0:00:42 > 0:00:45It's 20 years since the Antiques Roadshow was last on the south
0:00:45 > 0:00:49coast of Kent, and today we've come to Walmer Castle, near Deal.
0:00:53 > 0:00:54Now run by English Heritage,
0:00:54 > 0:00:59Walmer Castle was one of several Tudor forts built by Henry VIII.
0:00:59 > 0:01:02Overlooking the English Channel, it was the ideal location to protect
0:01:02 > 0:01:07Britain from invasion by the Spanish, and then later, the French.
0:01:07 > 0:01:11It has also been home to the Lord Warden of the Cinque Ports since 1736.
0:01:12 > 0:01:15The Lord Warden, appointed by royalty,
0:01:15 > 0:01:17was the official keeper of the coast.
0:01:17 > 0:01:20One in particular has become synonymous with Walmer.
0:01:22 > 0:01:2413 years after the Battle of Waterloo,
0:01:24 > 0:01:26the Duke of Wellington was given the post.
0:01:26 > 0:01:29It was 1829, he was also serving as Prime Minister.
0:01:29 > 0:01:34He was a national hero, what we'd call today a celebrity.
0:01:41 > 0:01:43Wellington enjoyed the privacy of Walmer.
0:01:43 > 0:01:47He spent every autumn here, in his sleeping and living room
0:01:47 > 0:01:49set up in the warmest part of the draughty castle.
0:01:49 > 0:01:52But the old warhorse liked things spartan.
0:01:52 > 0:01:56No comfy mattress for him, he preferred his old campaign bed.
0:01:57 > 0:01:59These are the great man's famous boots,
0:01:59 > 0:02:02he had them specially designed for himself and his army
0:02:02 > 0:02:05to be more comfortable, but crucially, waterproof.
0:02:05 > 0:02:07With specially waxed calf leather,
0:02:07 > 0:02:10the origin of the Wellington boots we wear today.
0:02:10 > 0:02:14And it was in this room on the 14th of September 1852,
0:02:14 > 0:02:16the Iron Duke spoke his last words.
0:02:16 > 0:02:20He accepted a cup of tea, and then sitting in this chair,
0:02:20 > 0:02:23aged 83, he died.
0:02:23 > 0:02:26Wellington's death marked the end of an era.
0:02:26 > 0:02:28The hero of Waterloo was gone.
0:02:29 > 0:02:33Wellington-mania reached fever pitch as preparations were
0:02:33 > 0:02:37made for a state funeral of unparalleled splendour.
0:02:37 > 0:02:40The trade in memorabilia went through the roof.
0:02:40 > 0:02:43In London, along the line of Wellington's funeral cortege,
0:02:43 > 0:02:46special stalls were set up selling refreshments,
0:02:46 > 0:02:50like Duke of Wellington wine and cake, and other adapted mementos.
0:02:50 > 0:02:53Charles Dickens was among a number of people appalled at what
0:02:53 > 0:02:56he called, "This trade in death."
0:02:56 > 0:02:57But business was brisk.
0:02:59 > 0:03:00I wouldn't be surprised
0:03:00 > 0:03:03if we see a few pieces of Wellington memorabilia today.
0:03:03 > 0:03:07Let's join our experts and visitors at today's Antiques Roadshow.
0:03:09 > 0:03:11Lovely, bright, sunny day.
0:03:11 > 0:03:14Glaring sunshine down on this
0:03:14 > 0:03:17golden-yellow gem
0:03:17 > 0:03:20in a gold mount.
0:03:20 > 0:03:23My father bought that in 1945.
0:03:23 > 0:03:26During the war, he was in the RAF,
0:03:26 > 0:03:31and he was serving in Ceylon and in Burma.
0:03:31 > 0:03:37When my mother and him got married, 1947, he gave it to my mother.
0:03:37 > 0:03:40- Did she wear it? - Oh, my mother wore it a lot.
0:03:40 > 0:03:43Every time she went out. She was a party girl in the '60s,
0:03:43 > 0:03:48and in the RAF, you used to go out a lot. And my mother wore that a lot.
0:03:48 > 0:03:51And I remember her saying to me,
0:03:51 > 0:03:54"Stephanie, put this on my finger when I go out."
0:03:54 > 0:03:57And she also used to say to me,
0:03:57 > 0:04:00"When you're grown-up and a big girl, this is going to be yours."
0:04:00 > 0:04:05- Because it's topaz, and topaz is my birthstone, from November. - Oh, right.
0:04:05 > 0:04:08Well, let me tell you a little bit about it.
0:04:08 > 0:04:11The interesting thing you said was that your father acquired it
0:04:11 > 0:04:14in 1945 in Ceylon or Burma.
0:04:14 > 0:04:17- Ceylon - which, of course, Sri Lanka today.- Yes.
0:04:17 > 0:04:18And that would be right.
0:04:18 > 0:04:21Because the stone like this would have been sourced
0:04:21 > 0:04:24probably from a local mine.
0:04:24 > 0:04:26I think possibly Ceylon.
0:04:26 > 0:04:28Let's talk about the mount.
0:04:28 > 0:04:31The mount is gold and has a slightly eastern sort of look
0:04:31 > 0:04:34to the setting, to the gallery of the stone as well.
0:04:34 > 0:04:40- The stone weighs something like 30 carats.- Wow.
0:04:41 > 0:04:43And it's not a topaz,
0:04:43 > 0:04:48and it's not a citrine - which is the stone it's often confused with -
0:04:48 > 0:04:51it is a golden-yellow sapphire.
0:04:51 > 0:04:53Goodness me.
0:04:53 > 0:04:55How do I know it is a sapphire?
0:04:55 > 0:05:00Because I can use my lens, and I can look into the stone.
0:05:00 > 0:05:07And I can see that it has tell-tale marks that we find in sapphires.
0:05:07 > 0:05:09And they're typical stones that you find in Ceylon.
0:05:09 > 0:05:11So that's what it is.
0:05:11 > 0:05:14So what do you think it might be worth?
0:05:16 > 0:05:2130 carats, Ceylon yellow sapphire - not the best depth of colour,
0:05:21 > 0:05:25but an incredibly rare size and a specimen stone.
0:05:25 > 0:05:28I think that your father - and indeed your mother - would be
0:05:28 > 0:05:32pleased to find out that you've got a stone worth £3,000 there.
0:05:32 > 0:05:34- No!- Yes.
0:05:34 > 0:05:37Really? Wow.
0:05:37 > 0:05:40That is lovely. My dad would be thrilled.
0:05:40 > 0:05:43But far rarer than you might have thought it was.
0:05:45 > 0:05:47Looking at this street scene,
0:05:47 > 0:05:49I know it's not painted in this country because it looks
0:05:49 > 0:05:51a bit Colonial in the middle.
0:05:51 > 0:05:54- Do you know where that's painted? - I do, yeah,
0:05:54 > 0:05:57it's painted in McQuarrie Street in Sydney in Australia.
0:05:57 > 0:05:59Which is a very well-known place.
0:05:59 > 0:06:04- It is. It's quite a big street there.- So how did you find it?
0:06:04 > 0:06:06- I found it in a house clearance.- Oh.
0:06:06 > 0:06:11This and a couple of others came from one house, all Australian.
0:06:11 > 0:06:15And I just liked it so much I decided I'd keep it.
0:06:15 > 0:06:20Now, down the bottom right here, you have the signature, Frank Payne.
0:06:20 > 0:06:23- Do you know who Frank Payne is? - Not really, no.
0:06:23 > 0:06:26- I couldn't find very much about him. - You can't find him at all?
0:06:26 > 0:06:28I'm going to have to surprise you now.
0:06:28 > 0:06:33That Frank Payne, HE actually was a SHE.
0:06:33 > 0:06:36Right. That's a surprise!
0:06:36 > 0:06:41And was a nickname for Francis Mallalieu Payne.
0:06:41 > 0:06:45And she was born in Brisbane in 1885.
0:06:45 > 0:06:49And came over to England in 1905, and studied in Paris.
0:06:49 > 0:06:54Of course, Paris was the centre in the early 1900s for going to study
0:06:54 > 0:06:58and learn impressionistic style, which this is painted in.
0:06:58 > 0:07:01And then she went back to Australia
0:07:01 > 0:07:04and became quite well known for doing magazine covers,
0:07:04 > 0:07:09and children playing on beaches, and this type of scene.
0:07:09 > 0:07:13So it's rare, because Australian artists are rare.
0:07:13 > 0:07:15Perhaps there aren't as many as there are here.
0:07:15 > 0:07:19She died in 1976, born in 1885.
0:07:19 > 0:07:21We've got to guess when this was painted.
0:07:21 > 0:07:23And looking at the frame here, I think this is 1930s-'40s,
0:07:23 > 0:07:25that sort of period.
0:07:27 > 0:07:31And it's got the modern buildings around the old colonial ones there.
0:07:31 > 0:07:34But I love it. What's this going to be worth?
0:07:34 > 0:07:37Well, I think if I lived in Sydney, I would be prepared to
0:07:37 > 0:07:42- pay £2,000-3,000 for it at auction. - Wow! Really surprised at that!
0:07:42 > 0:07:45Really surprised, yeah.
0:07:45 > 0:07:47You're about ten times over what I thought.
0:07:51 > 0:07:54Whereabouts in your house does this little pig live?
