0:00:42 > 0:00:44Welcome back to the Antiques Roadshow
0:00:44 > 0:00:45from Newport in Wales.
0:00:45 > 0:00:49I'm travelling across the River Usk on this grand aerial ferry,
0:00:49 > 0:00:54one of only six surviving transporter bridges in the world.
0:00:54 > 0:00:57This is travelling in style.
0:01:08 > 0:01:10It takes 90 seconds to get across
0:01:10 > 0:01:12and it was built for Edwardian workers who lived
0:01:12 > 0:01:14on the west side of the river, but who needed to get to the east,
0:01:14 > 0:01:16where the factories and the docks were.
0:01:16 > 0:01:19Otherwise, it was a four-mile round trip.
0:01:25 > 0:01:29It was opened on September 12th 1906 by Godfrey Morgan,
0:01:29 > 0:01:30the Second Lord Tredegar,
0:01:30 > 0:01:33resplendent with soup-strainer moustache
0:01:33 > 0:01:36on what looks like a very miserable day.
0:01:38 > 0:01:41The surrounding dockland and beyond was owned by Godfrey,
0:01:41 > 0:01:43who lived just a mile up the road
0:01:43 > 0:01:46at his fabulous pile, Tredegar House.
0:01:49 > 0:01:53In a discreet corner is a memorial to his remarkable horse, Sir Briggs.
0:01:55 > 0:01:57Godfrey took Sir Briggs with him to the Crimean War,
0:01:57 > 0:01:59and in October 1854,
0:01:59 > 0:02:03they led the line of the calamitous Charge of the Light Brigade,
0:02:03 > 0:02:05when British troops mistakenly assaulted
0:02:05 > 0:02:08heavily defended Russian positions.
0:02:11 > 0:02:12Despite heavy losses,
0:02:12 > 0:02:16miraculously, they both survived with barely a scratch.
0:02:16 > 0:02:20In fact, Sir Briggs went on to survive many major battles.
0:02:20 > 0:02:24The First World War fictional story of War Horse is rightly popular,
0:02:24 > 0:02:27but to my mind, if you want the original war horse,
0:02:27 > 0:02:30surely it has to be Sir Briggs.
0:02:35 > 0:02:38Godfrey buried his beloved horse with full military honours
0:02:38 > 0:02:41in the cedar garden at Tredegar House,
0:02:41 > 0:02:44where we find our specialists ready to welcome visitors from Wales
0:02:44 > 0:02:46to this week's Antiques Roadshow.
0:02:48 > 0:02:51A beautiful day, a beautiful garden, a beautiful house,
0:02:51 > 0:02:53one beautiful girl, two rings.
0:02:53 > 0:02:55Come on, tell me all about them.
0:02:55 > 0:02:58OK. This one was my grandmother's
0:02:58 > 0:03:00and this was my great-grandmother's.
0:03:00 > 0:03:03All I know is that this one was purchased in Plymouth
0:03:03 > 0:03:08and was a replacement engagement ring when they had more money,
0:03:08 > 0:03:10and that's all I know about them.
0:03:10 > 0:03:12Well, when you began to tell me that
0:03:12 > 0:03:15I felt that that must be true, because this particular ring
0:03:15 > 0:03:17- is rather older than this one.- Yeah.
0:03:17 > 0:03:22- OK.- Which turns the family provenance round in a rather complicated way.
0:03:22 > 0:03:26This is a very pretty little gold ring set with rubies and diamonds.
0:03:26 > 0:03:28- Yes.- And it comes from probably
0:03:28 > 0:03:31the last few years of the reign of Queen Victoria.
0:03:31 > 0:03:33Conveniently, she lived until 1901,
0:03:33 > 0:03:36- so it takes us even into the 20th century.- Right, OK.
0:03:36 > 0:03:37And they're beautiful, aren't they?
0:03:37 > 0:03:40- Yes, lovely.- They're blood-red rubies and diamonds,
0:03:40 > 0:03:43- but this is a very fulsome diamond ring, isn't it?- Yeah.
0:03:43 > 0:03:45I mean, it's quite, quite a sight,
0:03:45 > 0:03:47and look what it does in the sunshine.
0:03:47 > 0:03:50And have you ever thought about the setting at all?
0:03:50 > 0:03:52It's rather strange, rather dark, isn't it?
0:03:52 > 0:03:55No, I haven't, I haven't had anybody look at it before,
0:03:55 > 0:03:58- so I don't know much about it. - Except you love it.
0:03:58 > 0:03:59I do absolutely adore it, yeah.
0:03:59 > 0:04:02- I'm just too scared to wear it. - Oh, no, don't be that.
0:04:02 > 0:04:05It's set in silver and backed in gold. This one is only gold
0:04:05 > 0:04:08and it's one of the signposts to me that this is an earlier ring,
0:04:08 > 0:04:11because we can tell from the lapidary work and from the setting
0:04:11 > 0:04:14that it probably comes from the 1840s, something like that.
0:04:14 > 0:04:17- Oh, right.- So 60 or 70 years before this one.- Right, OK.
0:04:17 > 0:04:20But anyway, let's start with this one,
0:04:20 > 0:04:22it's a perfectly nice engagement ring.
0:04:22 > 0:04:26It's been through one lifetime and a little bit rubbed,
0:04:26 > 0:04:29probably only valued at £300-400
0:04:29 > 0:04:32but if you wanted to walk into a West End shop in London,
0:04:32 > 0:04:35where this sort of thing would be for sale,
0:04:35 > 0:04:38it would be a rare thing to be found for sale, a very attractive one,
0:04:38 > 0:04:41and I think you'd have to fork out £7,000 to get it.
0:04:41 > 0:04:44Oh, really? Wow.
0:04:44 > 0:04:47Wow! That's lovely news.
0:04:47 > 0:04:50Won't be selling it, but, yeah, it's a gorgeous ring. Thank you.
0:04:50 > 0:04:52- Can we see it on your finger?- Yeah.
0:04:55 > 0:04:58- Yes, look at that, stunning, wonderful.- Thank you.
0:04:58 > 0:04:59- Thank you very much.- Thank you.
0:05:01 > 0:05:05A jug which doesn't really need any introduction.
0:05:05 > 0:05:07Having said that, would you like
0:05:07 > 0:05:08to tell me who made it?
0:05:08 > 0:05:10Clarice Cliff.
0:05:10 > 0:05:13Clarice Cliff, and as far as Clarice Cliff goes,
0:05:13 > 0:05:16I have to tell you that in days gone by,
0:05:16 > 0:05:17I've been a guest speaker
0:05:17 > 0:05:21- at the Clarice Cliff Collectors Club Convention.- Right.
0:05:21 > 0:05:27So I have actually met the ladies who decorated this in the 1930s.
0:05:27 > 0:05:29- Oh, right.- So, the design -
0:05:29 > 0:05:32the design is oranges and lemons,
0:05:32 > 0:05:35and if I had to say what is my favourite design,
0:05:35 > 0:05:37- I think this is it.- Right.
0:05:37 > 0:05:39First of all, it's called the "Conical" shape.
0:05:39 > 0:05:41OK, I didn't know that.
0:05:41 > 0:05:44Well, I can tell you that, but I want you to tell me a little bit
0:05:44 > 0:05:49about how a jug like this ends up in this idyllic part of South Wales.
0:05:49 > 0:05:53Well, the jug, my earliest memories, really, as a child,
0:05:53 > 0:05:57I would be taken down to Llanelli on a Sunday afternoon
0:05:57 > 0:06:01to visit some elderly relatives and there'd be nothing to do.
0:06:01 > 0:06:04Tea would be laid on the table and then after we'd eaten,
0:06:04 > 0:06:07it was a matter for my sister and I just to sort of walk around
0:06:07 > 0:06:10and sort of look at various objects in the house
0:06:10 > 0:06:14and this was one of them, and then of course, as time went on,
0:06:14 > 0:06:18the elderly relatives passed away and this came my way.
