0:00:46 > 0:00:49This is a relaxing way to start the roadshow.
0:00:49 > 0:00:52Rolling hills, woodland, the lake.
0:00:52 > 0:00:55You'd think I was miles away from the noise
0:00:55 > 0:00:56and crowds of a city.
0:00:56 > 0:00:59But in fact, Stoke-on-Trent, is just over there.
0:00:59 > 0:01:02The industrial metropolis, home of the Potteries.
0:01:02 > 0:01:06And I'm in Trentham Gardens for this week's Antiques Roadshow.
0:01:12 > 0:01:16Trentham has always been the perfect place to get away from it all.
0:01:16 > 0:01:18In the mid-19th-century it was a playground for the
0:01:18 > 0:01:20rich and powerful.
0:01:20 > 0:01:23It's owner, the Duke of Sutherland spared no expense improving
0:01:23 > 0:01:27the great house, Trentham Hall, and the expansive gardens.
0:01:27 > 0:01:30He loved inviting influential and celebrated people
0:01:30 > 0:01:32to come and appreciate it.
0:01:33 > 0:01:35The lake was designed by Capability Brown
0:01:35 > 0:01:38as the centrepiece of Trentham.
0:01:38 > 0:01:40The River Trent was dammed to supply water to the lake
0:01:40 > 0:01:43and the gardens and at the time it seemed ingenious,
0:01:43 > 0:01:46but it proved to have disastrous consequences.
0:01:47 > 0:01:49By the 1850s, the gardens were among
0:01:49 > 0:01:51the most celebrated in the country.
0:01:51 > 0:01:53But just 20 years later,
0:01:53 > 0:01:55this paradise was lost.
0:01:59 > 0:02:01In the latter half of the 19th century,
0:02:01 > 0:02:04the potteries of Stoke-on-Trent were booming.
0:02:04 > 0:02:07There were around 2,000 bottle kilns creating a permanent
0:02:07 > 0:02:12fog of smoke over the city. The population was also growing.
0:02:12 > 0:02:14The area's waterways, including the River Trent,
0:02:14 > 0:02:15became heavily polluted.
0:02:16 > 0:02:20And the lake, like the river, was a virtual cesspit.
0:02:23 > 0:02:27The shine had well and truly gone off this once impressive estate.
0:02:27 > 0:02:29Unable to find a solution, the Duke and Duchess of Sutherland
0:02:29 > 0:02:32moved away to a more fragrant environment, no doubt.
0:02:32 > 0:02:36And as for Trentham Hall, it was demolished in 1911.
0:02:36 > 0:02:37And this...
0:02:38 > 0:02:41..is all that's left.
0:02:44 > 0:02:46Thankfully, the good times have returned.
0:02:46 > 0:02:48The lake has been restored to its former glory
0:02:48 > 0:02:53and the gardens which, for years, were lost beneath weeds
0:02:53 > 0:02:58and overgrowth have, over a decade, been redesigned and look at them!
0:02:58 > 0:02:59They're glorious.
0:03:01 > 0:03:04Let's hope our experts are just as good at uncovering great
0:03:04 > 0:03:07finds at today's Antiques Roadshow.
0:03:12 > 0:03:14I gather you've come a long way to be here today?
0:03:14 > 0:03:17- I have, I've come all the way from New Zealand.- Oh, right.
0:03:17 > 0:03:19- And you brought this in your hand luggage then?- I did.
0:03:19 > 0:03:24- Where did it come from?- I got it from a charity shop in Taupo,
0:03:24 > 0:03:29- which is central North Island, about two years ago.- And how much for?
0:03:29 > 0:03:35- 50 cents. 50 New Zealand cents which is about 22 pence.- OK.
0:03:35 > 0:03:37So what do you think you've got?
0:03:37 > 0:03:40I think I might have got a little French pot,
0:03:40 > 0:03:43- which may or may not be a fake. - Right.
0:03:43 > 0:03:45It is a problem with these
0:03:45 > 0:03:47because fakes absolutely abound
0:03:47 > 0:03:49of this type of porcelain.
0:03:49 > 0:03:51A little pot from the Sevres.
0:03:51 > 0:03:53Or is it? Let's have a look.
0:03:53 > 0:03:57- A toilet pot, from a cosmetics and dressing table.- Right.
0:03:57 > 0:03:58And a little lid,
0:03:58 > 0:04:02you lift the top off with a pretty flower and underneath
0:04:02 > 0:04:06there is the maker's mark and that is really quite a famous sign
0:04:06 > 0:04:09and that's what, you spotted that in the shop, did you?
0:04:09 > 0:04:12- No, no, I didn't.- Well, the mark is the Sevres factory mark,
0:04:12 > 0:04:17the monogram of the King Louis XV cipher with
0:04:17 > 0:04:19a letter in the middle which is a date code.
0:04:19 > 0:04:23- And letter R should be 1770. - Right.
0:04:23 > 0:04:25- So that's when this should have been made.- Should've been, right.
0:04:25 > 0:04:31If it's the real thing and, well, it's got lots of clues.