0:07:54 > 0:07:56Usually on the windowsill in the kitchen.
0:07:56 > 0:07:58Is that why he's a little bit broken?
0:07:58 > 0:08:01Well, it's been broken as long as I can remember.
0:08:01 > 0:08:03I think it must have belonged to my parents
0:08:03 > 0:08:05and then my grandparents, but it always seems quite old.
0:08:05 > 0:08:09- I'm quite fond of it, really. - A think he's really cute.
0:08:09 > 0:08:13He is a little sleeping piglet, decorated with thistles, decorated
0:08:13 > 0:08:15by hand, and he's by Wemyss, quite clearly marked on the back.
0:08:15 > 0:08:18- Yes, I've seen that on the back. - And impressed as well.
0:08:18 > 0:08:23- This would have been made around about 1900, 1910.- Oh, I say.
0:08:23 > 0:08:26And Wemyss were a factory in Fife, in Scotland,
0:08:26 > 0:08:29who made large pigs about this size.
0:08:29 > 0:08:32- But they made these little piglets as well.- Right.
0:08:32 > 0:08:35- And they didn't make that many of them.- Really?
0:08:35 > 0:08:39- This is a very rare Wemyss piglet. - Is it?- It is.
0:08:39 > 0:08:41Is it all right on the windowsill?
0:08:41 > 0:08:44You MIGHT want to change that in just a second.
0:08:44 > 0:08:48- My goodness me!- Despite the fact that looks like he's fallen off...
0:08:48 > 0:08:51Yes, it a bad crack across there.
0:08:51 > 0:08:55This piglet would still make a good price at auction.
0:08:55 > 0:08:58- Would it?- Yep.
0:08:58 > 0:09:00More than £25?
0:09:00 > 0:09:03Despite its battered and broken cracks -
0:09:03 > 0:09:08a Wemyss collector would still pay £5,000-8,000.
0:09:08 > 0:09:11- GASPS - What?!- Oh, my goodness!
0:09:11 > 0:09:15I can't...I can't believe it!
0:09:15 > 0:09:18And that's with all his cracks.
0:09:18 > 0:09:21My goodness.
0:09:21 > 0:09:23- Thank you!- It's a pleasure.
0:09:23 > 0:09:26I am so pleased, I badly need a new kitchen!
0:09:26 > 0:09:28LAUGHTER
0:09:28 > 0:09:31Well, he's bringing home the bacon, so...
0:09:31 > 0:09:33Thank you, thank you so much!
0:09:38 > 0:09:41I was the first person in the queue, I got here at 6.15am.
0:09:41 > 0:09:44And I've been seen already, so it was definitely worth getting up
0:09:44 > 0:09:47at 4.30am on a Sunday morning, yes.
0:09:51 > 0:09:53So you're telling me you found this on a beach?
0:09:53 > 0:09:58- Yes, when I was five years old. - I just don't believe it! How?
0:09:58 > 0:10:01I was walking along the beach, looking down at the ground,
0:10:01 > 0:10:04and it was there amongst the shingle.
0:10:07 > 0:10:10- They're just extraordinary, comical, aren't they?- Yes, very amusing.
0:10:10 > 0:10:14Absolutely, look at that face. I mean, once seen, never forgotten.
0:10:14 > 0:10:16We've got someone who can look at these for you.
0:10:16 > 0:10:18So I'll give you a ticket, put you in the queue,
0:10:18 > 0:10:20and hopefully we'll find out all about them.
0:10:20 > 0:10:22- Thank you very much.- Thank you.
0:10:25 > 0:10:27This has had a hell of a journey.
0:10:27 > 0:10:32I think this is South America, Mexico, that sort of period.
0:10:32 > 0:10:36Whether its 18th, 17th century or earlier,
0:10:36 > 0:10:39we do need to take that further.
0:10:39 > 0:10:42Just on style alone,
0:10:42 > 0:10:46I think that's worth £300-400.
0:10:46 > 0:10:48Oh! OK.
0:10:48 > 0:10:51Maybe my mother won't think it's quite so evil!
0:10:55 > 0:11:00What I see here is what I would call a combination piece of furniture.
0:11:00 > 0:11:05Two pieces of furniture, incorporated into one piece.
0:11:05 > 0:11:08You explain to me what you know about it.
0:11:08 > 0:11:12My great-grandmother on my mother's side bought it in Hastings,
0:11:12 > 0:11:14apparently, in about 1900.
0:11:14 > 0:11:18And she left it to my mother, who in turn left it to me.
0:11:18 > 0:11:23- I like the idea, it spins around, it rotates.- It spins round.
0:11:23 > 0:11:28When I was a child, in New Romney, Aunt Kitty used to visit us -
0:11:28 > 0:11:33my father's godmother - on an annual visit. An inspection, almost.
0:11:33 > 0:11:38- Yes, yes.- And she was a great talker, but a very slow eater.
0:11:38 > 0:11:43And, on one occasion, my sister and I looked at each other, she had
0:11:43 > 0:11:46not finished, the rest of us had, so we spun the table around and gave
0:11:46 > 0:11:50her an empty plate, which meant that we could get on with our pudding.
0:11:50 > 0:11:55- Did she notice?- No!- Brilliant, brilliant.- So it does have its uses.
0:11:55 > 0:11:58Absolutely. There is quite an array of different woods here.
0:11:58 > 0:12:03- This wood here, which is in segments, this is mahogany.- Ah.
0:12:03 > 0:12:06With the boxwood lining.
0:12:06 > 0:12:13On the edge, this is Goncalo Alves, which is here and here.
0:12:13 > 0:12:14Right.
0:12:14 > 0:12:18As I say, this is the combination piece which fascinates me.
0:12:18 > 0:12:20Is that.
0:12:20 > 0:12:24- What was that for? - Well, I hope you'll tell me.
0:12:24 > 0:12:26I've always thought, blown bottles,
0:12:26 > 0:12:30the old-fashioned wine bottles, would fit in to those circles,
0:12:30 > 0:12:34and there would be ice in there. But I don't know.
0:12:34 > 0:12:36Good theory.
0:12:36 > 0:12:38How would you get the water out though?
0:12:38 > 0:12:41Well, those presumably were plugs, originally. I don't know.
0:12:41 > 0:12:45When somebody's restored this, if they have taken the little
0:12:45 > 0:12:48plugs out... As I say, when I looked underneath,
0:12:48 > 0:12:52I couldn't see an area for the water to drain out of.
0:12:52 > 0:12:54So that confuses me.
0:12:54 > 0:12:57It confuses me as well, I can tell you!
0:12:57 > 0:13:02I guess I can agree, that this is what we call lead-lined,
0:13:02 > 0:13:05so something, whether it was a plant, or whether it was
0:13:05 > 0:13:10magnum-sized bottles which went in there which were kept cool.
0:13:10 > 0:13:14So really, this is, I can only describe it as a one-off,
0:13:14 > 0:13:16a bespoke piece of furniture.
0:13:16 > 0:13:21I love the base, this foreswept base, with simple brass castors.
0:13:21 > 0:13:23All totally original.
0:13:23 > 0:13:26But, unfortunately, it has been heavily restored,
0:13:26 > 0:13:29- which undermines it a little bit. - Yes, of course.
0:13:29 > 0:13:34The date of it is around 1790-1800. George III.
0:13:34 > 0:13:36Very, very pretty piece of furniture.
0:13:36 > 0:13:40It's practical because it seats six to eight people comfortably.
0:13:40 > 0:13:47I'll be quite happy putting a value on this between 1,500-2,500.
0:13:47 > 0:13:48But thank you for bringing it along.
0:13:48 > 0:13:52You have brought a piece of furniture which breaks the rules.
0:13:52 > 0:13:55Actually, it's a wonderful conversation piece.
0:13:55 > 0:13:58- After dinner, when I lift the middle out.- Yes, yes.
0:13:58 > 0:14:00And we still wonder what it was for.
0:14:04 > 0:14:10In these two photographs I can see one person who is in both.
0:14:10 > 0:14:14- Who might she be?- It is me!
0:14:14 > 0:14:17Now, what were you doing at this glamorous event - which, I think
0:14:17 > 0:14:19we can see by all the paperwork here,
0:14:19 > 0:14:21was the Royal Variety Performance?
0:14:21 > 0:14:26I was invited to be a programme seller for the performance.
0:14:26 > 0:14:31And then after the performance, we were invited to the party afterwards.
0:14:31 > 0:14:34The get-together with all the artists that had been in the show.
0:14:34 > 0:14:36And that happened for all the Royal Variety Performances
0:14:36 > 0:14:42that you were involved in? You went backstage, you met and mingled?
0:14:42 > 0:14:45Endless famous people, which you don't realise
0:14:45 > 0:14:48until you sit down and go through the programme.
0:14:48 > 0:14:49What an extraordinary thing.
0:14:49 > 0:14:52So how did you get involved?
0:14:52 > 0:14:55I'm a member of the Lupino family,
0:14:55 > 0:14:59and we were quite a big family all those years ago,
0:14:59 > 0:15:04with pantomimes and theatre. And my mother was Sissy Lupino,
0:15:04 > 0:15:08and my father was Cliff Diamond, and they were in musical hall,
0:15:08 > 0:15:11and travelled all over England in the theatres.