0:06:18 > 0:06:21Let's have a quick look at the mark under the base,
0:06:21 > 0:06:23because marks are quite important
0:06:23 > 0:06:25and you've got a mark there that says,
0:06:25 > 0:06:26"Bizarre by Clarice Cliff"
0:06:26 > 0:06:30and then it's a little bit misleading for you local people
0:06:30 > 0:06:33- because it says "Newport Pottery" under there, doesn't it?- Yes.
0:06:33 > 0:06:35And the number of people who think
0:06:35 > 0:06:38that Newport Pottery is actually here in South Wales
0:06:38 > 0:06:41- but it wasn't, it was up there in Stoke-on-Trent.- OK.
0:06:41 > 0:06:46- This design was introduced in around about 1931.- Right.
0:06:46 > 0:06:49So, you know, you're into the Art Deco
0:06:49 > 0:06:52but moving into the Moderne,
0:06:52 > 0:06:54and as far as collectors are concerned,
0:06:54 > 0:06:57if I dare use the phrase, it ticks all the right boxes,
0:06:57 > 0:06:59so when it comes to the value,
0:06:59 > 0:07:02Clarice Cliff's a little bit like stocks and shares,
0:07:02 > 0:07:05- the market is always up and down. - Yes, yes.
0:07:05 > 0:07:10So I would say that your jug is possibly round about 800,
0:07:10 > 0:07:12but maybe on a good day,
0:07:12 > 0:07:15possibly, possibly, £1,000.
0:07:15 > 0:07:18- We just might...- Really? - ..just might get up there.- Gosh!
0:07:18 > 0:07:21Really? I didn't expect that at all, actually.
0:07:25 > 0:07:27Poisonous snakes aren't everybody's cup of tea.
0:07:27 > 0:07:31But how do you feel about having a festival of snakes
0:07:31 > 0:07:33on your dining table, or do you not keep it on your dining table?
0:07:33 > 0:07:35We don't keep it on the dining table, no.
0:07:35 > 0:07:37We keep it under the stairs, actually,
0:07:37 > 0:07:39but now that I've seen it out again
0:07:39 > 0:07:41and it's a while since I've seen it out,
0:07:41 > 0:07:43it's actually quite attractive
0:07:43 > 0:07:45in a...scary sort of way.
0:07:45 > 0:07:47THEY LAUGH
0:07:47 > 0:07:48I think it's put away because
0:07:48 > 0:07:51I can't really decide what to do with it.
0:07:51 > 0:07:53Presumably if it's put away, you didn't buy it for use.
0:07:53 > 0:07:56No, no, no, it was my grandfather's.
0:07:56 > 0:07:59It's been handed down to me from my grandfather,
0:07:59 > 0:08:04who was in the army in the North West Frontier in the 1890s.
0:08:04 > 0:08:07- Right. - So we think that's where he got it,
0:08:07 > 0:08:11that sort of area which is now sort of northwest Pakistan, isn't it?
0:08:11 > 0:08:13I can tell you exactly where it comes from.
0:08:13 > 0:08:15- Right.- It's covered in local symbols.
0:08:15 > 0:08:18- Right.- It comes from Kashmir.- Right.
0:08:18 > 0:08:21And you've got Kashmiri, or local leaves,
0:08:21 > 0:08:23you've got chinar leaves and coriander leaves,
0:08:23 > 0:08:26and all this local flora - and fauna.
0:08:26 > 0:08:28- And fauna.- Um, poking its head out,
0:08:28 > 0:08:32and rearing up in a very sort of aggressive-looking way.
0:08:32 > 0:08:37Um, the bowl itself is based on what's called a kashkul,
0:08:37 > 0:08:40which is a begging bowl,
0:08:40 > 0:08:43which the Dervish monks used to carry
0:08:43 > 0:08:44to collect alms from the locals,
0:08:44 > 0:08:46as in "whirling dervish",
0:08:46 > 0:08:48these men sometimes used to spin round and round in their...
0:08:48 > 0:08:50- Big begging bowl?- A begging bowl.
0:08:50 > 0:08:53It's a popular shape that was used by the local craftsmen
0:08:53 > 0:08:55to turn into all sorts of things -
0:08:55 > 0:08:57for example, your lovely centrepiece.
0:08:57 > 0:09:01- Yes.- Which is not ever intended to be sold to a Kashmiri,
0:09:01 > 0:09:05- this was always expected to be sold to a foreigner.- Right.
0:09:05 > 0:09:07It's a wonderful item,
0:09:07 > 0:09:10it's much bigger than usually Kashmiri silver is.
0:09:10 > 0:09:12It's on a very grand scale,
0:09:12 > 0:09:15and as far as date of manufacture goes,
0:09:15 > 0:09:17this is going to be about 1890.
0:09:17 > 0:09:22And the market for what's essentially Islamic metalwork
0:09:22 > 0:09:25has grown and grown over recent years.
0:09:25 > 0:09:28This is not only skilful work, but a really nice-looking object.
0:09:28 > 0:09:32- It has, you know, some considerable value too.- Ooh, right.
0:09:32 > 0:09:34Um, it could cost you about...
0:09:34 > 0:09:37somewhere around £4,000 mark.
0:09:37 > 0:09:39Oh, right.
0:09:40 > 0:09:43That's more than I was thinking. Yeah. Thank you very much.
0:09:43 > 0:09:46- Brilliant!- Not at all, nice thing to be left.- What a result.
0:09:46 > 0:09:48You want to get it out of the understairs cupboard, though.
0:09:48 > 0:09:51I think it will, yes, it might just. And some bananas to put in it.
0:09:51 > 0:09:54THEY LAUGH
0:09:56 > 0:09:58- You're obviously twins, Derek and...- Elwyn.
0:09:58 > 0:10:01Elwyn, Derek and Elwyn, let's get it the right way round.
0:10:01 > 0:10:02It's a family dresser.
0:10:02 > 0:10:05What's its history, what can you tell me about it?
0:10:05 > 0:10:08It belonged to our grandfather, who used to live in West Wales.
0:10:08 > 0:10:12And he got married sometime in World War I period
0:10:12 > 0:10:15and we assume he acquired it at that time.
0:10:15 > 0:10:17But we don't know much about it apart from that.
0:10:17 > 0:10:20OK, well, it's a very typical West Wales dresser.
0:10:20 > 0:10:23I have an admission to make -
0:10:23 > 0:10:26I have one almost identical, that was my grandmother's dresser
0:10:26 > 0:10:29and I'm the current custodian of it
0:10:29 > 0:10:33and it's lived with me in about six or seven different houses now,
0:10:33 > 0:10:34but I still have it.
0:10:34 > 0:10:38This one probably dates from about 1880, it's oak,
0:10:38 > 0:10:41and this one is perhaps slightly better than average
0:10:41 > 0:10:45- because you've got this egg-and-dart cornicing across the top.- Yes.
0:10:45 > 0:10:47And this feature that we see in the centre here, which is
0:10:47 > 0:10:50commonly called the dog kennel, this is something that you see
0:10:50 > 0:10:55very typically on dressers from the South and West Wales region.
0:10:55 > 0:10:58The handles are replacements on it, these are not original,
0:10:58 > 0:11:02- these were probably put on in about 1900, 1910 or so.- Yeah.
0:11:02 > 0:11:05So which one of you is the current custodian of it?
0:11:05 > 0:11:09- Derek.- Derek, and does it have pride of place in your "cegin", Derek?
0:11:09 > 0:11:11I'm afraid it lives in the garage at the moment.
0:11:11 > 0:11:13Does it? Oh, dear. OK.
0:11:13 > 0:11:15Did you inherit it after he passed away?
0:11:15 > 0:11:19Er, yeah, it went to an aunt first of all and then it came on to us.