0:04:31 > 0:04:34And that's the useful thing because all the workmen who made it
0:04:34 > 0:04:36put their signs on it.
0:04:36 > 0:04:37When it was being produced,
0:04:37 > 0:04:41the potter who made the basic shape on the wheel scratched
0:04:41 > 0:04:44in some little initials, you can just see a little scribble there,
0:04:44 > 0:04:46- that's the potter's mark.- Right.
0:04:46 > 0:04:48And then when it was hung up in the kiln,
0:04:48 > 0:04:50they drilled a little hole in the foot rim
0:04:50 > 0:04:51and hung it up in the kiln
0:04:51 > 0:04:53and then you've got the painter.
0:04:53 > 0:04:55The little shape above the mark,
0:04:55 > 0:04:57that's the sign of Noel,
0:04:57 > 0:05:00a painter who specialised in copies
0:05:00 > 0:05:02- of textile patterns.- Oh, right.
0:05:02 > 0:05:04And that's what you've got here.
0:05:04 > 0:05:07So, it all adds up and what you found is the real thing.
0:05:07 > 0:05:09SHE GASPS
0:05:11 > 0:05:13So, made at the Sevres Factory
0:05:13 > 0:05:19in France in 1770, a special piece of porcelain, probably
0:05:19 > 0:05:23there was a little set of these on a dressing table in a very grand home
0:05:23 > 0:05:26or palace and for 50 cents.
0:05:26 > 0:05:28Great, isn't it?
0:05:28 > 0:05:32So, this is enough to pay for your flight over here, wonders.
0:05:33 > 0:05:38It could be because that little pot's worth £1,000.
0:05:38 > 0:05:41SHE LAUGHS
0:05:41 > 0:05:43That is wonderful.
0:05:43 > 0:05:46I didn't want to pay for 50 to have a valuation
0:05:46 > 0:05:50but I thought I'd pay for a plane ticket and come to the roadshow.
0:05:50 > 0:05:52It's wonderful, wonderful news!
0:05:54 > 0:05:58Now, you've brought along a brooch,
0:05:58 > 0:06:00fashioned as two wings
0:06:00 > 0:06:03with a bit of blue, and a couple of letters in the middle.
0:06:04 > 0:06:07And before we get on to the brooch itself, I'd like you to tell me
0:06:07 > 0:06:11when you got it and where you got it.
0:06:11 > 0:06:17It was bought in Wales when I was on holiday in 2006 at a car boot.
0:06:17 > 0:06:19And what drew you to it particularly, do you think?
0:06:19 > 0:06:21Well, I thought at first, cos I never had my glasses on,
0:06:21 > 0:06:24it was an RAF brooch of silver and marcasite.
0:06:24 > 0:06:27Yes, which were made in quite large numbers.
0:06:27 > 0:06:31- You buy the thing for how much? - £20.- £20.
0:06:33 > 0:06:35Took it home with you, then what did you do with it?
0:06:35 > 0:06:37Well, I noticed it had got the England
0:06:37 > 0:06:41and Australia on it, plus the initials in the middle, CCW.
0:06:41 > 0:06:44And I thought it was unusual and that it might be something to
0:06:44 > 0:06:48do with the flight Australia to England with Amy Johnson.
0:06:48 > 0:06:50Now, you, then, I think,
0:06:50 > 0:06:53- did a little bit of homework, didn't you?- Yes.
0:06:53 > 0:06:58And you've actually come up with a photograph of one of the most
0:06:58 > 0:07:00famous British women of her day.
0:07:01 > 0:07:05There she is dressed wearing
0:07:05 > 0:07:07a brooch which is
0:07:07 > 0:07:08remarkably similar to that
0:07:08 > 0:07:09particular one.
0:07:09 > 0:07:12All right, well let me tell you as much as I can about it.
0:07:12 > 0:07:15First of all, silver and marcasite, no.
0:07:16 > 0:07:18Platinum and diamond.
0:07:20 > 0:07:23The brooch is fashioned in the form of two outstretched wings
0:07:23 > 0:07:27with a little wreath of diamonds in the centre
0:07:27 > 0:07:30and then, very crucially, you have
0:07:30 > 0:07:33this monogram in the middle
0:07:33 > 0:07:35because the monogram is actually
0:07:35 > 0:07:36a man who was called
0:07:36 > 0:07:41Charles Chippers Wakefield and he
0:07:41 > 0:07:45sponsored this extraordinary woman
0:07:45 > 0:07:49when she decided that she was going to fly Gypsy Moth
0:07:49 > 0:07:55between this country and Australia as a solo voyage.
0:07:55 > 0:07:57People didn't do that in those days.
0:07:57 > 0:08:01So that's why I can feel confident that,
0:08:01 > 0:08:03not only have we got the photograph
0:08:03 > 0:08:04of her wearing it,
0:08:04 > 0:08:06but you've also got the brooch
0:08:06 > 0:08:08with the CCW monogram
0:08:08 > 0:08:11in the middle and then to augment it,
0:08:11 > 0:08:13to really ram the point home,
0:08:13 > 0:08:16you've got the countries as well.