0:15:11 > 0:15:16And I suppose, perhaps, people of my generation will remember
0:15:16 > 0:15:19the Royal Variety Performance for that extraordinary performance
0:15:19 > 0:15:24- in 1963 when the Beatles came. - It was unbelievable.
0:15:24 > 0:15:27- There were just rapping on the doors...- The fans!
0:15:27 > 0:15:29Yes, it was quite frightening.
0:15:29 > 0:15:33They did their act, they were the top of the programme.
0:15:33 > 0:15:36And then, of course, after the performance,
0:15:36 > 0:15:42they all came down, and as you see, it was breakfast time.
0:15:42 > 0:15:47- And they all sat, and that's one of the photographs.- You lucky girl!
0:15:47 > 0:15:52I suppose the memorable thing about that Beatles performance in 1963
0:15:52 > 0:15:56- was that John Lennon quip, which I'm sure you were there to hear.- Yes.
0:15:56 > 0:15:58Which is, you know, I can't remember it exactly -
0:15:58 > 0:16:01"I need some help with this last number, you lot on the cheap seats,
0:16:01 > 0:16:05"if you can clap along, and the rest of you, if you'd rattle your jewellery."
0:16:05 > 0:16:08Which, you know, considering that the Queen was there,
0:16:08 > 0:16:11- that was quite a cheeky comment. - Too right.
0:16:11 > 0:16:15- Did it bring the house down at the time?- Of course it did, yes.
0:16:15 > 0:16:17- Took them by surprise.- Exactly.
0:16:17 > 0:16:20And, of course, you've got this signed here,
0:16:20 > 0:16:22you've got the programme signed here,
0:16:22 > 0:16:27and on the back of the ticket here there is another signature.
0:16:27 > 0:16:30There are lots of other signed programmes.
0:16:30 > 0:16:32- This one, for instance, has got Liberace.- Yes.
0:16:32 > 0:16:36- And I can see you in the midst of Liberace's big love thing.- Yes, yes.
0:16:36 > 0:16:39We've got one here with Tommy Cooper signed.
0:16:39 > 0:16:44I mean, what you have here is a fabulous archive - you know
0:16:44 > 0:16:48that as well as I do. And it's also a valuable archive.
0:16:48 > 0:16:54The cream of the crop, obviously, has to be the Beatles section.
0:16:54 > 0:16:56The central section here.
0:16:56 > 0:16:59And a signed Beatles Royal Variety Performance programme,
0:16:59 > 0:17:05- that's going to be £4,000-6,000 before you start.- Right!
0:17:08 > 0:17:10I thought you might like that.
0:17:10 > 0:17:13And then, obviously, we go one to the other signed items.
0:17:13 > 0:17:15And the whole archive,
0:17:15 > 0:17:17and we haven't even unpacked the whole suitcase.
0:17:17 > 0:17:19- There is a suitcaseful!- Yes.
0:17:19 > 0:17:20I've been through it,
0:17:20 > 0:17:25and I would say that what you've got is probably worth about £10,000.
0:17:25 > 0:17:26My!
0:17:26 > 0:17:31Unbelievable. No wonder they moan, because I'm a hoarder.
0:17:31 > 0:17:34I hang onto everything, and that's the result!
0:17:34 > 0:17:37I don't think the family should moan at all, I think
0:17:37 > 0:17:40they should say, "Jolly good, Mum," and, "Jolly good, Granny."
0:17:40 > 0:17:44- It's wonderful that you've kept everything.- Oh, that's great.
0:17:46 > 0:17:49So here we are sitting in the Roadshow's tea tent,
0:17:49 > 0:17:51which seems a very suitable place
0:17:51 > 0:17:53to look at this wonderful object.
0:17:53 > 0:17:55Now, I know it's a lazy Susan,
0:17:55 > 0:17:57but there must be something behind it.
0:17:57 > 0:17:59They're so rare to see today.
0:17:59 > 0:18:02Yes, it came from my great-grandparents' house.
0:18:02 > 0:18:05They lived in south Somerset,
0:18:05 > 0:18:09a small village called Misterton, near Crewkerne.
0:18:09 > 0:18:12And it is always an object of curiosity,
0:18:12 > 0:18:16- because of the vibrant colours.- I think these colours are fantastic.
0:18:16 > 0:18:19They'd lift any table.
0:18:19 > 0:18:22And, of course, to me, it's much more important,
0:18:22 > 0:18:25because it has a wonderful local connection here.
0:18:25 > 0:18:29Up the road in Ramsgate was the home of AWN Pugin,
0:18:29 > 0:18:33- the great architect, the great designer. And he designed this.- Yes.
0:18:33 > 0:18:36He designed a number of ceramic pieces,
0:18:36 > 0:18:40working with Herbert Minton, through the 1840s.
0:18:40 > 0:18:43And one of the last things he did, as far as we know,
0:18:43 > 0:18:44was this lazy Susan.
0:18:44 > 0:18:49These were new, coloured glazes developed in 1849 at Minton's.
0:18:49 > 0:18:51And he loved these colours.
0:18:51 > 0:18:53They were Victorian colours, they were Gothic colours.
0:18:53 > 0:18:58And he thought, "Right, I can use these new colours on this piece."
0:18:58 > 0:19:01Which is, in a sense, Gothic for the home.
0:19:01 > 0:19:03It's domestic Gothic.
0:19:03 > 0:19:06And that connection, to me, makes it very exciting.
0:19:06 > 0:19:08I know there are marks on the bottom which we needn't show,
0:19:08 > 0:19:12it says Minton, and there's a date code for 1873.
0:19:12 > 0:19:16I think to me it is an insight into what the Victorian tea table,
0:19:16 > 0:19:18dining table, looked like.
0:19:18 > 0:19:20It was filled with spectacle and colour
0:19:20 > 0:19:22which changed from course to course.
0:19:22 > 0:19:26We've put some very delicious-looking scones on it to go with our tea.
0:19:26 > 0:19:29I think I have to demonstrate what it does while I offer you a scone.
0:19:29 > 0:19:31Thank you very much.
0:19:33 > 0:19:34Oh, splendid!
0:19:35 > 0:19:38And as you enjoy the scone, of course,
0:19:38 > 0:19:40it is quite a valuable thing.
0:19:40 > 0:19:41Were it not for the significant damage,
0:19:41 > 0:19:44it would be quite a valuable piece.
0:19:44 > 0:19:47- It's now down to what you might call decorative value.- Yes.
0:19:47 > 0:19:49£200, £300.
0:19:49 > 0:19:51- But it's still what it is.- Yes.
0:19:51 > 0:19:52- Thank you.- Thank you.
0:19:55 > 0:19:58Some people would say that this is
0:19:58 > 0:20:00an ugly, black table clock.
0:20:01 > 0:20:04- What do you think? Honestly? - Honestly?
0:20:04 > 0:20:06I loved it, ever since I was a kid.
0:20:06 > 0:20:09It was always in my grandfather's house on the mantelpiece
0:20:09 > 0:20:12in the drawing-room, where you weren't allowed in, really.
0:20:12 > 0:20:14I always looked at it and though it was lovely.
0:20:14 > 0:20:19It was my great-grandfather's, he bought it for his wife.
0:20:19 > 0:20:22And then it got handed down to the grandkids.
0:20:22 > 0:20:25And you're not a grandkid, you're a great-grandkid.
0:20:25 > 0:20:28- Great-grandkids, yeah.- It's yet to get to you?- No, not quite.
0:20:28 > 0:20:30- But you really do like it? - Yes, I really do.
0:20:30 > 0:20:33Because it's that lovely childhood memory,
0:20:33 > 0:20:35hearing it chime at night and during the day.
0:20:35 > 0:20:38- Yeah, good, yeah. Lovely chime. - Yeah?- Yeah.
0:20:38 > 0:20:40LAUGHTER
0:20:43 > 0:20:46Well, it's actually quite a technical clock.
0:20:46 > 0:20:48The good news is, too, that it's by a famous clockmaker,
0:20:48 > 0:20:51a man called Daniel Quare.
0:20:51 > 0:20:56He was born in 1648, and he died in 1724.
0:20:56 > 0:20:59Making him about 75 years old when he died,
0:20:59 > 0:21:01which was a ripe old age then.
0:21:01 > 0:21:05He was so commercially brilliant at making clocks that
0:21:05 > 0:21:08the sort of people who came to his daughter's wedding included
0:21:08 > 0:21:11ambassadors, princes and princesses.
0:21:11 > 0:21:14And he was a brilliant clockmaker.
0:21:14 > 0:21:17So that's the background to the man himself.
0:21:17 > 0:21:21And this clock is a typical example of his work. Let's open the door.
0:21:23 > 0:21:27Beautiful, gilt-brass dial. Signed, D Quare, London.
0:21:27 > 0:21:29Absolutely typical signature.
0:21:29 > 0:21:33And he had certain quirks to the clocks that he made.
0:21:33 > 0:21:35The handle - he always made handles which were what
0:21:35 > 0:21:39we call double-S handles. You can see the shape, the double-S.
0:21:39 > 0:21:42His hands were always of this typical form.
0:21:42 > 0:21:45And he also, very often, used this dot marking around...
0:21:45 > 0:21:49What we have here is the false pendulum aperture.
0:21:49 > 0:21:51And rings around the winding holes.
0:21:51 > 0:21:55But what I really, really like about this clock, is, when we turn
0:21:55 > 0:22:00it round, it has the most beautiful engraving on the backplate.