0:11:19 > 0:11:24This is a photograph of our grandfather and grandmother
0:11:24 > 0:11:26and the two children at the front
0:11:26 > 0:11:27- is Elwyn and me.- Us, of course, yes.
0:11:27 > 0:11:30- Of course, yes.- We're actually...
0:11:30 > 0:11:32Obviously, you were identical as children,
0:11:32 > 0:11:35- slightly easier to tell you apart these days.- Yes, identical twins.
0:11:35 > 0:11:38And which one of these is the grandfather that owned the dresser?
0:11:38 > 0:11:40The man in the doorway.
0:11:40 > 0:11:43The man in the doorway there, gosh, and was he a miner?
0:11:43 > 0:11:45Yes, he was, that's his very own mining lamp there.
0:11:45 > 0:11:48- Is it really?- He used to work in quarrying and mining.
0:11:48 > 0:11:51He lived a fairly primitive life because there were no running water,
0:11:51 > 0:11:54no gas, no electricity, so it was candles,
0:11:54 > 0:11:56cooking on an open fire
0:11:56 > 0:11:59and water from the well in the field next door.
0:11:59 > 0:12:03Towards the end of his life in Rose Hill, the name of the house,
0:12:03 > 0:12:05he had water installed
0:12:05 > 0:12:08but he didn't want it in the house, he just had a tap in the garden.
0:12:08 > 0:12:10- Really? - And nothing else changed at all.
0:12:10 > 0:12:13He really was happy to live in the past.
0:12:13 > 0:12:15Well, you know, it's obviously very important to you,
0:12:15 > 0:12:18it's part of your family history.
0:12:18 > 0:12:21They've slightly sort of fallen out of fashion in more recent years.
0:12:21 > 0:12:24- Yes.- If you had to buy this at auction, you'd probably be looking
0:12:24 > 0:12:27at around £400-500 mark in the current market.
0:12:27 > 0:12:29- Right, OK.- OK, fine.
0:12:35 > 0:12:37It's a rather interesting object.
0:12:37 > 0:12:41It's cloisonne, so enamel in these wonderful sort of wirework designs,
0:12:41 > 0:12:46making this lovely scrolling design and these stylised plant forms,
0:12:46 > 0:12:50and what it actually is, it's a matchbox or a vesta case.
0:12:50 > 0:12:53- So your matchbox would slide in just under here.- Right.
0:12:53 > 0:12:54So your matchbox slides in there,
0:12:54 > 0:12:56what they've done rather cleverly,
0:12:56 > 0:12:58so you can still take your matches out and then
0:12:58 > 0:13:00get to the strike on either side.
0:13:00 > 0:13:03Dates probably from 1920s-1930s
0:13:03 > 0:13:05and value, not all that much
0:13:05 > 0:13:09but maybe £15 or £20, something like that.
0:13:09 > 0:13:11- It's a lot of work for £15, £20. - It is indeed.
0:13:11 > 0:13:14I wouldn't want to do that! THEY LAUGH
0:13:19 > 0:13:23I think I'm in a Wallace and Gromit stage set!
0:13:31 > 0:13:33Now pay attention and look interested.
0:13:33 > 0:13:35THEY LAUGH
0:13:36 > 0:13:40It's Davies, he was the great genius of the Worcester factory
0:13:40 > 0:13:44and painting, and I suppose the vase is going to be now
0:13:44 > 0:13:47worth between £4,000 and £5,000.
0:13:47 > 0:13:49I'd better take care of it.
0:13:49 > 0:13:53Yes, oh, for heaven's sake, otherwise I'll come and haunt you!
0:14:01 > 0:14:03You've got some great tattoos.
0:14:03 > 0:14:04What's your connection
0:14:04 > 0:14:05with the tattooing business?
0:14:05 > 0:14:07My grandfather started tattooing
0:14:07 > 0:14:11in 1928, and obviously my family's been tattooing ever since,
0:14:11 > 0:14:15- my father and my uncle and my aunt. - Right.- And myself.
0:14:15 > 0:14:18I collect a lot of tattoo memorabilia, you know,
0:14:18 > 0:14:22I have a museum and I do a travelling museum round conventions.
0:14:22 > 0:14:25Right, OK. Well, I can see that this item we've got in front of us
0:14:25 > 0:14:28is actually what's called an Edison mimeograph,
0:14:28 > 0:14:30or an Edison electric pen.
0:14:30 > 0:14:32We all know Thomas Edison was a famous inventor,
0:14:32 > 0:14:35had many things under his belt - the phonograph,
0:14:35 > 0:14:38the first commercially-produced incandescent light bulb,
0:14:38 > 0:14:43and this, the stencilling pen, which he patented in 1876.
0:14:43 > 0:14:46Basically, this pen was powered by an electric motor which had
0:14:46 > 0:14:49a reciprocating needle which shot in and out as the motor span round.
0:14:49 > 0:14:53This thing moved on from being this reprographic object
0:14:53 > 0:14:56into something that became the mainstay of tattoo artists.
0:14:56 > 0:14:58Needle pens for tattooing,
0:14:58 > 0:15:00which you've obviously used as a tattooist,
0:15:00 > 0:15:01that's exactly what they do -
0:15:01 > 0:15:03they have that reciprocating needle in,
0:15:03 > 0:15:05that injects the ink under your skin
0:15:05 > 0:15:08and I think, if my memory serves me correctly,
0:15:08 > 0:15:11there are just under 40 around in the world today.
0:15:11 > 0:15:14I think some of them...there are several in the Henry Ford Museum.
0:15:14 > 0:15:16- That's correct. - Now, we've got two versions here.
0:15:16 > 0:15:18I can see we've got this brass version.
0:15:18 > 0:15:20As far as we know, that's British.
0:15:20 > 0:15:24It was found behind the back seat of a Morris Minor car.
0:15:24 > 0:15:26- It was donated to the museum. - That's interesting.
0:15:26 > 0:15:28But where it came from originally
0:15:28 > 0:15:31and who made it, we're not really 100% sure.
0:15:31 > 0:15:34Well, I have to say, I have never seen that brass version.
0:15:34 > 0:15:37It's bigger, it's slightly more cumbersome than this one,
0:15:37 > 0:15:38so that's very interesting.
0:15:38 > 0:15:42Now, very few of these ever, ever come up for sale
0:15:42 > 0:15:45and when they do, they're very keenly contested.
0:15:45 > 0:15:49I think that there's a great possibility that this brass one
0:15:49 > 0:15:54is worth around about £7,000-10,000.
0:15:54 > 0:15:58And do you know, I reckon this one, the American version,
0:15:58 > 0:16:02is probably worth about £8,000-12,000.
0:16:02 > 0:16:05So what we're essentially looking at here is
0:16:05 > 0:16:09around about £15,000-20,000 worth.
0:16:09 > 0:16:11- Thank you.- Thank you very much.
0:16:17 > 0:16:20Do you remember earlier on, I was on the Newport Transporter Bridge,
0:16:20 > 0:16:22which was opened by Godfrey Morgan,
0:16:22 > 0:16:24who of course lived here in Tredegar House?
0:16:24 > 0:16:25It was opened by him in 1906,
0:16:25 > 0:16:27and the local museum has brought this along.
0:16:27 > 0:16:29This was presented to Godfrey Morgan
0:16:29 > 0:16:31on the opening of the bridge,
0:16:31 > 0:16:32and you can see here
0:16:32 > 0:16:34it mentions the bridge
0:16:34 > 0:16:38and the fact that it was presented to Godfrey Charles Viscount Tredegar
0:16:38 > 0:16:42and this little piece at the top here is a replica of the mechanism
0:16:42 > 0:16:44used to move the gondola backwards and forwards.
0:16:44 > 0:16:46And what it actually is...