0:08:16 > 0:08:20Question - how on earth did this brooch finish up
0:08:20 > 0:08:22in a car boot in Wales?
0:08:22 > 0:08:27Well, she used to fly in Wales on the beach, practise to fly.
0:08:27 > 0:08:30Oh, so was it possible then that she lost it
0:08:30 > 0:08:31and it was picked up by someone?
0:08:31 > 0:08:34Well, she did pawn some of her jewellery up in Wales to
0:08:34 > 0:08:37sponsor her yachting lessons.
0:08:37 > 0:08:39So she may have pawned that brooch
0:08:39 > 0:08:41- to pay for her...- Lessons.- Right, OK.
0:08:41 > 0:08:43- She wasn't a wealthy woman.- OK.
0:08:43 > 0:08:46£20 brooch, car-boot sale...
0:08:47 > 0:08:49..£3,000.
0:08:49 > 0:08:52- CROWD GASPS - Oh, right.
0:08:52 > 0:08:55What an absolutely fantastic
0:08:55 > 0:08:57piece of jewellery to bring onto
0:08:57 > 0:09:01the roadshow. I'm absolutely thrilled. Thank you very much.
0:09:01 > 0:09:04- Thank you very much.- You're welcome. - Thank you.
0:09:07 > 0:09:11I love a leather box and a leather box that actually says,
0:09:11 > 0:09:14"Lady Armstrong, Cragside."
0:09:14 > 0:09:16Cragside, that fantastic house in
0:09:16 > 0:09:19the middle of Northumberland,
0:09:19 > 0:09:21one of the great stately homes.
0:09:21 > 0:09:22What is your relationship with
0:09:22 > 0:09:26- Cragside?- Absolutely none, directly.- OK.
0:09:26 > 0:09:29My interest is in collecting old maps of the canals
0:09:29 > 0:09:34and the canal system but when I saw this in a shop for sale,
0:09:34 > 0:09:38I just took a fancy to it and thought, "I've got to have that."
0:09:38 > 0:09:39Wow!
0:09:41 > 0:09:43Isn't that amazing?
0:09:43 > 0:09:46OK, well, let me just try and work out
0:09:46 > 0:09:48what it is that we've got here.
0:09:48 > 0:09:50There are knobs.
0:09:50 > 0:09:53What does that...? Oh, OK,
0:09:53 > 0:09:58- so that rolls the map...- That's right.- ..backwards and forwards.
0:09:59 > 0:10:02This is absolutely remarkable.
0:10:02 > 0:10:04Oh, and actually, here we've got Northumberland,
0:10:04 > 0:10:05there's Cragside here.
0:10:05 > 0:10:08Yes, we've got Rothbury and Cragside.
0:10:08 > 0:10:12And Cragside is actually there, that's the site of the house.
0:10:12 > 0:10:16And moving across into the middle of the North Sea then,
0:10:16 > 0:10:20you've got this fabulous key to the maps.
0:10:20 > 0:10:23The red ones, "first-class roads."
0:10:23 > 0:10:26The red and white dotted are "secondary"
0:10:26 > 0:10:32and the one down from that is "indifferent but still passable."
0:10:32 > 0:10:34- LAUGHS:- That's great, isn't it? - Brilliant.
0:10:34 > 0:10:38So, I'm picturing the scene of Lady Armstrong
0:10:38 > 0:10:45on some wonderful journey through England with her driver,
0:10:45 > 0:10:48perhaps in her Rolls-Royce,
0:10:48 > 0:10:51and as they go through the country,
0:10:51 > 0:10:54so the map scrolls down.
0:10:54 > 0:10:57I mean, it is an early form of Sat Nav.
0:10:59 > 0:11:00Turn it over...
0:11:02 > 0:11:04- ..and there's a compartment here. - Two little clips.- Two clips.
0:11:04 > 0:11:06And look at that!
0:11:06 > 0:11:10Here you have these rolls then,
0:11:10 > 0:11:13that fit into the machine that covers the whole of
0:11:13 > 0:11:15England and Wales,
0:11:15 > 0:11:18made by Bartholomew's, who are perhaps
0:11:18 > 0:11:21the best makers of maps.
0:11:21 > 0:11:25Date-wise, we're talking about the 1920s.
0:11:25 > 0:11:28I mean, the only thing that I suppose I'm surprised about is
0:11:28 > 0:11:32that actually it's a painted case and I would have assumed
0:11:32 > 0:11:36actually it would be a mahogany case rather than painted.
0:11:36 > 0:11:40- How long ago did you buy it? - Getting on for ten years ago now.
0:11:40 > 0:11:44- And you paid what for it then? - I paid £150.
0:11:44 > 0:11:48- Which was a reasonable sum. - I thought so at the time.- Yes, sure.
0:11:48 > 0:11:52I think the market has moved on since then, over the last ten years.
0:11:52 > 0:11:56And a quirky object like this to the right buyer,
0:11:56 > 0:11:59that is the owner of a 1920s Rolls-Royce or Bentley,
0:11:59 > 0:12:02they would pay between £800 and £1,200 for it.
0:12:02 > 0:12:04Really? Oh, very good.