0:22:00 > 0:22:03And there was another contemporary of Daniel Quare's,
0:22:03 > 0:22:06a man called Thomas Tompion, who was even more famous than Daniel Quare.
0:22:06 > 0:22:09And at the peak of Quare's career,
0:22:09 > 0:22:12he and Thomas Tompion shared the same engraver.
0:22:12 > 0:22:15And the man that engraved this backplate was also used by Tompion.
0:22:15 > 0:22:17And he was, in my opinion,
0:22:17 > 0:22:22the greatest engraver for backplates for table clocks in the world.
0:22:22 > 0:22:23So...
0:22:23 > 0:22:29Put it all together, and you have a clock made around 1695.
0:22:31 > 0:22:35Ebony-veneered case, with what we call a basket top.
0:22:35 > 0:22:39If you were to buy this clock retail at the moment,
0:22:39 > 0:22:42one of the most famous makers in the country,
0:22:42 > 0:22:45excellent - not the greatest example,
0:22:45 > 0:22:48but one of his better examples - you would have to pay
0:22:48 > 0:22:52in the region of £75,000 for it.
0:22:52 > 0:22:54- GASPS - Bingo!
0:22:57 > 0:22:58Crumbs.
0:22:58 > 0:23:01- You're the great-grandchild, so... - LAUGHTER
0:23:01 > 0:23:04- How many years do you have to wait for this?- A couple.
0:23:04 > 0:23:08- Will there be a few family arguments over it?- Yes, I'll bet. Yeah.
0:23:08 > 0:23:12Well, fantastic - let's hope it comes your way.
0:23:12 > 0:23:15- Yeah.- Thanks for bringing it along. - Thank you very much.- Thank you.
0:23:28 > 0:23:31Our regular challenge this week is a little bit different.
0:23:31 > 0:23:36Our glass expert, Andy McConnell, has brought along these four glasses.
0:23:36 > 0:23:40And three of them are imposters, only one is genuine.
0:23:40 > 0:23:42And what should we be looking for?
0:23:42 > 0:23:46Well, three of them are made in the 20th-century here,
0:23:46 > 0:23:49and one is 1780.
0:23:49 > 0:23:51Andy's got some clues for you, though,
0:23:51 > 0:23:53to help you work out which is which.
0:23:54 > 0:23:59Does this diamond-point engraved glass depicting a country scene
0:23:59 > 0:24:03hail from the 18th-century, or is that a 20th-century city fox?
0:24:04 > 0:24:07Is this a rare, Regency glass engraved with vines,
0:24:07 > 0:24:10or is that decoration just a little too fruity?
0:24:12 > 0:24:16Is this bruiser a genuine late 18th-century rummer?
0:24:16 > 0:24:17Or is it too good to be true?
0:24:19 > 0:24:22Wear around the base can be a sign of genuine age, but are those
0:24:22 > 0:24:26chips off an old block, or have they been added more recently?
0:24:28 > 0:24:31So, Andy, what can you tell me about these glasses?
0:24:31 > 0:24:34Well, they're all rummers - R-U-M-M-E-R -
0:24:34 > 0:24:36it first appears in the English language
0:24:36 > 0:24:41in about 1700 as a corruption from the German romer - R-O-M-E-R.
0:24:41 > 0:24:44The reason that these are interesting is that you can
0:24:44 > 0:24:45actually use them at home.
0:24:45 > 0:24:48And they're the size of glasses that we have today.
0:24:48 > 0:24:50This being particularly yours, we thought.
0:24:50 > 0:24:52LAUGHTER
0:24:52 > 0:24:54Oh, you know me well, Andy.
0:24:54 > 0:24:57And what should we be looking for?
0:24:57 > 0:25:00Well, you've got to be looking for fuzzy glass, really.
0:25:00 > 0:25:04That's a start. You're looking at rustic.
0:25:04 > 0:25:06You've got to remember,
0:25:06 > 0:25:11what was manufacturing like in 1800 relative to 1920?
0:25:11 > 0:25:14Well, the tools were better, the furnaces were better, so the
0:25:14 > 0:25:19worse it is, broadly speaking, the more likely it is to be old.
0:25:19 > 0:25:22All right. What I'm looking for, then,
0:25:22 > 0:25:24is the most basic kind of glass.
0:25:24 > 0:25:28I'm ruling this out, because it's too fine and too massive.
0:25:28 > 0:25:30- Now, you're Andy's mum, aren't you?- I am, yes.
0:25:30 > 0:25:35- Now, what do you know about glass? - I absolutely know nothing, I'm afraid...
0:25:35 > 0:25:38- That's not much help! - ..except what's in it!
0:25:38 > 0:25:41Yes, here, a woman after my own heart!
0:25:41 > 0:25:44And is it down to you that Andy's quite as eccentric
0:25:44 > 0:25:47- and bonkers as he is? - No, nothing to do with me at all.
0:25:47 > 0:25:51All I did was produce him, and then leave him to get on with it.
0:25:51 > 0:25:53I think you've got lots to be responsible for there.
0:25:53 > 0:25:55Does anyone here know about glass?
0:25:55 > 0:25:57Anyone?
0:25:57 > 0:26:00OK, votes - this one?
0:26:00 > 0:26:02- ALL:- Yes.- Yes?
0:26:02 > 0:26:04- This one?- No.- This one?
0:26:04 > 0:26:05MIXED YES AND NO
0:26:05 > 0:26:07Fewer yeses.
0:26:07 > 0:26:10- Yes!- Oh, a lot of yeses.
0:26:10 > 0:26:12And, actually, there was
0:26:12 > 0:26:15a yes there from behind the camera from one of the production team.
0:26:15 > 0:26:17Erm...
0:26:17 > 0:26:19Well, that chimes with what I was going to say.
0:26:19 > 0:26:21I think this is too basic. You agreeing with this, Mum?
0:26:21 > 0:26:25- Yes, right.- Too basic. Too grand, too swanky, not enough imperfections.
0:26:25 > 0:26:29This one's got some imperfections, but it's very fine on the base.
0:26:29 > 0:26:31Could be that one, because it's so beautifully done.
0:26:31 > 0:26:36This one, I can see the gradations of the glass.
0:26:36 > 0:26:37Tool marks.
0:26:39 > 0:26:41And I got more yeses for this one.
0:26:41 > 0:26:44- And you like this one, don't you? - That was my original thought.
0:26:44 > 0:26:46That's good enough for me, we're going for that one as being
0:26:46 > 0:26:49- the genuine one, and the three being imposters.- Thank you, Lord!
0:26:49 > 0:26:54I've done Fiona Moments six times...
0:26:54 > 0:26:56and she still hasn't got one right!
0:26:56 > 0:26:59AUDIENCE GROANS Come on!
0:26:59 > 0:27:03- I thought you were helping me! What's that all about!- Thanks very much!
0:27:03 > 0:27:07- It's that one. - You're sacked! Which is it? Oh...
0:27:09 > 0:27:12Well that's certainly the roughest-looking one.
0:27:12 > 0:27:14I helped you as much as I could! I really did.
0:27:14 > 0:27:17I thought it was a double bluff. All right, tell me all about it.
0:27:17 > 0:27:19This is a really rough, old thing.
0:27:19 > 0:27:22It's full of striations, it's pitted,
0:27:22 > 0:27:26it's been used a million times. It's tonnes of wear on the foot.
0:27:26 > 0:27:29But the middle is so grey with this one.
0:27:29 > 0:27:34Remember, the processes were so basic, they were burning on coal.
0:27:34 > 0:27:37And they were using very basic tools.
0:27:37 > 0:27:39And, for me, that is a perfect wineglass,
0:27:39 > 0:27:41it is just absolutely right.
0:27:41 > 0:27:45Why do rummers still maintain their popularity?
0:27:45 > 0:27:48I'd be happy to drink out of this one tonight.
0:27:48 > 0:27:50- But you can have that one. - LAUGHTER
0:27:52 > 0:27:55Every once in a while on the Roadshow we get in artist
0:27:55 > 0:27:57who wants to be a great artist.
0:27:57 > 0:28:00Now, do you think he was a great artist, and who was he?
0:28:00 > 0:28:02He was Gerald Moore.
0:28:02 > 0:28:05I think he would have liked to have been a great artist.
0:28:05 > 0:28:09He was a very prolific artist, I know that.
0:28:09 > 0:28:14- But professionally, he started as a dentist.- I see!
0:28:14 > 0:28:18Which is why, if you look at the back legs of the bull,
0:28:18 > 0:28:20they do look rather dental, don't they?
0:28:20 > 0:28:24They look like an enormous molar that's been pulled, you're right.
0:28:24 > 0:28:29- Exactly!- It's quite hallucinogenic, isn't it? It is from the '60s.
0:28:29 > 0:28:30How on Earth did you get it?
0:28:30 > 0:28:32He was our dentist at that stage,
0:28:32 > 0:28:35and it was given as a gift for my grandmother.
0:28:35 > 0:28:38And it's hung in the dining room for 30 years.
0:28:38 > 0:28:42My husband here, who has been part of the family for the last 35
0:28:42 > 0:28:44years, he has always hated it.
0:28:44 > 0:28:46And whichever dining room it's been in,
0:28:46 > 0:28:51he has sat with his back to it. So that has been the story of it.
0:28:51 > 0:28:55And so, presumably, you would be quite keen to hear that it's
0:28:55 > 0:28:57worth a fortune and you'll have to sell it?