0:16:46 > 0:16:50is a cigar cutter, and you put the cigar in here,
0:16:50 > 0:16:52move the mechanism...
0:16:52 > 0:16:55Hey presto, cuts the cigar.
0:16:55 > 0:16:58As cigar cutters go, it's not exactly portable, you can hardly
0:16:58 > 0:16:59slip it into your breast pocket,
0:16:59 > 0:17:02but I was showing this to Paul Atterbury earlier,
0:17:02 > 0:17:04who valued it in the high hundreds of pounds, and he said
0:17:04 > 0:17:07this was something he'd give his eye teeth to have,
0:17:07 > 0:17:09because he loves anything architectural,
0:17:09 > 0:17:12engineering, mechanisms, that kind of thing.
0:17:12 > 0:17:14And of course this commemorates
0:17:14 > 0:17:16the day the Newport Transporter Bridge was opened.
0:17:16 > 0:17:21But I like to think of the Viscount in his home here in Tredegar
0:17:21 > 0:17:24with this maybe on the mantelpiece - a little conversation piece.
0:17:27 > 0:17:29Well, this is about as far removed
0:17:29 > 0:17:32from Chippendale as a chair can be.
0:17:32 > 0:17:33Exactly, yes.
0:17:35 > 0:17:36Who did it belong to?
0:17:36 > 0:17:38It was my grandfather's,
0:17:38 > 0:17:41or that's the earliest we can actually go back to,
0:17:41 > 0:17:44- which is about 1935.- OK. - It was known in the family.
0:17:44 > 0:17:46Yes. Do you remember it as a child?
0:17:46 > 0:17:50Indeed, yes. I moved to Swansea when I was four years old
0:17:50 > 0:17:53and it was in the house with my grandfather then.
0:17:53 > 0:17:54And did he use it?
0:17:54 > 0:17:57My grandfather always sat at the head of the table
0:17:57 > 0:18:01and the grandchildren sat on the windowsill eating table.
0:18:01 > 0:18:04Yes. So you have this wonderful picture of your grandfather
0:18:04 > 0:18:05sitting in this chair.
0:18:05 > 0:18:08Indeed, yes, he was a much, much bigger man than myself.
0:18:08 > 0:18:11He was a master butcher. He smoked a large pipe.
0:18:11 > 0:18:15- I can almost sort of visualise him sitting in it.- Indeed, yes, yes.
0:18:15 > 0:18:20So, 1935 is when you can take it back to,
0:18:20 > 0:18:22but actually, it's a bit earlier than that.
0:18:22 > 0:18:28- Oh, right.- It dates from some time between around 1760-1790.
0:18:28 > 0:18:29Good gracious!
0:18:29 > 0:18:34And chairs like this were made out of native timber.
0:18:34 > 0:18:36This one - do you know the woods this is made of?
0:18:36 > 0:18:39No, I would assume that the arms are ash,
0:18:39 > 0:18:42but that's as far as I would care to go.
0:18:42 > 0:18:44- Spot on.- Oh! - That's absolutely right.- Oh, right.
0:18:44 > 0:18:46And there's another wood in here too.
0:18:46 > 0:18:48This seat has been sort of...
0:18:48 > 0:18:52- It's like a slice carved out of a tree, isn't it?- Yes, yes.
0:18:52 > 0:18:54And this wood is elm.
0:18:54 > 0:18:58But that's not the best bit about this chair.
0:18:58 > 0:19:02This is the original paintwork that was on the chair,
0:19:02 > 0:19:06and how, from the second half of the eighteenth century,
0:19:06 > 0:19:10it's got to now without being stripped down
0:19:10 > 0:19:13is a sort of a bit of a miracle, really.
0:19:13 > 0:19:14This sort of red colour,
0:19:14 > 0:19:17and then there are traces of another colour behind.
0:19:17 > 0:19:22And I don't doubt that that was the original colour it was painted.
0:19:22 > 0:19:24- Right.- Of course, houses pre-electricity,
0:19:24 > 0:19:27- things were quite dull. - Exactly, yes.
0:19:27 > 0:19:33And this was a very humble, sort of, farm-made chair.
0:19:33 > 0:19:36There's one thing I wondered -
0:19:36 > 0:19:40there's no spindle from these two parts here.
0:19:40 > 0:19:43Obviously they've been filled, so...
0:19:43 > 0:19:46So they filled this hole, but it's the same plug, isn't it,
0:19:46 > 0:19:50- that's filled it?- Exactly, but there's no receiver at the bottom.
0:19:50 > 0:19:52The great thing about chairs like this
0:19:52 > 0:19:54is that they simply don't conform
0:19:54 > 0:19:56to the patterns of city-made chairs.
0:19:56 > 0:19:59I think whoever made this
0:19:59 > 0:20:02just miscounted the number of spindles they had,
0:20:02 > 0:20:05and that is part of its charm.
0:20:05 > 0:20:08That is the beauty of a chair like this.
0:20:08 > 0:20:14- So these chairs stand up quite well in the current market.- Right.
0:20:14 > 0:20:17A chair like this now would fetch
0:20:17 > 0:20:20around £1,800.
0:20:22 > 0:20:24I would have said 200.
0:20:24 > 0:20:27I'm amazed, absolutely amazed.
0:20:31 > 0:20:34What an appropriate jewel to come to the table
0:20:34 > 0:20:36when we are surrounded by
0:20:36 > 0:20:38these fantastic flowers and insects.
0:20:38 > 0:20:40What made you bring this to me?
0:20:40 > 0:20:43I just thought it was a very pretty little brooch
0:20:43 > 0:20:47that I inherited from my godmother, who was born in the 1880s.
0:20:47 > 0:20:50She was our next-door neighbour when we lived in London,
0:20:50 > 0:20:54and I spent almost more time with her than I did with my parents.
0:20:54 > 0:20:57She always wore this little brooch
0:20:57 > 0:21:00after she got dressed to go into town in the afternoon
0:21:00 > 0:21:03and it's just part of my childhood, really.
0:21:03 > 0:21:06And I was very, very pleased when she left it to me.
0:21:06 > 0:21:08How did she wear it?
0:21:08 > 0:21:10She had dresses with cross-over fronts,
0:21:10 > 0:21:13she always wore the same style, and a belt,
0:21:13 > 0:21:17a little lace jabot underneath the cross-over, for modesty,
0:21:17 > 0:21:21and the brooch always kept the two sides of the V neck together.
0:21:21 > 0:21:24- So it would be high up she'd be wearing it.- Yes, quite high up.
0:21:24 > 0:21:26- Quite high up.- Yes, yes.
0:21:26 > 0:21:30Do you know, for me to see something that I've never seen before
0:21:30 > 0:21:34is not easy, actually, as I do see quite a lot of jewellery,
0:21:34 > 0:21:37but I have never seen anything like this before,
0:21:37 > 0:21:39and that's what made me want to feel it and touch it -
0:21:39 > 0:21:41- it sort of sprang out at me. - Beautiful, isn't it?
0:21:41 > 0:21:43It is absolutely gorgeous,
0:21:43 > 0:21:47and do you know, jewellery is not all about big diamonds and big show.
0:21:47 > 0:21:51Sometimes there's a huge message in something that's very small.
0:21:51 > 0:21:55And here is the perfect message,
0:21:55 > 0:22:00because we have this wonderful bumblebee in the middle
0:22:00 > 0:22:02and it's in a heart shape
0:22:02 > 0:22:05and it's on a brooch,
0:22:05 > 0:22:09so it is saying, "Be sure of my love."
0:22:09 > 0:22:12Because the surety is the pin,
0:22:12 > 0:22:17the pin will keep the surety there, it will keep it there, the brooch,
0:22:17 > 0:22:21and that's what it's saying, so a very simple, beautiful message.
0:22:21 > 0:22:23And it is in enamel,
0:22:23 > 0:22:26cushion shaped diamonds,
0:22:26 > 0:22:30little ruby eyes for passion.