0:12:06 > 0:12:10Do you have a prized object from the golden age of travel?
0:12:10 > 0:12:16Glamorous luggage? Beautifully crafted car mascots?
0:12:16 > 0:12:19Perhaps a menu from the maiden voyage of a famous ship?
0:12:19 > 0:12:22Antiques Roadshow is planning a special edition
0:12:22 > 0:12:25and we're looking for outstanding stories that celebrate
0:12:25 > 0:12:29the era of luxury ocean-going liners,
0:12:29 > 0:12:31the early days of air travel,
0:12:31 > 0:12:34classic cars and of course the steam age.
0:12:34 > 0:12:36TRAIN WHISTLES
0:12:36 > 0:12:38We'll be recording an episode on board the magnificent
0:12:38 > 0:12:40Flying Scotsman later this year.
0:12:40 > 0:12:42To book your seat,
0:12:42 > 0:12:44tell us your story by contacting...
0:12:50 > 0:12:52When I first saw this, I thought, "What the heck is it?"
0:12:52 > 0:12:55We've got what looks like a diary in nice Morocco leather,
0:12:55 > 0:12:59solid silver, but then when we come to flip it over,
0:12:59 > 0:13:03magically it turns into a golf scoring card,
0:13:03 > 0:13:06which as far as silver items go, I've never seen one.
0:13:07 > 0:13:13So that says, "The North Staffs Colliery Owners Rescue Team."
0:13:13 > 0:13:18And so, I imagine that that is on the end of that watch chain.
0:13:18 > 0:13:19Well, I hope so, yes.
0:13:19 > 0:13:21I said, "Was this Granny's?"
0:13:21 > 0:13:24She said, "No, she didn't play golf, but Grandpa did."
0:13:24 > 0:13:28- Is it feminine or masculine? - Well, I thought it was a bit girlie.
0:13:28 > 0:13:30Yes, that's what I thought too.
0:13:30 > 0:13:33- Because I thought that might hang on a belt...- Yeah, like a chatelaine.
0:13:33 > 0:13:35Yes, rather like a chatelaine.
0:13:35 > 0:13:39He was a member of the Colliery Rescue Team and there was a fire
0:13:39 > 0:13:43within the colliery stables and my grandfather went in,
0:13:43 > 0:13:44rescued these horses,
0:13:44 > 0:13:47and by undoing the chains to rescue the horses,
0:13:47 > 0:13:49he had severe burns on his hands.
0:13:49 > 0:13:52And he was a bit of a hero at the time.
0:13:52 > 0:13:54Someone has specially commissioned that.
0:13:54 > 0:13:56You've got the golf club holder here,
0:13:56 > 0:13:59there's crossed golf clubs with a little golf ball
0:13:59 > 0:14:01and then date, partner, played at,
0:14:01 > 0:14:05so you're keeping a record of your score and who you played with.
0:14:05 > 0:14:07A great story of bravery like that attached to it,
0:14:07 > 0:14:09and you've got the documentation,
0:14:09 > 0:14:12and you've even got a photograph of the original recipient of the medal.
0:14:12 > 0:14:14It's got to be worth 150 quid
0:14:14 > 0:14:16rather than the £20 or £30 that it otherwise would be.
0:14:16 > 0:14:18That's very nice. Very nice for you.
0:14:18 > 0:14:20THEY LAUGH
0:14:21 > 0:14:23I would happily say, comfortably,
0:14:23 > 0:14:25£600 to £800.
0:14:25 > 0:14:27- Really?- Oh, yeah, really.
0:14:27 > 0:14:28Oh, wow.
0:14:28 > 0:14:30I know the golfers are mad about memorabilia
0:14:30 > 0:14:32but I didn't know they were that mad.
0:14:32 > 0:14:34They're mad, and they're mad about memorabilia.
0:14:37 > 0:14:40BELL CLANGS
0:14:40 > 0:14:42- Well, that sounded great, didn't it?- Yes, fantastic.
0:14:42 > 0:14:46You know there's a well-known newsreel that shows
0:14:46 > 0:14:47a bell like this,
0:14:47 > 0:14:49and written on it,
0:14:49 > 0:14:51written across it, it says,
0:14:51 > 0:14:52"Don't come and tell,
0:14:52 > 0:14:54"ring this like hell."
0:14:54 > 0:14:58- And that's a Battle of Britain period newsreel.- Oh, right.
0:14:58 > 0:15:02And that's where it comes from, but where did you get it from?
0:15:02 > 0:15:05- Well, I purchased it with a deal that I did.- So you're a collector?
0:15:05 > 0:15:06Yeah.
0:15:06 > 0:15:11And this is what people mostly know as a scramble bell,
0:15:11 > 0:15:14a Royal Air Force or RAF scramble bell.
0:15:14 > 0:15:16And if we look at it, it has this crown,
0:15:16 > 0:15:19that's George VI's crown and the letter AM,
0:15:19 > 0:15:23that's Air Ministry and the year, 1940.