0:28:57 > 0:29:00Exactly! I hope it's not going to stay in the family.
0:29:00 > 0:29:02I hope it's worth a lot of money and we can sell it.
0:29:02 > 0:29:03LAUGHTER
0:29:03 > 0:29:05I hate it.
0:29:05 > 0:29:08All right, do you know what's supposed to be going on in it?
0:29:08 > 0:29:10- It's Europa and the bull, isn't it?- Yes, well done.
0:29:10 > 0:29:12And Europa, of course, was immortal.
0:29:12 > 0:29:15Fancied rotten by Zeus, and he changed himself into a bull
0:29:15 > 0:29:17so he could come down and ravish her.
0:29:17 > 0:29:20And this is the act of ravishing we're seeing here.
0:29:20 > 0:29:23But it's done in the manner of a very great artist called Chagall.
0:29:23 > 0:29:26It's like one of his dream pictures, he always has bulls
0:29:26 > 0:29:28and horses in them. And it's like a dream, really.
0:29:28 > 0:29:31Only I personally think a bit of a nightmare, I'm afraid.
0:29:31 > 0:29:33I'm with you.
0:29:33 > 0:29:37Which is why I only have to put £400-600 on it.
0:29:37 > 0:29:40- Well.- OK. - So I'm afraid you're stuck with it.
0:29:40 > 0:29:42Unfortunately, we might have to take it home!
0:29:42 > 0:29:44LAUGHTER
0:29:47 > 0:29:51A malacca cane. A really odd-looking wood, isn't it?
0:29:51 > 0:29:58And it's made from the stem of a rattan palm from southeast Asia.
0:29:58 > 0:30:01- Where did you get it from? - It belonged to my father.
0:30:01 > 0:30:05He used to carry it at all the time in the '50s when he walked
0:30:05 > 0:30:10- down the street, he thought it was a good gimmick, I think.- Absolutely.
0:30:10 > 0:30:14The top of the handle is made of marine ivory.
0:30:14 > 0:30:19It's a tusk from an animal like a walrus.
0:30:19 > 0:30:21An animal that lives in the sea.
0:30:21 > 0:30:26And is decorated with small, silver circles.
0:30:26 > 0:30:30Inlaid into the ivory. And that is called pique work.
0:30:30 > 0:30:36It's beautifully decorated. I love these hearts and flowers.
0:30:36 > 0:30:41But the best bit, for me, looking at the top, is the date.
0:30:41 > 0:30:441688.
0:30:44 > 0:30:47I did wonder if that was a commemorative of
0:30:47 > 0:30:51the Glorious Revolution, but I think it's actually that date.
0:30:51 > 0:30:54I think that's a completely genuine date.
0:30:54 > 0:30:57And there are also two initials, RS,
0:30:57 > 0:31:01so I would love to have known who RS was.
0:31:01 > 0:31:07And the malacca cane has this wonderful, natural gloss to it.
0:31:07 > 0:31:09It's incredibly strong.
0:31:09 > 0:31:13I think this is a really good example of an antique which is as
0:31:13 > 0:31:20fit for purpose now as it was when it was made, over 300 years ago.
0:31:20 > 0:31:24But probably a little bit more valuable than a modern walking stick.
0:31:24 > 0:31:27I think it's worth in the region of...
0:31:27 > 0:31:31600, 700, maybe £800.
0:31:31 > 0:31:35Yes, I don't think I'll be selling it. It has sentimental value.
0:31:35 > 0:31:38Of course. And I'd like to be able to picture your father
0:31:38 > 0:31:41walking along with it in the '50s.
0:31:41 > 0:31:45It's certainly the earliest-dated malacca cane I have ever seen.
0:31:47 > 0:31:50When the sun hits it like this, the gold lustre
0:31:50 > 0:31:53and the ruby lustre, incredible colours, aren't they?
0:31:53 > 0:31:57They're beautiful, aren't they? I liked it when I saw it first.
0:31:57 > 0:31:59Where did you get it from?
0:31:59 > 0:32:01It was part of a collection of work
0:32:01 > 0:32:03that was from an elderly woman's house
0:32:03 > 0:32:06when was she moved into supported accommodation.
0:32:06 > 0:32:08It was my friends who collected it,
0:32:08 > 0:32:12and they wanted me to go through this collection to find out
0:32:12 > 0:32:16if there was anything in it that was particularly valuable.
0:32:16 > 0:32:19- And you spotted this?- And I spotted this, amongst other things.
0:32:19 > 0:32:22But when I first spotted it I didn't recognise it for what it was,
0:32:22 > 0:32:26I don't think. I saw it as a Spanish plate.
0:32:26 > 0:32:27But I liked it,
0:32:27 > 0:32:31and they offered it to me in return for looking through these dishes.
0:32:31 > 0:32:32So that's how I got it.
0:32:32 > 0:32:35When you see lustre like this, we only think of one name,
0:32:35 > 0:32:39and that's William De Morgan, the great potter who rediscovered
0:32:39 > 0:32:43the Spanish and Italian lustres in the 1870s.
0:32:43 > 0:32:45And painted dishes like this.
0:32:45 > 0:32:51And the control of the colours is so well done. He was a genius at that.
0:32:51 > 0:32:53Like many of the earlier De Morgan pieces,
0:32:53 > 0:32:57you don't expect to see a mark, because he brought in blank dishes
0:32:57 > 0:33:00from all sorts of makers, and just did the painting.
0:33:00 > 0:33:02And the underside -
0:33:02 > 0:33:05although, no name - is as much of a signature as anything.
0:33:05 > 0:33:09Because this concentric decoration, inspired by the lustres of
0:33:09 > 0:33:14early Spain and Italy, is a classic look of a William De Morgan dish.
0:33:14 > 0:33:19We're looking at about 1875, thereabouts,
0:33:19 > 0:33:22is the period he would have made this.
0:33:22 > 0:33:25When you look at these closely, you see all sorts of details in them.
0:33:25 > 0:33:29But I think De Morgan dishes really work successfully from afar.
0:33:29 > 0:33:33This would have hung on a wall, put on a piece of furniture,
0:33:33 > 0:33:38made to make a statement across the room, as it does today.
0:33:38 > 0:33:43And, inevitably, pieces like this are fairly expensive.
0:33:43 > 0:33:45The dish that you fell in love with is going to be
0:33:45 > 0:33:49- worth between £2,000-3,000.- Wow.
0:33:49 > 0:33:53Crikey! Yes, well, there you go.
0:33:53 > 0:33:55- I'm glad to give it a good home. - LAUGHTER
0:33:59 > 0:34:02I'm so delighted to see these today.
0:34:02 > 0:34:04What we have here are basically
0:34:04 > 0:34:06the fashion look-books of their day.
0:34:06 > 0:34:09Mostly, they're from 1927, 1928.
0:34:09 > 0:34:12And then one that's a little earlier, from 1923.
0:34:12 > 0:34:14Tell me, where did you get them?
0:34:14 > 0:34:16My husband and I lived in Belgium for many years,
0:34:16 > 0:34:19and we used to like to do the local brocantes, or car boots,
0:34:19 > 0:34:25and we found them on one of the annual village brocantes, in fact.
0:34:25 > 0:34:29And we were so surprised and so pleased to find them.
0:34:29 > 0:34:34As it says here on the title, Tres Parisien, and Le Mode, Le Chic.
0:34:34 > 0:34:37It's basically all the high fashions of the day.
0:34:37 > 0:34:39The illustrations themselves,
0:34:39 > 0:34:43some of them are by names that are still very known to us today.
0:34:43 > 0:34:45Such as Worth.
0:34:45 > 0:34:47And we have others throughout the book, Poiret,
0:34:47 > 0:34:50and all the really famous designers of the day.
0:34:50 > 0:34:55These would have been produced to showcase the season's fashions.
0:34:55 > 0:34:58The illustrations are called pochoir illustrations
0:34:58 > 0:34:59they're loose in the book.
0:34:59 > 0:35:02Not only do we have the illustrations themselves,
0:35:02 > 0:35:03we have all these silhouettes.
0:35:03 > 0:35:07As a lady of fashion, what you should be looking for, really.
0:35:07 > 0:35:11It's an absolutely brilliant historical reference of what
0:35:11 > 0:35:14the fashions were like. Are you a costume collector, particularly?
0:35:14 > 0:35:17Not at all. We just found the books with the fashion plates
0:35:17 > 0:35:21and thought they were so wonderful. I do like the 1930s period,
0:35:21 > 0:35:24and some of the clothes in there are just so colourful
0:35:24 > 0:35:27and almost actual for today.
0:35:27 > 0:35:30I think that's the good thing about a lot of 1920s fashion, that it
0:35:30 > 0:35:35is very wearable today, and why it remains as popular as it does.
0:35:35 > 0:35:37So often you see these broken up,
0:35:37 > 0:35:40and people take the illustrations and they're framed.
0:35:40 > 0:35:45So what is so nice about this is that we have a complete record.
0:35:45 > 0:35:47Can I ask how much did you pay for them at the time?
0:35:47 > 0:35:50I can't remember exactly, but wouldn't be more than 30 euros.
0:35:50 > 0:35:54- 30 euros for the whole collection? - Yes.