0:22:30 > 0:22:33And of course, the bumblebee also represents plenty as well,
0:22:33 > 0:22:38so plenty of passion and love, for always,
0:22:38 > 0:22:41- because diamonds were for always. - Oh, how lovely.
0:22:41 > 0:22:44Who was her lover, do you think?
0:22:44 > 0:22:47- Well, she was married.- Yes. - She married in 1915,
0:22:47 > 0:22:52- and he was my godfather as well, so I would imagine it was him.- Aw.
0:22:52 > 0:22:54Unless she inherited it from her mother,
0:22:54 > 0:22:58- but I wouldn't know about that. - Well, this is made in about 1900 -
0:22:58 > 0:23:00- 1895,- 1900. Right, it would be her husband, then.
0:23:00 > 0:23:03- So he bought it for her.- Yes.
0:23:03 > 0:23:07Because of his love and adoration for her.
0:23:07 > 0:23:11The brooch itself is made of silver and gold
0:23:11 > 0:23:13and the diamonds are set in silver,
0:23:13 > 0:23:18and then on the back is the gold, which will strengthen the silver.
0:23:18 > 0:23:22And of course, it's in the Garrard's box here -
0:23:22 > 0:23:24which was the Crown Jewellers at the time.
0:23:24 > 0:23:28So at auction - it has a little bit of enamel damage,
0:23:28 > 0:23:33but I think it is just so beautiful.
0:23:33 > 0:23:35I would think in the right auction,
0:23:35 > 0:23:39you'd be looking at around about £1,500.
0:23:39 > 0:23:41SHE GASPS Gosh!
0:23:41 > 0:23:43Oh, my goodness, that means a lot to me.
0:23:43 > 0:23:47And it would be to her as well, if she knew. That's lovely.
0:23:50 > 0:23:53- Lovely period '60s tiles, yeah. - '60s, yes.
0:23:53 > 0:23:54How did you get them?
0:23:54 > 0:23:57My father worked in the ceramic industry, and these were samples
0:23:57 > 0:24:00that he would have had to have taken round to prospective clients.
0:24:00 > 0:24:04- I'd like to suggest that we might film these.- OK.
0:24:04 > 0:24:06I think they're very interesting.
0:24:06 > 0:24:08- I think they're very much of the time.- Well, also,
0:24:08 > 0:24:11they're very much of this time, now - they're very commercial
0:24:11 > 0:24:14and these are the things that people are looking for.
0:24:19 > 0:24:21Well, with images like these,
0:24:21 > 0:24:24we don't quite have the backdrop today.
0:24:24 > 0:24:26I would imagine that we should be looking at Count Dracula's castle
0:24:26 > 0:24:28with thunder and lightning and crows
0:24:28 > 0:24:30and mist coming across the lawn.
0:24:30 > 0:24:32And here we are, bathed in beautiful sunshine.
0:24:32 > 0:24:34So what can you tell me about these? How did you come by them?
0:24:34 > 0:24:36I can't tell you a great deal.
0:24:36 > 0:24:38I picked them up in a boot sale about three years ago.
0:24:38 > 0:24:41- And what drew you to them?- I'd never seen anything like them before.
0:24:41 > 0:24:45- Uh-huh.- And they looked really old, so...- They are indeed really old.
0:24:45 > 0:24:48They're what is known as penny dreadfuls
0:24:48 > 0:24:51and they were, as we can see, a broadsheet,
0:24:51 > 0:24:55a printed broadsheet that was sold to advertise,
0:24:55 > 0:24:59as we can see here, upcoming executions
0:24:59 > 0:25:02for murders and various crimes.
0:25:02 > 0:25:05These are quite sensational headlines here -
0:25:05 > 0:25:08we can see the "Trial, sentence and execution
0:25:08 > 0:25:14"for the murder of James Delarue at Hampstead."
0:25:14 > 0:25:16And if we come down to the bottom here,
0:25:16 > 0:25:20we can actually see that this one is dated 1845.
0:25:20 > 0:25:24These were sold for a penny, as the name suggests,
0:25:24 > 0:25:28primarily in the county in, you know, hundreds of thousands,
0:25:28 > 0:25:33and it was hugely, hugely popular during the nineteenth century
0:25:33 > 0:25:36to come and watch these executions take place.
0:25:36 > 0:25:41And we can see here in the image of this sort of wood block print,
0:25:41 > 0:25:43it's portrayed as a nice family outing
0:25:43 > 0:25:45and somewhere to go for the day.
0:25:45 > 0:25:47You almost imagine them taking their picnic with them
0:25:47 > 0:25:50and watching this rather gruesome event go on.
0:25:50 > 0:25:54Charles Dickens himself actually, against his better judgment,
0:25:54 > 0:25:56decided that he was going to go
0:25:56 > 0:26:00and watch one of these executions take place
0:26:00 > 0:26:04and he reported to the Times that it made his blood run cold.
0:26:04 > 0:26:09They drew such tremendous crowds, up to 20,000,
0:26:09 > 0:26:12and even in some cases up to 100,000 people,
0:26:12 > 0:26:15and these were nicknamed "execurtioners"
0:26:15 > 0:26:18travelling to watch these executions take place.
0:26:18 > 0:26:20And I think if you pick up the corner,
0:26:20 > 0:26:22it has almost the feel, I suppose,
0:26:22 > 0:26:25of a crepe paper or something like that, it's very thin.
0:26:25 > 0:26:27I think that would be why these are so scarce,
0:26:27 > 0:26:29and that they haven't survived in high numbers.
0:26:29 > 0:26:33- And now you're going to tell us what you paid for them.- £20.- £20.
0:26:33 > 0:26:35- You've actually got another one underneath.- Yeah.
0:26:35 > 0:26:37So they cost a fiver each.
0:26:37 > 0:26:40They are very desirable today.
0:26:40 > 0:26:43I mean, a rather gruesome subject,
0:26:43 > 0:26:46but they can be very important.
0:26:46 > 0:26:49So I think each of them is probably worth at auction
0:26:49 > 0:26:53- something around £300-500 per piece.- Excellent.
0:26:53 > 0:26:55- That's an amazing profit, well done.- Excellent.
0:26:55 > 0:26:57- Thanks very much.- Thank you.
0:27:03 > 0:27:05Whenever I see things associated
0:27:05 > 0:27:08with the potteries of Staffordshire, I think how sad it is that
0:27:08 > 0:27:10that total industry has gone into decline.
0:27:10 > 0:27:12How did you get this collection?
0:27:12 > 0:27:16Well, my father used to...well, for all of his life,
0:27:16 > 0:27:18worked in the ceramic industry, in the tile industry,
0:27:18 > 0:27:21selling tiles to customers.
0:27:21 > 0:27:26And he died in 1969, but these were sort of left when he went
0:27:26 > 0:27:29and they've lain, in fact, till more recently
0:27:29 > 0:27:30and I've just rediscovered them.
0:27:30 > 0:27:33And particularly with these tiles here, I was very impressed
0:27:33 > 0:27:36with the design of them, which is why we framed them.
0:27:36 > 0:27:39Yes, absolutely. So we've got some lovely examples here.
0:27:39 > 0:27:43We've got the very '60s tiles here. We've also got other examples,
0:27:43 > 0:27:46which were obviously in this salesman's sample box here.
0:27:46 > 0:27:50- That's right.- And then we've got various salesman samples
0:27:50 > 0:27:51of fireplaces and a bath.
0:27:51 > 0:27:54And it's interesting to look at them all,
0:27:54 > 0:27:57because I've just moved from a Victorian house
0:27:57 > 0:28:00to a much newer house,
0:28:00 > 0:28:01and I think I might have been drawn
0:28:01 > 0:28:04to the more traditional tiles originally,
0:28:04 > 0:28:08but I think these tiles would look marvellous
0:28:08 > 0:28:10- in my more modern house. - They're stunning, aren't they?
