:55:22 | |
and I'm very pleased to tell you that it's made by - without doubt - | 0:55:22 | 0:55:25 | |
the most famous goldsmith that ever lived. | 0:55:25 | 0:55:28 | |
-It's made by Peter Carl Faberge in Russia in 1900. -Wow. | 0:55:28 | 0:55:32 | |
-And the momentum gathers enormously. -Yeah! | 0:55:32 | 0:55:35 | |
Because with Faberge, Easter is the key word | 0:55:35 | 0:55:39 | |
and it was a celebration of the most important festival in Russia | 0:55:39 | 0:55:43 | |
which took precedence over Christmas. | 0:55:43 | 0:55:45 | |
It was Easter. On Easter morning, if you lived in the country, | 0:55:45 | 0:55:48 | |
you would give your mother or your sister | 0:55:48 | 0:55:51 | |
a painted chicken's egg, | 0:55:51 | 0:55:53 | |
and if you lived in the city, in Moscow, in St Petersburg, | 0:55:53 | 0:55:55 | |
you might give a porcelain egg or a painted wooden egg. | 0:55:55 | 0:55:59 | |
But if you lived in the strange, claustrophic world of the Romanovs, | 0:55:59 | 0:56:02 | |
then nothing less than an Imperial Easter egg from Carl Faberge | 0:56:02 | 0:56:06 | |
would do for the Tsarina. | 0:56:06 | 0:56:07 | |
And you'd go to Faberge | 0:56:07 | 0:56:09 | |
if you were anything less than the Tsar or Tsarina | 0:56:09 | 0:56:11 | |
and buy a little egg to give to your goddaughter | 0:56:11 | 0:56:14 | |
and then she would add it to a chain, | 0:56:14 | 0:56:15 | |
and there may be 100 of them, if she was really lucky - | 0:56:15 | 0:56:18 | |
not all from Faberge, some stone, some silver. | 0:56:18 | 0:56:20 | |
This comes from the factory of Henrik Wigstrom, | 0:56:20 | 0:56:23 | |
one of the chief workmasters of Faberge, | 0:56:23 | 0:56:26 | |
creator of the Coronation Coach egg, | 0:56:26 | 0:56:28 | |
-possibly the most famous of the Imperial Easter eggs. -Hm. | 0:56:28 | 0:56:31 | |
We know that because this tiny object is signed, | 0:56:31 | 0:56:34 | |
an almost undetectable "HW" there. | 0:56:34 | 0:56:38 | |
Right - we couldn't...we couldn't see it. | 0:56:38 | 0:56:40 | |
We could see markings, but we couldn't see what they were. | 0:56:40 | 0:56:43 | |
Faberge was very interesting | 0:56:43 | 0:56:44 | |
in that he had these substrata of suppliers, | 0:56:44 | 0:56:48 | |
but they belonged to Faberge, it was made by the Faberge firm. | 0:56:48 | 0:56:51 | |
But he allowed them, in St Petersburg, | 0:56:51 | 0:56:53 | |
to sign their own work - | 0:56:53 | 0:56:54 | |
rather an unusual gesture at the time | 0:56:54 | 0:56:56 | |
and happily, it's still there. | 0:56:56 | 0:56:58 | |
More often than not, when these little Easter eggs come to us, | 0:56:58 | 0:57:01 | |
this loop here where they're signed has been clipped away | 0:57:01 | 0:57:05 | |
and so clipped away goes the signature. | 0:57:05 | 0:57:07 | |
But you have not only a pristine Easter egg, | 0:57:07 | 0:57:09 | |
but a signed Easter egg by the chief workmaster to Faberge. | 0:57:09 | 0:57:13 | |
-This is in mint condition and you can't ask for more. -Right. | 0:57:13 | 0:57:17 | |
With everything that I've told you, | 0:57:17 | 0:57:19 | |
and all of this charm, comes value. | 0:57:19 | 0:57:21 | |
People collect them very avidly, they want them desperately, | 0:57:21 | 0:57:24 | |
it's a crystallisation of everything that Faberge means, | 0:57:24 | 0:57:28 | |
and so a tiny, tiny thing like that... | 0:57:28 | 0:57:30 | |
£10,000. | 0:57:30 | 0:57:32 | |
Right. OK. | 0:57:33 | 0:57:34 | |
And they fetch more. | 0:57:34 | 0:57:35 | |
Good God! | 0:57:37 | 0:57:38 | |
-This is a very, very rare object. -Yes. -Very, very exciting. | 0:57:38 | 0:57:42 | |
-Thank you so much - wonderful, thank you. -Thank you. | 0:57:42 | 0:57:45 | |
Who could have predicted such a tiny object | 0:57:45 | 0:57:47 | |
would carry such a high value? | 0:57:47 | 0:57:50 | |
A classic ending from Faberge aficionado Geoffrey Munn. | 0:57:50 | 0:57:53 | |
From Wentworth Woodhouse and all the Antiques Roadshow team, | 0:57:55 | 0:57:58 | |
bye-bye. | 0:57:58 | 0:57:59 |