0:35:54 > 0:35:56I'm hoping you will be very pleased to hear that,
0:35:56 > 0:35:59if they went for auction, I would think collectively
0:35:59 > 0:36:02they would have value in the region of about £1,200-1,500.
0:36:02 > 0:36:03Oh, excellent!
0:36:03 > 0:36:06That's good. That's really good.
0:36:09 > 0:36:12My eyes light up when I see jewellery that has impact.
0:36:12 > 0:36:14And these, definitely,
0:36:14 > 0:36:17have got a lot of impact.
0:36:17 > 0:36:20Now, you tell me what you know about these jewels?
0:36:20 > 0:36:23The Joseff Jewelry was started in the '30s.
0:36:23 > 0:36:27He designed for all the films, like Gone With The Wind,
0:36:27 > 0:36:31and lots of stars wore his jewellery.
0:36:31 > 0:36:33My sister and I used to go to lots of vintage shows
0:36:33 > 0:36:37and we saw a lady selling these. And we bought lots.
0:36:37 > 0:36:40And we love it, it's all very dramatic.
0:36:40 > 0:36:43That is the right word, it is absolutely dramatic.
0:36:43 > 0:36:47- Now, this is costume jewellery that we're talking about here.- Yes, yes.
0:36:47 > 0:36:50- It is not gold.- No, sadly. - LAUGHTER
0:36:50 > 0:36:54Sadly! It'd be quite a weight, actually, if it was gold.
0:36:54 > 0:36:57But, all the same, I love jewellery which has quality.
0:36:57 > 0:37:00And it doesn't matter what it's made of,
0:37:00 > 0:37:03- as long it it's been manufactured well.- Yes.
0:37:03 > 0:37:08And here we have as good as it gets in terms of costume jewellery.
0:37:08 > 0:37:11Now, you mentioned the word Joseff Of Hollywood,
0:37:11 > 0:37:16and he was a gentleman born in Chicago in 1905.
0:37:16 > 0:37:20He actually had an apprenticeship in a foundry.
0:37:20 > 0:37:24So he started to explore making artefacts,
0:37:24 > 0:37:28and then jewellery designs later on came into play.
0:37:28 > 0:37:30He moved over to Hollywood with his brother,
0:37:30 > 0:37:36and he made great friendships with the various elites in Hollywood.
0:37:36 > 0:37:39He tried to get his jewellery designs made, but he couldn't
0:37:39 > 0:37:43get them made, so he actually had to make them himself at first.
0:37:43 > 0:37:47And then, as he started to get into the movies,
0:37:47 > 0:37:51and his jewellery became such an iconic part of the movies
0:37:51 > 0:37:54as well, of course, his business grew and developed.
0:37:54 > 0:37:59He supplied about 90% of the movie stars.
0:37:59 > 0:38:03You had Marlene Dietrich, you had Vivien Leigh,
0:38:03 > 0:38:06you had Greta Garbo, you had Elizabeth Taylor -
0:38:06 > 0:38:10all these amazing women wearing these jewels which had such impact.
0:38:10 > 0:38:13And then, of course, the public thought, "I want some of that, too."
0:38:13 > 0:38:17So then costume jewellery really did snowball into being
0:38:17 > 0:38:22- made for the general public to be able to buy, like yourself.- Yes.
0:38:22 > 0:38:25- I hope you wear these.- I do.
0:38:25 > 0:38:30- And enjoy them, and do you get lots of comments?- Always, always.
0:38:30 > 0:38:33- And how much did you pay for these? - I think that was approximately £50.
0:38:33 > 0:38:34£50.
0:38:35 > 0:38:37So, in auction,
0:38:37 > 0:38:41I would expect this would go for a round about £1,000-1,500 now.
0:38:41 > 0:38:46Good heavens, that's amazing! I can't believe it.
0:38:46 > 0:38:47That's wonderful, thank you.
0:38:52 > 0:38:54This is a wonderful little autograph book.
0:38:54 > 0:38:57And as soon as you open it, you think, oh my gosh,
0:38:57 > 0:39:00the first signature is Queen Victoria!
0:39:00 > 0:39:02I have a feeling this little autograph book belonged to
0:39:02 > 0:39:05someone who was very, very well connected.
0:39:05 > 0:39:06Do you know anything about it?
0:39:06 > 0:39:09My mum just got it from an antique shop.
0:39:09 > 0:39:12Found it in Rochester market in the '60s when I was at art school.
0:39:12 > 0:39:15- Right.- For £1.
0:39:15 > 0:39:17In ten years of doing the Roadshow,
0:39:17 > 0:39:19I haven't seen a pot quite like this.
0:39:21 > 0:39:23Actually, if we turn over the first page,
0:39:23 > 0:39:27it's still great. We're not going downhill from Victoria here.
0:39:27 > 0:39:29We've got George IV, we've got William IV.
0:39:29 > 0:39:32And if we flick through here, we've even got the Duke of Wellington.
0:39:32 > 0:39:35And what better signature could you ask for?
0:39:35 > 0:39:38I know, very apt for where we are today, isn't it?
0:39:38 > 0:39:40It says TR Lallement, France.
0:39:40 > 0:39:43I guess this was made in the '20s or '30s.
0:39:43 > 0:39:47Lallement was painting pots like this in Paris.
0:39:47 > 0:39:51But it's so stylish! Look at that stepped top and inverted rim.
0:39:51 > 0:39:55- It's just gorgeous.- And the little waves around the top.- Little waves.
0:39:57 > 0:40:02I honestly think there's £1,000-1,500 worth of signatures in this book.
0:40:02 > 0:40:04Oh, wow! That's nice to know. I love it.
0:40:05 > 0:40:09And I just love that pot so much that...
0:40:09 > 0:40:12- £600-800?- OK, right.
0:40:12 > 0:40:15It's fantastic, I really, really love it.
0:40:20 > 0:40:23Well, I'm sorry to have to tell you this,
0:40:23 > 0:40:26but I think you're a complete rotter!
0:40:26 > 0:40:27Why?!
0:40:27 > 0:40:32Because I filmed an item earlier with Fiona about rummers
0:40:32 > 0:40:35from my own collection, which is similar to these,
0:40:35 > 0:40:37but yours knocks spots off mine,
0:40:37 > 0:40:39and there are not many people who can upstage me around here.
0:40:39 > 0:40:42LAUGHTER
0:40:42 > 0:40:46In fact, I think this is the most amazing collection of
0:40:46 > 0:40:51late-18th-century, engraved British glass that anybody's ever brought into me.
0:40:51 > 0:40:54So where did they float into your life?
0:40:54 > 0:40:55Well, they belonged to my mum,
0:40:55 > 0:40:57and before that they belong to my granny.
0:40:57 > 0:41:00And I don't know who they belonged to before that.
0:41:00 > 0:41:02Do you use any of them?
0:41:02 > 0:41:05No, they live in a corner cupboard so I can actually see them.
0:41:05 > 0:41:10- OK, so they're on show?- Yes. - They are rummers.
0:41:10 > 0:41:15This is the generic name for this type of generous, bold wine glass.
0:41:15 > 0:41:20And they are collected today because they're so usable.
0:41:20 > 0:41:23They may not be usable in your house,
0:41:23 > 0:41:29but that is the size of a wine glass today. They're practical.
0:41:29 > 0:41:32They are all in the neoclassical style.
0:41:32 > 0:41:37This one, we can tie down to a date, because it commemorates
0:41:37 > 0:41:42the opening of the Wear Bridge at Sunderland in 1796.
0:41:42 > 0:41:45The neoclassical engraving, very nice quality.
0:41:45 > 0:41:48- Are they two separate... - There are various sets here, yes.
0:41:48 > 0:41:51The ones at the front are one set, the ones at the back,
0:41:51 > 0:41:54and the Sunderland Bridge rummer.
0:41:54 > 0:41:57So their value comes in two forms.
0:41:57 > 0:41:59I'm going to give my value for them,
0:41:59 > 0:42:02and then you're going to show us the other value they have.
0:42:02 > 0:42:04This one being the star,
0:42:04 > 0:42:09this one has an auction estimate of £400-600.
0:42:09 > 0:42:14- And then you can... £80-120 the rest.- OK.
0:42:14 > 0:42:17Immaculate condition.
0:42:17 > 0:42:21- So the global valuation on these is roughly £2,000.- Wow, thank you.
0:42:21 > 0:42:23But there's a kick in the tail, isn't there?
0:42:23 > 0:42:27- Because your Gran taught you something else about these glasses? - Yes.
0:42:27 > 0:42:29Come on, show us how it works.
0:42:32 > 0:42:36PURE, SUSTAINED NOTE
0:42:40 > 0:42:43- Can you play the Roadshow theme? - Unfortunately not!
0:42:43 > 0:42:45LAUGHTER
0:42:45 > 0:42:49Well done, you! Very good! Thank you very much for bringing them in.
0:42:54 > 0:42:56Well, here we are in Walmer.
0:42:56 > 0:42:59We're standing just a few hundred yards from the Channel coast.
0:42:59 > 0:43:02- That's right.- This way, I believe.
0:43:02 > 0:43:05So it's appropriate that you brought me this little book.
0:43:05 > 0:43:07Captain Webb On The Art Of Swimming.
0:43:07 > 0:43:11- You've brought me a book, and a ring.- Yeah, that's right.
0:43:11 > 0:43:13Tell me a little bit about what they are.