0:28:10 > 0:28:14- They really have such visual impact. - Yes, absolutely.
0:28:14 > 0:28:17It's interesting to look at Johnson tiles -
0:28:17 > 0:28:20- of course, one of the great producers of tiles.- Yes.
0:28:20 > 0:28:23- And these are so '60s. - They are indeed.
0:28:23 > 0:28:25Marvellous colours, great shapes.
0:28:25 > 0:28:28- Yes.- You can just imagine the tiled tables
0:28:28 > 0:28:31- that these often were used on from that period.- Yes, yes.
0:28:31 > 0:28:32But firstly, these prints here,
0:28:32 > 0:28:34- of course, are from much, much earlier.- Yes.
0:28:34 > 0:28:37They're from when Minton's set up an art studio
0:28:37 > 0:28:40- in London in 1870.- Yes.
0:28:40 > 0:28:42And directed by a WS Coleman,
0:28:42 > 0:28:45- and these have a great Coleman feel about them.- Right.
0:28:45 > 0:28:48And in terms of valuation,
0:28:48 > 0:28:51the prints here I would say
0:28:51 > 0:28:54- about £200.- Right.
0:28:54 > 0:28:58These samples, which are still very stylish,
0:28:58 > 0:29:01- but are probably sort of £10 each.- Right.
0:29:01 > 0:29:04But this framed example is just so stylish,
0:29:04 > 0:29:08- I think it's got to be £250.- Gosh.
0:29:08 > 0:29:11Well, that's incredible, cos I never realised
0:29:11 > 0:29:13they'd have that sort of value, so thank you very much.
0:29:14 > 0:29:18This is a very bright and colourful interior scene, isn't it?
0:29:18 > 0:29:21- Oh, it is.- And when you look at it, the first thing I think -
0:29:21 > 0:29:22this is not by an English artist,
0:29:22 > 0:29:24because it's got a continental influence
0:29:24 > 0:29:26and very much 20th century.
0:29:26 > 0:29:30In fact, almost influenced by the German expressionists.
0:29:30 > 0:29:33On the left-hand side, it's got the signature here,
0:29:33 > 0:29:37- which is difficult to read, but it's Koppel, isn't it?- Yep.
0:29:37 > 0:29:39- And it's Heinz Koppel.- Yeah.
0:29:39 > 0:29:43- I see it's dated August '47.- Mm-hm.
0:29:43 > 0:29:46Now, it's interesting, cos he comes from Germany originally -
0:29:46 > 0:29:49born in 1919 in Germany,
0:29:49 > 0:29:54and his parents fled the Nazis in 1933 and they went to Prague.
0:29:54 > 0:29:59- Mm-hm.- And of course, as you know, the Germans marched into Prague.
0:29:59 > 0:30:02They fled there, so he came over to England,
0:30:02 > 0:30:07settled in Wales, and he studied art in London.
0:30:07 > 0:30:10And I can see this European tradition
0:30:10 > 0:30:12in his work coming to Wales.
0:30:12 > 0:30:14Just look at the picture, it's absolutely fantastic.
0:30:14 > 0:30:18- So how did you get it? - My grandparents and parents
0:30:18 > 0:30:21were friends of the Koppel family.
0:30:21 > 0:30:24I actually played with his daughters as a little girl.
0:30:24 > 0:30:27And my grandfather bought a few of his pictures off him
0:30:27 > 0:30:32in the early days, and this particular picture
0:30:32 > 0:30:35I grew up with on my parents' dining room wall,
0:30:35 > 0:30:38and I always loved it, And when I reached 30,
0:30:38 > 0:30:42and they asked me what I would like for my birthday,
0:30:42 > 0:30:44I said I would like to have that painting.
0:30:44 > 0:30:46Well, I think you've got a very good eye.
0:30:46 > 0:30:49So your parents were friendly with the artist?
0:30:49 > 0:30:53Yes, they were. They were one of a large group of people
0:30:53 > 0:30:58that came over in 1939, my father from Vienna,
0:30:58 > 0:31:00escaping from the Germans,
0:31:00 > 0:31:02and my mother from Prague at the time.
0:31:02 > 0:31:06There was quite a group of them that fled to Wales, actually.
0:31:06 > 0:31:07It's a great image.
0:31:07 > 0:31:11You've got minimalist brush strokes and it's quite flat to look at,
0:31:11 > 0:31:14and a lot of colour in here.
0:31:14 > 0:31:18And you've got a vase on the table with flowers and the chair.
0:31:18 > 0:31:22In fact, you could almost say it's like a later Van Gogh,
0:31:22 > 0:31:24cos you know, he used to do these interiors,
0:31:24 > 0:31:29but in a different style, a more...almost a coarser style.
0:31:29 > 0:31:31And I think if this came up for sale,
0:31:31 > 0:31:34being a Welsh artist, and he is known in Wales,
0:31:34 > 0:31:38- I think that would make possibly £800 to £1,200.- Mm-hm.
0:31:38 > 0:31:40So a very good choice on your part.
0:31:40 > 0:31:43Oh, I couldn't possibly sell it. I love it.
0:31:43 > 0:31:46SHE LAUGHS I will keep that forever.
0:31:48 > 0:31:50In the middle of the nineteenth century,
0:31:50 > 0:31:54the Victorians worked out how to keep fruit after the fruit harvest,
0:31:54 > 0:31:58so it was considered very smart to serve soft fruits,
0:31:58 > 0:32:00you know, on into the autumn.
0:32:00 > 0:32:03And you'd have used this to sprinkle sugar on top of your berry dessert.
0:32:03 > 0:32:06- Dessert. Lovely. - Marks on the back are Scottish -
0:32:06 > 0:32:10it's made in Edinburgh in 1820.
0:32:10 > 0:32:14It was plain when it started out life, and it's been altered,
0:32:14 > 0:32:17but oddly enough, it's worth more as an altered thing
0:32:17 > 0:32:20- than it would be if it had stayed plain.- Oh, right.
0:32:20 > 0:32:23If it were plain, it would be worth maybe £50,
0:32:23 > 0:32:26but with all the embellishment and the gilding in the bowl
0:32:26 > 0:32:30- and it's berry-ness... - Yes.- it's worth closer to 100.
0:32:30 > 0:32:33Gosh, that surprises me. Yeah.
0:32:33 > 0:32:35Pleased with that.
0:32:37 > 0:32:40- Jet or not jet?- Well, I don't think it is jet, actually.- No.
0:32:40 > 0:32:43Cos it's got these conchoidal fractures.
0:32:43 > 0:32:45Con...I can't pronounce that,
0:32:45 > 0:32:46but if you say so.
0:32:46 > 0:32:48- It looks like a chip to me.- Yes.
0:32:51 > 0:32:55- Very expensive new, not so much today.- Yes.
0:32:55 > 0:32:59- £25.- Aw.- That really is it.
0:32:59 > 0:33:01- Wanted more than that. - Glass is cheap!
0:33:02 > 0:33:03HE LAUGHS
0:33:03 > 0:33:07- This - I'm sorry. - Not worth a penny. No, that's...
0:33:07 > 0:33:10- It's not.- Thank you, Fiona .. HE LAUGHS
0:33:10 > 0:33:13You hate me now, don't you? Sorry.
0:33:13 > 0:33:15It's one of those very, very interesting objects, I think,
0:33:15 > 0:33:18that has next to no value at all.
0:33:18 > 0:33:20LAUGHTER
0:33:20 > 0:33:22# I'll tell you once more
0:33:22 > 0:33:24# Before I get off the floor
0:33:24 > 0:33:26# Don't bring me down. #
0:33:30 > 0:33:32To show this car off at its best,
0:33:32 > 0:33:34we've obviously had to move away from the event.