0:15:23 > 0:15:27Now, of course, 1940 was the time of the Battle of Britain
0:15:27 > 0:15:30and this brings back those images and those
0:15:30 > 0:15:32black-and-white films of someone
0:15:32 > 0:15:34ringing the bell, clang, clang, clang, clang,
0:15:34 > 0:15:39and those RAF fighter pilots leaping out of their armchairs,
0:15:39 > 0:15:40out of their deckchairs,
0:15:40 > 0:15:43racing for their Spitfires and their Hurricanes.
0:15:43 > 0:15:45But which RAF station did this come from?
0:15:45 > 0:15:46I don't know exactly which one it was.
0:15:46 > 0:15:48I think it was somewhere in Lincolnshire,
0:15:48 > 0:15:51one of the airfields over there but I wish I did know
0:15:51 > 0:15:53because it would make it much more interesting,
0:15:53 > 0:15:55if we knew which one it had come from.
0:15:55 > 0:15:58You know these were found at the guardroom...
0:15:59 > 0:16:02..they were found at the station headquarters,
0:16:02 > 0:16:07they were found at the fire section, so there are a lot of bells
0:16:07 > 0:16:11like this on every single RAF station at that period.
0:16:11 > 0:16:14That means there are a lot of bells.
0:16:14 > 0:16:19- So, to be truthful, they're not uncommon objects.- Right.
0:16:19 > 0:16:23However, having said that, they're actually quite desirable objects.
0:16:23 > 0:16:27Something like this at auction today would certainly
0:16:27 > 0:16:30make between £800 and £1,200.
0:16:30 > 0:16:33Oh, right. Good deal.
0:16:33 > 0:16:35HE LAUGHS
0:16:35 > 0:16:36Yeah, I'm chuffed about that.
0:16:40 > 0:16:44Well, I must say that you're below the average age of an
0:16:44 > 0:16:46Antiques Roadshow visitor.
0:16:46 > 0:16:49So, tell us, why have you come along here today?
0:16:49 > 0:16:51Well, I started collecting
0:16:51 > 0:16:53silver when I was seven
0:16:53 > 0:16:58and then I've branched out to glass
0:16:58 > 0:17:00and I think it's absolutely wonderful,
0:17:00 > 0:17:05the colours and how it's made and the history behind it.
0:17:05 > 0:17:08Well, you're clearly a nutter, even at this fledgling age,
0:17:08 > 0:17:11so where do you get it from? Where's the spark that led you here?
0:17:11 > 0:17:14Well, when I was seven, I was in an antique shop with my mother
0:17:14 > 0:17:18and I just fell in love with antiques at that very moment
0:17:18 > 0:17:22- and I kept going back and it's just taken off.- I did the same.
0:17:22 > 0:17:26My parents were part-time dealers and at the age of 12 I was going
0:17:26 > 0:17:28out with my parents buying.
0:17:28 > 0:17:29And it was a question,
0:17:29 > 0:17:32you could sit in the car or you could go into the shop.
0:17:32 > 0:17:35And I got it big time, bad, you know and it's been with me ever since,
0:17:35 > 0:17:39that's 60 years I've been doing it. You know, welcome to the club.
0:17:39 > 0:17:41So tell us why you bought them.
0:17:42 > 0:17:47Well, I inherited those two pieces from my grandfather.
0:17:47 > 0:17:50This piece here reminded me of Loetz And Tiffany.
0:17:50 > 0:17:56These, I'm very keen on 18th-century design and the grapes, that's why...
0:17:56 > 0:17:59- Fruiting vine, yeah.- Fruiting vine. - So what's the objective?
0:17:59 > 0:18:02What do you want to learn from this exercise?
0:18:02 > 0:18:05Well, I really want to know more about the glass.
0:18:05 > 0:18:07I want to expand my knowledge.
0:18:07 > 0:18:08Well, I think that is
0:18:08 > 0:18:10the cornerstone of what I'm going to tell you.
0:18:10 > 0:18:13You've basically come for advice, haven't you?
0:18:13 > 0:18:16And my immediate reaction is you need to bone up a bit more.
0:18:16 > 0:18:19You've got to do some swotting. I think you've got to do more.
0:18:19 > 0:18:22This is disparate. There's no theme here.
0:18:22 > 0:18:25Now, of course, the ones you inherited,
0:18:25 > 0:18:281930s kind of little bonbon dishes,
0:18:28 > 0:18:31they would have had sugared almonds or mint imperials,
0:18:31 > 0:18:34it's that sort of thing, they're sort of a bit old fogey.
0:18:36 > 0:18:40Then we have vine engraving. Now, these are historic revival.
0:18:40 > 0:18:45They're '30s, 1920s, '30s so they're not 18th-century,
0:18:45 > 0:18:49they're made in the manner of the 18th-century.
0:18:49 > 0:18:52So, you've got the two themes, you've got retro
0:18:52 > 0:18:57and this sort of iridescent stuff which is...but it's generic.
0:18:57 > 0:19:00So I've kind of beaten you up a bit, but this is tough love.
0:19:00 > 0:19:04You know, I'm just willing you to succeed.
0:19:04 > 0:19:07From my way of thinking, this is your prettiest piece.
0:19:07 > 0:19:10I think that's exactly where the market is, iridescence.