0:43:13 > 0:43:15The ring was presented
0:43:15 > 0:43:19to my great-great-great-grandfather, George Toms,
0:43:19 > 0:43:23after he was pilot to him on the first successful channel swim
0:43:23 > 0:43:25on the 25th of August, 1875.
0:43:25 > 0:43:28So they gave him a ring as a thank you.
0:43:28 > 0:43:31And the book was written after the event.
0:43:31 > 0:43:35It's got the history and the narrative of the swim in there.
0:43:35 > 0:43:37And George Toms is mentioned a few times.
0:43:37 > 0:43:39It ties the history up, really.
0:43:39 > 0:43:41- And the ring itself is inscribed. - Yes.
0:43:41 > 0:43:46It's not just the ring, "Presented by Captain M Webb to
0:43:46 > 0:43:51"Mr Toms for his services on the occasion of swimming the Channel."
0:43:51 > 0:43:54- That's right. - "25th of August, 1875."- Yes.
0:43:54 > 0:43:57So this is one of our great, national sporting heroes.
0:43:57 > 0:44:00Yeah, I think he was quite a hero of the time.
0:44:00 > 0:44:03He had matches named after him, and cigarette cards and stuff.
0:44:03 > 0:44:08- He was in the water just under 22 hours, I believe.- 22 hours?- Yeah.
0:44:08 > 0:44:13- Now, as I understand it, it's just over 22 miles across the Channel? - Yeah.
0:44:13 > 0:44:19But with the tides taken into account, he actually swam 39 miles,
0:44:19 > 0:44:23as it takes him down the Channel and back up again, and then into Calais.
0:44:23 > 0:44:26It does sound as though you know all about the sea?
0:44:26 > 0:44:27I'm a crew at the lifeboat station,
0:44:27 > 0:44:29the local lifeboat station at Walmer.
0:44:29 > 0:44:32I've been on the crew there about 14 years.
0:44:32 > 0:44:35So we enjoy the sea, always lived next to the coast, so...
0:44:35 > 0:44:37So knowledge of the tides is really a matter of life and death?
0:44:37 > 0:44:40Yes, for them, certainly.
0:44:40 > 0:44:44This is just marvellous to see these two things together.
0:44:44 > 0:44:47- Think you very much. - Association is everything.
0:44:47 > 0:44:50The book and the ring together, I think
0:44:50 > 0:44:53- must be worth somewhere between £1,000-1,500.- Oh, wow.
0:44:53 > 0:44:55Yeah, that's interesting.
0:44:55 > 0:44:58That's brilliant, thank you very much.
0:44:58 > 0:45:03In the late 1920s, early '30s, these figures would have been
0:45:03 > 0:45:06the height of sophistication and fashion.
0:45:06 > 0:45:14So what's a 20-something's interest in two beautiful,
0:45:14 > 0:45:17semi-naked women in the 21st century?
0:45:17 > 0:45:21I've always found them interesting as a kid.
0:45:21 > 0:45:23When I used to go to my grandparents' house.
0:45:23 > 0:45:26And then they've been moved up into another room in the house,
0:45:26 > 0:45:29and they've always been the main centre of attention in the room.
0:45:29 > 0:45:32- So they've always been in your family?- They've always been in my family.
0:45:32 > 0:45:35They were given to my great-grandmother
0:45:35 > 0:45:37- by my great-grandfather. - Wow. I mean, they are beautiful.
0:45:37 > 0:45:41If you look at the Art Deco period, it sums up in your mind
0:45:41 > 0:45:46an image of Egyptian, of Greece, and just strength.
0:45:46 > 0:45:50They are by one of the really good sculptors of this time.
0:45:50 > 0:45:57Joe Descomps was 1870s born, up to, I think, 1948, 1950 when he died.
0:45:57 > 0:45:59You have the signature there, Joe Descomps,
0:45:59 > 0:46:03and really, this is what he was known for.
0:46:03 > 0:46:08Figures in bronze like this of scantily clad ladies, dancers.
0:46:08 > 0:46:10The great thing about them is no-one's cleaned them.
0:46:10 > 0:46:13They have a slightly worn look.
0:46:13 > 0:46:18All this is bronze with gilding and jewelled necklaces.
0:46:18 > 0:46:23The market for Deco has never really fallen away.
0:46:23 > 0:46:25This one, at auction,
0:46:25 > 0:46:28easily £2,000-3,000.
0:46:28 > 0:46:31And this one, I just love.
0:46:31 > 0:46:34- £3,000-5,000.- Oh!
0:46:34 > 0:46:35Thank you very much.
0:46:37 > 0:46:40This is my father's diary from the Second World War.
0:46:40 > 0:46:46He was a prisoner of war from 1941. And he kept quite a detailed record.
0:46:46 > 0:46:48He was a huge keeper of records.
0:46:48 > 0:46:51This is actually just a part of what he kept.
0:46:51 > 0:46:54Well, he wasn't just a diarist, looks like he was an artist too.
0:46:54 > 0:46:56Are these his drawings?
0:46:56 > 0:46:59Yeah, he did sketch a lot of camp life. A lot of scenes
0:46:59 > 0:47:02that they found, I think, quite amusing, at the same time,
0:47:02 > 0:47:05despite the situation been quite grim and very uncertain,
0:47:05 > 0:47:09you literally didn't know what your future was going to be.
0:47:09 > 0:47:10I've turned to this one, and it's
0:47:10 > 0:47:13a picture of soldiers going to a barbed-wire gate.
0:47:13 > 0:47:18And it says here, "So this is to be our home?
0:47:18 > 0:47:22"We enter Oflag 5A, 9th of October, 1943."
0:47:22 > 0:47:24Is that where he was kept prisoner?
0:47:24 > 0:47:26This was after the Italian capitulation.
0:47:26 > 0:47:29He had previously been in Italy in a couple of camps,
0:47:29 > 0:47:30now he was moved up to Germany,
0:47:30 > 0:47:34because the Germans swept everybody up and took them all up
0:47:34 > 0:47:36on a cattle train up to Germany.
0:47:36 > 0:47:39So that is where he spent the next years.
0:47:39 > 0:47:41These are photographs.
0:47:41 > 0:47:44- Is this him?- Yes, that's my father.
0:47:44 > 0:47:47He is Second Lieutenant David Gordon Blair.
0:47:47 > 0:47:49He was always known as Gordon all his life,
0:47:49 > 0:47:52because his father was called David. It saved a bit of confusion.
0:47:52 > 0:47:55What was his life like in the prison camps?
0:47:55 > 0:47:59Really, he had a fairly quiet life.
0:47:59 > 0:48:01In fact, he involved himself in things...
0:48:01 > 0:48:03Amazing, it may seem, things like amateur dramatics.
0:48:03 > 0:48:07They actually put on performances. He also produced these magazines.
0:48:07 > 0:48:11He collaborated with other people in producing magazines for the camp.
0:48:11 > 0:48:14We have a couple of examples here.
0:48:14 > 0:48:18But he spent a quiet war. We're not talking about a Hero Of Telemark.
0:48:18 > 0:48:20This is my father's life.
0:48:20 > 0:48:24It was something that was incredibly important, but at the same time
0:48:24 > 0:48:27something that didn't emerge for 30 years after the war.
0:48:27 > 0:48:29It sat in a cupboard.
0:48:29 > 0:48:31And this is a photograph I've just shown to you,
0:48:31 > 0:48:35- showing a play, in the prison camp, presumably.- I know.
0:48:35 > 0:48:38Some of them, of course, had to dress up as women.
0:48:38 > 0:48:41Which caused some amusement.
0:48:41 > 0:48:44But it's an amazing historical document.
0:48:44 > 0:48:47It's one of the reasons I wanted to bring it today.
0:48:47 > 0:48:50Because although he was in an ordinary man, and he would describe
0:48:50 > 0:48:52himself as such, in a very ordinary war,
0:48:52 > 0:48:54really, behaving himself, actually.
0:48:56 > 0:48:59This is possibly an untold story of what went on.
0:48:59 > 0:49:01It wasn't all about digging tunnels, and being heroic,
0:49:01 > 0:49:03and jumping fences on motorbikes.
0:49:03 > 0:49:07It was just survival and keeping your spirits up in this way.
0:49:07 > 0:49:10We've turned to a page here, which has labels.
0:49:10 > 0:49:14Why did he keep the labels from food tins, from Red Cross parcels?
0:49:14 > 0:49:19The food was of such critical importance to you as a prisoner.
0:49:19 > 0:49:22In his written diary, he talks about the lack of food.
0:49:22 > 0:49:24And it was a severe lack of food.
0:49:24 > 0:49:28So to obtain anything remotely exotic was amazing.
0:49:28 > 0:49:32So it would have had a very deep meaning to him.
0:49:32 > 0:49:38- Probably beyond that which we could comprehend by looking at these labels now.- I should imagine so.
0:49:38 > 0:49:40Here we have apple and blackberry jam.
0:49:40 > 0:49:43That has come from the Red Cross parcel from England.
0:49:43 > 0:49:45Some of it from Canada, I think, Australia.
0:49:45 > 0:49:48He was captured with Australians, so there's a great Australian link.
0:49:48 > 0:49:52He kept in contact after the war, with certainly one of them.
0:49:52 > 0:49:57This is a wonderful record of his history in the prisoner of war camp.
0:49:57 > 0:50:00I think, if this...
0:50:01 > 0:50:04were on the open market today.