0:33:34 > 0:33:38I'm restoring a classic car myself and I know what a nightmare
0:33:38 > 0:33:40and an amazing experience it can be.
0:33:40 > 0:33:44Now, as you pull up, you can think of Ferrari,
0:33:44 > 0:33:48you can think of Lancia, Aston Martin,
0:33:48 > 0:33:50all those influences, but this is closer to home, isn't it?
0:33:50 > 0:33:53Very much so. It was built in Pontypridd,
0:33:53 > 0:33:57about 26 miles from Newport, by two men who had a dream -
0:33:57 > 0:33:59Giles Smith, who was a butcher,
0:33:59 > 0:34:02and Bernard Friese, who was a prisoner of war,
0:34:02 > 0:34:04an ex-prisoner of war from Germany.
0:34:04 > 0:34:07And they met quite by accident on the side of the road
0:34:07 > 0:34:09and started talking about cars,
0:34:09 > 0:34:13and from that, the dream began to unfold.
0:34:13 > 0:34:16And a year later, they started building their first production car.
0:34:16 > 0:34:18And the name Gilbern is actually a split
0:34:18 > 0:34:20between the two names, isn't it?
0:34:20 > 0:34:23Exactly, it's Giles Smith and Bernard Friese.
0:34:23 > 0:34:26They weren't just going to build a special,
0:34:26 > 0:34:30which was a plastic body on an old Ford Pop or an Austin 7 chassis.
0:34:30 > 0:34:32Being the engineer he was, Bernard Friese says,
0:34:32 > 0:34:34"If we're going to do it, we're going to do it right."
0:34:34 > 0:34:35- Wow.- And they did it right.
0:34:35 > 0:34:38There were actually a lot of problems with this car,
0:34:38 > 0:34:40and the main one, I think, is why this wasn't a huge success,
0:34:40 > 0:34:43was the price, because you could buy this as a kit car,
0:34:43 > 0:34:45and you could also buy it fully made,
0:34:45 > 0:34:48- and fully made, they were sort of £2,500.- That's right.
0:34:48 > 0:34:51And in the early '70s, that was a lot of money.
0:34:51 > 0:34:54Yeah, you could buy a Jaguar XJ6 for the same price.
0:34:54 > 0:34:56- You know, it's made by hand.- Mm.
0:34:56 > 0:35:01- What I love is the garden shed workshop...- Oh, yes.
0:35:01 > 0:35:02..image of building a car. I mean,
0:35:02 > 0:35:04how many are there left, do you know?
0:35:04 > 0:35:07There are 212 built.
0:35:07 > 0:35:09Only the DVLA know how many are left,
0:35:09 > 0:35:11but we, in the Gilbern Owners Club,
0:35:11 > 0:35:13- we think there's probably about 100 left.- Right.
0:35:13 > 0:35:16I think they're a fantastic car. I think they're underrated.
0:35:16 > 0:35:18And do you mind me asking what you paid for it?
0:35:18 > 0:35:21I paid £3,600 for it in October of last year.
0:35:21 > 0:35:23And do you think that was a good buy?
0:35:23 > 0:35:25I thought it was an excellent buy.
0:35:25 > 0:35:27I agree. I think it was an excellent buy.
0:35:27 > 0:35:30I think easily, today, the markets for these are just...
0:35:30 > 0:35:31Not so much these cars - all classic cars.
0:35:31 > 0:35:35- Yeah, you're right. - But something so rare, so pretty...
0:35:35 > 0:35:38- It needs a bit of work, the bodywork needs a re-spray.- Yes.
0:35:38 > 0:35:41- But the bodywork is actually sound, being fibreglass.- Absolutely.
0:35:41 > 0:35:45- £8,000 to £10,000.- Wow!- Easily.
0:35:45 > 0:35:46Wow, that's good news.
0:35:46 > 0:35:50- It's such a beautiful car, and those prices are rising all the time.- Yes.
0:35:50 > 0:35:51But I'd never sell it.
0:35:51 > 0:35:53I'm not surprised, I wouldn't either. Thank you.
0:35:57 > 0:36:00You've created a bit of a stir here with your triplets,
0:36:00 > 0:36:02and clearly, feeding them's a bit of a handful, isn't it?
0:36:02 > 0:36:05- Yes, it does have its moments. - My goodness me.
0:36:05 > 0:36:07When people bring objects to the Roadshow,
0:36:07 > 0:36:09often we look on the bottom to see if there's an identifying mark,
0:36:09 > 0:36:11and I couldn't help but notice
0:36:11 > 0:36:12you've done your job already for us - look.
0:36:12 > 0:36:16Each one has got their initial on the bottom of their foot,
0:36:16 > 0:36:18cos you really can't tell them apart!
0:36:18 > 0:36:21At the moment, that's the only way we can tell them apart.
0:36:21 > 0:36:23- So we've got F for...- Ffion.
0:36:23 > 0:36:27There's M for Madison, and we have P there for Paige.
0:36:27 > 0:36:31- Gosh. Well, you've got your hands full.- I'm outnumbered.
0:36:31 > 0:36:33THEY LAUGH
0:36:33 > 0:36:35- Well, it's lovely to meet you all.- Thank you.
0:36:40 > 0:36:42Well, I must say, these make a blooming eyeful, don't they?
0:36:42 > 0:36:44Thank you. I've always thought so.
0:36:44 > 0:36:48- So what's the story? - Um, they came from my grandmother.
0:36:48 > 0:36:51She bought them, I think, probably about 40, 45 years ago.
0:36:51 > 0:36:54I do remember my mother didn't like them very much.
0:36:54 > 0:36:56I'm sure that if we took a vote here,
0:36:56 > 0:36:5850% of the people say they like them
0:36:58 > 0:37:01and 50% of them would chuck them out of a high storey window
0:37:01 > 0:37:02- at a passing skip.- Yeah.
0:37:02 > 0:37:04Subjective. What's the story?
0:37:04 > 0:37:06I inherited them when my mother died.
0:37:06 > 0:37:08And what have you done with them?
0:37:08 > 0:37:11Um, three of them are in the bottom of the china cabinet, add weight,
0:37:11 > 0:37:14and then that piece sits on a windowsill,
0:37:14 > 0:37:16cos it catches the light on the landing.
0:37:16 > 0:37:18Oh, give them light. I mean, this is the thing
0:37:18 > 0:37:20that separates glass from everything else, really,
0:37:20 > 0:37:24is if you put it in shade, it looks like nothing,
0:37:24 > 0:37:26and you put it in the sun and it's suddenly, pow.
0:37:26 > 0:37:29Yeah. The only problem is with that one being as heavy as it is,
0:37:29 > 0:37:31then I've got nowhere really safe to put it
0:37:31 > 0:37:33except at the bottom of the cabinet.
0:37:33 > 0:37:35Well you're not making the best of it, and it's the best piece.
0:37:35 > 0:37:39So you're hiding your light under a bushel, my girl.
0:37:39 > 0:37:41It was designed by Licio Zanetti.
0:37:41 > 0:37:45And he specialised in these forms - horses and birds.
0:37:45 > 0:37:48And the thing that's truly extraordinary about them
0:37:48 > 0:37:49is the colour.
0:37:49 > 0:37:51Now, that is some colour.
0:37:51 > 0:37:57This is a very unusual, rare set of elemental compounds
0:37:57 > 0:38:00that are added to the glass to create these colours
0:38:00 > 0:38:02and they're called dichroic
0:38:02 > 0:38:05because if you have them in fluorescent light
0:38:05 > 0:38:07- they appear one colour...- Oh.
0:38:07 > 0:38:10..and if you put them in incandescent light,
0:38:10 > 0:38:12then they turn another colour.
0:38:12 > 0:38:13And they're quite fun.
0:38:13 > 0:38:16They were made in the '60s to the '80s by Zanetti,
0:38:16 > 0:38:17whose father was a glass maker.