0:19:10 > 0:19:14It's nice, identifiably handmade stuff,
0:19:14 > 0:19:17that's, I think, your best buy.
0:19:17 > 0:19:19So look, we've heard where you've come from
0:19:19 > 0:19:21so the point is really, the great point is,
0:19:21 > 0:19:22where does it go from here?
0:19:22 > 0:19:24What are you going to do with this?
0:19:24 > 0:19:28Well, with this I'm looking to add to it
0:19:28 > 0:19:32and maybe sell some pieces and buy better.
0:19:32 > 0:19:36- So you're a dealer in the making, really.- Yes, definitely.
0:19:36 > 0:19:40OK, so what sort of money are you parting for these?
0:19:40 > 0:19:41Ah, not very much.
0:19:41 > 0:19:43OK, well, how much did this pair cost you?
0:19:43 > 0:19:45- Around £20.- 20 quid.
0:19:45 > 0:19:48How much are you in for on this table?
0:19:48 > 0:19:5050 quid is what you're in for, is it?
0:19:50 > 0:19:53- A bit more than that.- How much?
0:19:53 > 0:19:58- 100?- 100 quid. I think you're going 50% too expensive.
0:19:58 > 0:20:01I want you to do well, please do well, please learn,
0:20:01 > 0:20:03but in the end you get there.
0:20:03 > 0:20:07- I tell you to know it is a fantastic pleasure, OK?- Yes.
0:20:07 > 0:20:09So look, boy, go get them,
0:20:09 > 0:20:13come back and see us again and shake it, and good luck on your hunt.
0:20:13 > 0:20:14APPLAUSE
0:20:14 > 0:20:16- Thank you.- You're most welcome.
0:20:19 > 0:20:21We've got a painting of a vase.
0:20:21 > 0:20:22Please tell me
0:20:22 > 0:20:24you've got the vase as well.
0:20:24 > 0:20:28You have. And they match.
0:20:28 > 0:20:30- Yes, they do, indeed.- So what's going on?
0:20:30 > 0:20:36In 2006, the Burslem Festival had a competition
0:20:36 > 0:20:42to design a vase, which Moorcroft would then make for the winners
0:20:42 > 0:20:45and my daughter Caroline, I said she should enter
0:20:45 > 0:20:48and the night before the deadline
0:20:48 > 0:20:52finally she got round to designing, doing a few designs
0:20:52 > 0:20:54and painting that picture.
0:20:54 > 0:20:57She was 17, she won the 17+ category
0:20:57 > 0:21:01and they made the vase, which is a one-off.
0:21:01 > 0:21:03I think they've made a pretty good job of it, haven't they?
0:21:03 > 0:21:06- Yes, it is lovely. - What does your daughter do now?
0:21:06 > 0:21:07She's a graphic designer.
0:21:07 > 0:21:10She went to Glasgow School of Art
0:21:10 > 0:21:13and did an exchange while she was there
0:21:13 > 0:21:15to the Pratt Institute in New York
0:21:15 > 0:21:18and met someone who is now her husband.
0:21:18 > 0:21:21So, hence, as soon as she graduated, she went to New York.
0:21:21 > 0:21:23It's a fairytale in clay, isn't it?
0:21:23 > 0:21:26It is sort of all her dreams have come true.
0:21:26 > 0:21:29- So do you know who the artists are? - No, no.
0:21:29 > 0:21:31Well, they've put their mark on the bottom.
0:21:31 > 0:21:34We've got HM there for Hayley Moore,
0:21:34 > 0:21:36who did the painting,
0:21:36 > 0:21:38and then MP for Marie Penkethman,
0:21:38 > 0:21:40and she did the tubelining
0:21:40 > 0:21:43and Marie is one of the pre-eminent tubeliners at Moorcroft.
0:21:43 > 0:21:45You see how beautifully it is done.
0:21:45 > 0:21:47It's a great piece of Moorcroft.
0:21:47 > 0:21:51It's modern, as you say, it's 2006, and people might be saying,
0:21:51 > 0:21:53"What are we doing with a vase from 2006 on Antiques Roadshow?"
0:21:53 > 0:21:55But I think it tells an amazing story,
0:21:55 > 0:21:59not just about the fact your daughter clearly has talent,
0:21:59 > 0:22:01but I think it tells the stories of the Potteries
0:22:01 > 0:22:05and we are here in Stoke-on-Trent today and potteries have
0:22:05 > 0:22:09always survived or not survived by the quality of their design.
0:22:09 > 0:22:12And even though this is a modern piece, if that and the
0:22:12 > 0:22:15original drawing came to the market,
0:22:15 > 0:22:20it's going to make £1,000 to £1,500 at auction.
0:22:20 > 0:22:24- But, actually...- No, it's not really relevant.- It's not worth it, is it?
0:22:24 > 0:22:26- Mother's determination. - THEY LAUGH
0:22:26 > 0:22:28- I'll give you that back. - Thank you very much.
0:22:28 > 0:22:31- I think you're very proud of that, aren't you?- Oh, yes, very.
0:22:31 > 0:22:33- I would be too. Thank you very much. - Thank you, thank you.