0:50:04 > 0:50:08I think a collector would probably pay for this,
0:50:08 > 0:50:11and these two reviews,
0:50:11 > 0:50:14something in the region of £1,000-1,500.
0:50:14 > 0:50:16And the value's immaterial to you.
0:50:16 > 0:50:19Absolutely, it doesn't reflect anything.
0:50:19 > 0:50:22To some big extent, this IS my father.
0:50:22 > 0:50:25Which is why I felt a big sense of disquiet this morning
0:50:25 > 0:50:28when I was putting these in a bag to bring here.
0:50:28 > 0:50:33It's a hard, emotional idea to lay your father out in public.
0:50:33 > 0:50:37And I hope, really hope, he would not disapprove of what I'm doing.
0:50:37 > 0:50:39That I'm doing it with good motive.
0:50:39 > 0:50:43- I think he would be very pleased that you did.- Thank you.
0:50:46 > 0:50:49- Which one of you owns the scent bottle?- We both do.
0:50:49 > 0:50:52That must get complicated when you share the scent?
0:50:52 > 0:50:55So was it inherited or something you bought, or...?
0:50:55 > 0:50:58It was inherited from our mother.
0:50:58 > 0:51:00My parents really loved antiques,
0:51:00 > 0:51:03and they collected all sorts of different, interesting things.
0:51:03 > 0:51:06Our mum went to an antique fair near where we lived,
0:51:06 > 0:51:10- and bought the bottle for 75p.- OK.
0:51:10 > 0:51:14And then later in the day, she went back
0:51:14 > 0:51:19and the person she bought it from wanted to buy it back from her.
0:51:19 > 0:51:22- For a huge profit?- I don't know.
0:51:22 > 0:51:25Well, I think they realised they had made a mistake in selling it.
0:51:25 > 0:51:28- So they offered her the 75p back, and she said no.- Yes.
0:51:28 > 0:51:32I think she was very wise. It's a sweet, little bottle.
0:51:32 > 0:51:35It's by Baccarat, one of the best French makers.
0:51:35 > 0:51:40Cameo glass, all beautifully decorated in these lovely layers.
0:51:40 > 0:51:44I think in the sunshine today, it really comes out,
0:51:44 > 0:51:46this lovely orchid decoration.
0:51:46 > 0:51:50This was a time when perfume didn't come packaged.
0:51:50 > 0:51:52You would go to the chemist and buy it loose,
0:51:52 > 0:51:54and it would go into a beautiful bottle.
0:51:54 > 0:51:56And also, orchids - we can go to the supermarket
0:51:56 > 0:51:58and buy an orchid for £10.
0:51:58 > 0:52:01If you had orchids at the period this bottle was
0:52:01 > 0:52:04made in late 19th century, you were somebody of wealth.
0:52:04 > 0:52:10So, Baccarat, expensive orchids, expensive perfume, expensive...
0:52:10 > 0:52:1575p has turned into £150.
0:52:15 > 0:52:17- Wow!- That's lovely!- Thank you.
0:52:21 > 0:52:24There are few things more distinctive than
0:52:24 > 0:52:26Martin Brothers' pottery.
0:52:26 > 0:52:29And I think if we went round this crowd here and asked them
0:52:29 > 0:52:31their opinion, it would be a very mixed
0:52:31 > 0:52:37and split audience between love, loathe and plain curiosity.
0:52:37 > 0:52:40So I have to ask, of those three, which are you?
0:52:40 > 0:52:44I was left a very small vase, which isn't here, many years ago,
0:52:44 > 0:52:47and I fell in love with Martinware.
0:52:47 > 0:52:50And then, back in the '70s,
0:52:50 > 0:52:53one could buy Martinware very cheaply in London.
0:52:53 > 0:52:55They used to have quarterly sales
0:52:55 > 0:53:00in which they'd have 40 or 50 pieces in auction.
0:53:00 > 0:53:04But in the '70s, whilst Martin Brothers was beginning to become
0:53:04 > 0:53:08recognised, it was still derided by many people.
0:53:08 > 0:53:12So you were, absolutely, you were a pioneer!
0:53:12 > 0:53:14You were out there at the front.
0:53:14 > 0:53:15So what were you paying?
0:53:15 > 0:53:19I'm curious what were these things costing you back in the '70s?
0:53:19 > 0:53:21This was 450.
0:53:21 > 0:53:26- In April '76.- Right.
0:53:26 > 0:53:30This, I bought in Sandwich, about 650.
0:53:30 > 0:53:34In real terms, not to reveal my age,
0:53:34 > 0:53:37but I was a wee nipper when you were buying these.
0:53:37 > 0:53:42But £450 and £600 was still a reasonable amount of money.
0:53:42 > 0:53:44That was still a considered investment.
0:53:44 > 0:53:46And I think it is about that recognition.
0:53:46 > 0:53:48People were starting to look at the Martin Brothers.
0:53:48 > 0:53:53Four brothers, Robert Wallace, Charles, Walter, Edwin,
0:53:53 > 0:53:56who were manufacturing these pieces.
0:53:56 > 0:53:59They were a very curious bunch of potters, really.
0:53:59 > 0:54:01They were a curious factory.
0:54:01 > 0:54:05Sometimes they would go months on end without firing, creating things.
0:54:05 > 0:54:08Things would go wrong, firings would get lost.
0:54:08 > 0:54:12They started their life - I'm sure you've done your research yourself -
0:54:12 > 0:54:15in 1873, based in Fulham.
0:54:15 > 0:54:18And in 1877 they moved to Southall,
0:54:18 > 0:54:21which became their home up until the First World War.
0:54:21 > 0:54:25And across that period, this is what they were doing.
0:54:25 > 0:54:30And, of course, the genius is Robert Wallace. He's the grand master.
0:54:30 > 0:54:34He's the absolute pinnacle of what was going on there,
0:54:34 > 0:54:38creating these wonderful, grotesque birds, as we now call them.
0:54:38 > 0:54:43With wit and humour, and curious little looks.
0:54:43 > 0:54:47And this chap here, this pair of birds, just turn it round,
0:54:47 > 0:54:51they're giving each other a hug. These boys are friends.
0:54:51 > 0:54:55But they were very, very skilled potters.
0:54:55 > 0:55:00And I think that's why the market has developed so much.
0:55:00 > 0:55:04What was the connection for you? What drew you to them?
0:55:04 > 0:55:06I think they're very amusing to look at.
0:55:06 > 0:55:09Each time you look at them, you look at them in a different way.
0:55:09 > 0:55:12The Americans are apparently buying a lot of this stuff now,
0:55:12 > 0:55:13that is where it all ends up, in America.
0:55:13 > 0:55:15They're going all over the world.
0:55:15 > 0:55:19They're going to Australia, South Africa, Canada, America.
0:55:19 > 0:55:22So what are people going to pay you today for them?
0:55:22 > 0:55:24The vase - lovely example.
0:55:24 > 0:55:29Decorated with Robert Wallace's classic wally birds.
0:55:29 > 0:55:32Very desirable in today's market.
0:55:32 > 0:55:33That vase today?
0:55:33 > 0:55:36- £10,000. - THEY GASP
0:55:36 > 0:55:37Wow.
0:55:41 > 0:55:43The bird in the middle.
0:55:43 > 0:55:47He's a big example, he's an early example, 1884.
0:55:47 > 0:55:49He's got a lovely expression.
0:55:49 > 0:55:53He does have a little firing line across his beak, which,
0:55:53 > 0:55:57unfortunately, will hold the value back.
0:55:57 > 0:56:01The big collectors are put off by very visible damage
0:56:01 > 0:56:04to a key part of the bird. And it's a shame,
0:56:04 > 0:56:06because as a result that means he's only worth 40,000.
0:56:06 > 0:56:09THEY GASP
0:56:09 > 0:56:11Gosh.
0:56:11 > 0:56:15Wow. Amazing!
0:56:15 > 0:56:18This is a late pairing. This is a 1907 bird.
0:56:18 > 0:56:22It's a double, the doubles are very desirable.
0:56:22 > 0:56:24It's a great looking pair, good colour.
0:56:24 > 0:56:26But it isn't as big as that one, at the end of the day,
0:56:26 > 0:56:28and we've got to factor that in.
0:56:28 > 0:56:31And because it isn't as big, but it is a double,
0:56:31 > 0:56:33- it's worth £60,000. - THEY GASP
0:56:33 > 0:56:34Gosh!
0:56:36 > 0:56:38Well!
0:56:38 > 0:56:39It's unbelievable!
0:56:40 > 0:56:46So your pioneering spirit, nearly 40 years ago,
0:56:46 > 0:56:51has resulted in a table collection here, well in excess of £100,000.
0:56:51 > 0:56:53Gosh.
0:56:53 > 0:56:56APPLAUSE
0:57:03 > 0:57:06Well, it just goes to show, beauty is in the eye of the beholder.
0:57:06 > 0:57:08What a valuation - a six-figure sum.
0:57:08 > 0:57:11We've seen birds like this on the Roadshow before,
0:57:11 > 0:57:12but not a collection on that scale.
0:57:12 > 0:57:16And, I think, the best way to describe them?
0:57:16 > 0:57:17Interesting.
0:57:17 > 0:57:19From the Antiques Roadshow, at Walmer Castle,
0:57:19 > 0:57:21until next time, bye-bye.