0:38:17 > 0:38:20- He had the works, and the price is quite good.- Oh.
0:38:20 > 0:38:26I mean, a small one's going to be 100 quid.
0:38:26 > 0:38:31The larger one is about 150.
0:38:31 > 0:38:33- Oh, heck.- And the horse -
0:38:33 > 0:38:36- 200, 250.- Oh!
0:38:36 > 0:38:39So here, there's...
0:38:39 > 0:38:43- Well, there's £500 on this table. - Oh, crumbs...
0:38:43 > 0:38:45Thank you, Grandma!
0:38:45 > 0:38:47I honestly didn't have the faintest idea.
0:38:50 > 0:38:52Well, the sun is going down now,
0:38:52 > 0:38:55but is it going down on the wearing of this sort of jewellery?
0:38:55 > 0:38:56Tell me what it really means to you.
0:38:56 > 0:39:00Well, a much-loved grandmother, a very generous lady,
0:39:00 > 0:39:03and it reminds me of the Highland balls
0:39:03 > 0:39:07that we used to have in little village halls in Aboyne.
0:39:07 > 0:39:09And it was called the Aboyne Ball,
0:39:09 > 0:39:12and all the mothers were sitting around wearing tiaras.
0:39:12 > 0:39:14- SHE LAUGHS - Amazing, amazing.
0:39:14 > 0:39:17And there is a misconception in a funny way
0:39:17 > 0:39:20- that it implied nobility, and it's quite wrong, isn't it?- Yes.
0:39:20 > 0:39:23- It was the occasion that demanded the wearing of them.- Absolutely.
0:39:23 > 0:39:25And it was what we might call white tie,
0:39:25 > 0:39:27- but it was full evening dress, wasn't it?- Oh, yes.
0:39:27 > 0:39:29And then that was the starting gun
0:39:29 > 0:39:31for the ladies to wear absolutely everything.
0:39:31 > 0:39:34- Everything they could lay their hands on.- Yes.
0:39:34 > 0:39:36Well, the advantage of your particular tiara
0:39:36 > 0:39:38is that it's not fixed as one.
0:39:38 > 0:39:40You can actually take it off the frame...
0:39:40 > 0:39:42- ..and wear it as a necklace. - As a necklace.
0:39:42 > 0:39:46And so it joins at the back here with this piece,
0:39:46 > 0:39:47and it's entirely flexible.
0:39:47 > 0:39:50It's hard to believe it when it's on what we call the frame,
0:39:50 > 0:39:54which is like a sort of garden fence to support the diamond work.
0:39:54 > 0:39:56Was it your mother's one?
0:39:56 > 0:39:57It was my grandmother's,
0:39:57 > 0:40:00and there's quite a romantic story about that.
0:40:00 > 0:40:02She was Australian,
0:40:02 > 0:40:05and I didn't know till after she'd died that she was.
0:40:05 > 0:40:07I thought she was Scottish Granny.
0:40:07 > 0:40:10and she came over on a sailing clipper
0:40:10 > 0:40:12and got a job as a governess
0:40:12 > 0:40:17to the youngest child of this Scottish family,
0:40:17 > 0:40:20and the eldest child fell in love with her and married her.
0:40:20 > 0:40:22How marvellous. Well, that's pretty good, isn't it?
0:40:22 > 0:40:24That's wonderful. And with this wonderful husband,
0:40:24 > 0:40:26she got a marvellous tiara to go with it.
0:40:26 > 0:40:29Very flattering, I'm sure, to wear, but this one is rather interesting.
0:40:29 > 0:40:31It's an amethyst heart surrounded by diamonds.
0:40:31 > 0:40:35There's something in the handwriting of this which is rather interesting,
0:40:35 > 0:40:38that tells me that the heart existed on its own
0:40:38 > 0:40:40in all its simplicity, and then later on,
0:40:40 > 0:40:43- this diamond work was added. - Oh, right.
0:40:43 > 0:40:47When it was sold later. But how did this one come into the family?
0:40:47 > 0:40:50It was given to my daughter for her 18th birthday.
0:40:50 > 0:40:53I should think that's a pretty marvellous present, isn't it?
0:40:53 > 0:40:55And the amethyst always stands for devotion,
0:40:55 > 0:40:58but in this particular instance, it's devoted love,
0:40:58 > 0:41:00because it's heart-shaped, surrounded by diamonds,
0:41:00 > 0:41:02so forever devoted love,
0:41:02 > 0:41:04and that's rather a good message, isn't it, I think?
0:41:04 > 0:41:05A really good one.
0:41:05 > 0:41:08- And the craftsmanship is absolutely superb.- Yeah.
0:41:08 > 0:41:10Most marvellous jewel, I must say.
0:41:10 > 0:41:12And here, tell me about this one.
0:41:12 > 0:41:17Well, I was just given it by my grandmother
0:41:17 > 0:41:20and we don't know, but we think it may be
0:41:20 > 0:41:22something to do with Queen Victoria.
0:41:22 > 0:41:25Well, I think there's absolutely no doubt about it,
0:41:25 > 0:41:28because I had a little sneak look earlier and engraved on the back,
0:41:28 > 0:41:31it says, "Dear Goddaughter,
0:41:31 > 0:41:34"Victoria Marguereta Louisa Howard,
0:41:34 > 0:41:39"from her affectionate Godmother, Victoria, March 1846."
0:41:39 > 0:41:40And I haven't a shadow of doubt
0:41:40 > 0:41:43that this is actually a gift from the Queen,
0:41:43 > 0:41:45and there's a little diamond jewel and a blue heart.
0:41:45 > 0:41:49And inside the heart is a single lock of hair,
0:41:49 > 0:41:52which I've every confidence is actually Queen Victoria's hair.
0:41:52 > 0:41:56- Really?- Yes. And I find that extraordinarily moving, I must say.
0:41:56 > 0:41:59So three extraordinary pieces of jewellery -
0:41:59 > 0:42:03that's the only word for them - singing three very separate songs.
0:42:03 > 0:42:06How to value these jewels?
0:42:06 > 0:42:09I think that this would be cheaply found and cheaply bought
0:42:09 > 0:42:11at £2,500.
0:42:11 > 0:42:13It's not a great sum of money, frankly,
0:42:13 > 0:42:16because the Queen gave an enormous number of gifts
0:42:16 > 0:42:19and this isn't an immediate member of her family,
0:42:19 > 0:42:22but nonetheless, what an extraordinary survival.
0:42:22 > 0:42:26And the amethyst heart with the foliage above,
0:42:26 > 0:42:30made in 1900, looking very sleepy and exotic
0:42:30 > 0:42:32in this light and very enviable,
0:42:32 > 0:42:34I think maybe...
0:42:34 > 0:42:36£5,000.
0:42:36 > 0:42:40And then the tiara that turns into a necklace,
0:42:40 > 0:42:44about 1900 in date as well, and very speculative,
0:42:44 > 0:42:46but £35,000.
0:42:46 > 0:42:48CROWD GASPS
0:42:48 > 0:42:51And I think that - if I can add anything up at all -
0:42:51 > 0:42:55is £42,500 for a marvellous collection of jewellery.
0:42:58 > 0:43:01What an extraordinary item and what an extraordinary value,
0:43:01 > 0:43:04and it rather typifies the grand days of Tredegar House,
0:43:04 > 0:43:07when it would have been full of people
0:43:07 > 0:43:10with extravagant parties, inside and out.
0:43:10 > 0:43:13And I think today with the Antiques Roadshow,
0:43:13 > 0:43:15we've recaptured a bit of a sense of those days.
0:43:15 > 0:43:17Some 5,000 people have come along today
0:43:17 > 0:43:20and brought Tredegar back to life.
0:43:20 > 0:43:23From the Roadshow team, until next time, bye-bye.