0:22:35 > 0:22:38This is a very striking picture of four people
0:22:38 > 0:22:41and they've got such expressions on their faces.
0:22:41 > 0:22:43I see it's signed A Berry,
0:22:43 > 0:22:45which I know is Arthur Berry, the local artist here
0:22:45 > 0:22:48and it's a lovely mixed media, actually.
0:22:48 > 0:22:50It looks like watercolour and gouache.
0:22:50 > 0:22:54- And he's well known locally, isn't he?- Oh, absolutely.
0:22:54 > 0:22:58There are fans, passionate fans of Arthur Berry in the district.
0:22:58 > 0:23:00And he trained locally, didn't he?
0:23:00 > 0:23:04Absolutely, he went to Burslem School of Art, where all
0:23:04 > 0:23:07the young people went who were going to go into the
0:23:07 > 0:23:09pottery industry as painters and designers
0:23:09 > 0:23:13and he was offered then a place at the Royal College of Art.
0:23:13 > 0:23:17This is in the Second World War and developed from then on.
0:23:17 > 0:23:18And he really did, and you look at this
0:23:18 > 0:23:21and he's developed his very distinctive style.
0:23:21 > 0:23:23And what does it mean to you? Is it nice to own?
0:23:23 > 0:23:26It's wonderful to own because it brings back
0:23:26 > 0:23:29so much of Arthur's character,
0:23:29 > 0:23:32the humour that he saw around him
0:23:32 > 0:23:36but also the grime, the poverty,
0:23:36 > 0:23:37the difficult lives people had.
0:23:37 > 0:23:39You certainly have it in this picture.
0:23:39 > 0:23:41And I think it's really interesting
0:23:41 > 0:23:43cos I travel around with this programme and we were
0:23:43 > 0:23:47up in Durham last year and we saw
0:23:47 > 0:23:48the pit artists painting up there.
0:23:48 > 0:23:51You go to Salford, you've got Lowry
0:23:51 > 0:23:54and it's amazingly industrial regions and here we are
0:23:54 > 0:23:58in Stoke-on-Trent and you have an artist who is
0:23:58 > 0:24:01recording life as it is for the poor
0:24:01 > 0:24:04and also for the fading industrial town of Stoke,
0:24:04 > 0:24:08you know the old factories etc, which is what Arthur did
0:24:08 > 0:24:12and, you know, he's not a well-known artist outside this area,
0:24:12 > 0:24:15really as far as coming up in auction.
0:24:15 > 0:24:17But that's not the point because
0:24:17 > 0:24:19I think people will love this
0:24:19 > 0:24:22and he's someone for the future, definitely.
0:24:22 > 0:24:25I mean, if I was asked to put a value on this, I would certainly
0:24:25 > 0:24:27put £1,000 to £1,500 on it.
0:24:28 > 0:24:29Yes, yes.
0:24:29 > 0:24:32And if I was a collector, I would certainly go after his work
0:24:32 > 0:24:35because these artists are getting rediscovered
0:24:35 > 0:24:38because they were painting a disappearing life, really.
0:24:41 > 0:24:44- It's Gandalf's staff.- It is, isn't it?- It's parted the Red Sea!
0:24:44 > 0:24:48It's a leg from a Salvador Dali horse on a painting.
0:24:48 > 0:24:50It's the most wonderful sort of abstract,
0:24:50 > 0:24:52it looks like it's growing out of the ground.
0:24:52 > 0:24:53Yeah, I agree.
0:24:53 > 0:24:56- What do you use it for? - It just hangs on the wall.
0:24:56 > 0:24:58When people come and say, "What is it?"
0:24:58 > 0:25:00I say, "I haven't a clue, you tell me!"
0:25:00 > 0:25:03When I first saw it, I thought it might be some sort of tribal weapon.
0:25:03 > 0:25:06You sometimes find tribal weapons with these
0:25:06 > 0:25:09large knobs on the top that were thrown or used to hit people.
0:25:09 > 0:25:11But I don't think it's that at all.
0:25:11 > 0:25:12But rather curiously,
0:25:12 > 0:25:14it sort of doesn't seem to perform its function very well.
0:25:14 > 0:25:19- It bends and it sort of wobbles. - Hmm.- It's a rather curious object.
0:25:19 > 0:25:22- It is.- Do you like it?- Yes, I love it.- I can see that it's had care.
0:25:22 > 0:25:25It's also got this sort of fantastic pattern.
0:25:25 > 0:25:27It's nice and shiny, it's got a good grain
0:25:27 > 0:25:29- and it's got a lovely colour.- Yes.
0:25:29 > 0:25:32And I would do exactly what you do with it.
0:25:32 > 0:25:34I would probably mount it on a plinth
0:25:34 > 0:25:37and I would display it in the corner of the room, dramatically lit.
0:25:37 > 0:25:39Oh, crikey!
0:25:39 > 0:25:42- Dramatically lit? - SHE LAUGHS
0:25:42 > 0:25:44I don't think so!
0:25:44 > 0:25:47- That's taking it a bit far, is it?- Just a bit.
0:25:47 > 0:25:49So, what do you think of this? If you're going to inherit this.
0:25:49 > 0:25:51THEY LAUGH
0:25:51 > 0:25:54- Is this something you would display in your home?- Yes!
0:25:54 > 0:25:55Dramatically lit and cool, isn't it?
0:25:55 > 0:25:59Now, that's just copying, that's plagiarism!
0:25:59 > 0:26:01We may not know exactly what it is, I think it's just effectively
0:26:01 > 0:26:05- a late 19th-century carved, perhaps holly staff.- Yes.
0:26:05 > 0:26:07But I think it would do incredibly well in an auction.
0:26:07 > 0:26:08I think if you put that in,
0:26:08 > 0:26:12it might be estimated to fetch somewhere between £100 and £150.
0:26:12 > 0:26:13Get off! Really?
0:26:13 > 0:26:17- It's just a lovely thing. - You do surprise me!
0:26:18 > 0:26:20It's not going anywhere except on my wall.
0:26:20 > 0:26:22You know, I'm jolly relieved to hear that.
0:26:22 > 0:26:25Because I thought quite frankly, after that valuation,
0:26:25 > 0:26:28- you might me giving me some stick. - THEY LAUGH
0:26:41 > 0:26:43Our challenge this week concerns
0:26:43 > 0:26:46four pieces of early 19th-century jewellery.
0:26:46 > 0:26:48One is an impostor.
0:26:48 > 0:26:54Now, three are 18-carat gold, one is pinchbeck, and that's a cheap alloy.
0:26:54 > 0:26:58So, all that glistens here is most definitely not gold.
0:26:58 > 0:26:59But which is which?
0:26:59 > 0:27:01Susan Rumfitt, you're our jewellery expert.
0:27:01 > 0:27:04You brought these along. First of all, pinchbeck.
0:27:04 > 0:27:07- Because I did a quick survey here. Who's heard of pinchbeck?- No.
0:27:07 > 0:27:09Nobody. So, tell us more about it?
0:27:09 > 0:27:12Pinchbeck was an 18th-century invention
0:27:12 > 0:27:15by Christopher Pinchbeck, who was actually a clockmaker.
0:27:15 > 0:27:17And he decided that there needed to be a metal
0:27:17 > 0:27:21that was more affordable than the standardised 18-carat gold,
0:27:21 > 0:27:24which was the main gold in existence at the time.
0:27:24 > 0:27:29So, he produced this alloy, which is mainly zinc and copper
0:27:29 > 0:27:34and he put this out into the market and well, we have the effects.
0:27:34 > 0:27:36Very difficult to tell the difference
0:27:36 > 0:27:38between 18-carat gold and pinchbeck.
0:27:38 > 0:27:41So, if it's got a lot of copper in it,
0:27:41 > 0:27:46- does it have a slightly rosy tinge to it?- It can do, yes.
0:27:46 > 0:27:50But of course, gold can show a bit of a coppery look to it as well.
0:27:50 > 0:27:54Well, if you want to have a guess at home,
0:27:54 > 0:27:55Susan's got some clues for you.
0:27:57 > 0:28:01'This gorgeous bracelet finished with enamel was made in the 1820s.
0:28:01 > 0:28:03'But does it bear the telltale signs of discolouration
0:28:03 > 0:28:06'you'd see in pinchbeck?
0:28:06 > 0:28:08'This bracelet, decorated with garnets,
0:28:08 > 0:28:10'was made in the 1820s or '30s.
0:28:10 > 0:28:13'But are signs of wear and tear due to its age
0:28:13 > 0:28:16'or evidence of a metal that doesn't endure as well as real gold?
0:28:18 > 0:28:20'Is this aquamarine brooch dating from around 1820
0:28:20 > 0:28:23'the work of a high society goldsmith or a jeweller
0:28:23 > 0:28:25'using highly versatile pinchbeck metal
0:28:25 > 0:28:28'to imitate the finest craftsmanship?
0:28:28 > 0:28:32'And this elegant turquoise necklace produced in the early 19th century
0:28:32 > 0:28:35'is as bright as it was in 1820.
0:28:35 > 0:28:37'But was this because it was looked after well
0:28:37 > 0:28:40'or because pinchbeck retains its bright gold colour?'
0:28:41 > 0:28:44Well, I suppose the first thing I need to do is pick these up, then.
0:28:44 > 0:28:48- Yes.- And see. So this is gossamer light.
0:28:49 > 0:28:52But then, you know, it's a very fine little piece. This...
0:28:53 > 0:28:56Well, it's got the stone in it, obviously.
0:28:56 > 0:28:59So that doesn't help me enormously. So this... That's heavy.
0:28:59 > 0:29:03You think this could be the pinchbeck? That's heavier.
0:29:03 > 0:29:06What makes you think that's pinchbeck? You just don't like it.
0:29:06 > 0:29:08- It looks a bit cheaper, yes. - Cheaper? Right, OK.
0:29:08 > 0:29:12I'm not sure that's the criteria for deciding. And then...
0:29:14 > 0:29:16Well, the thing is they're all light, Susan.
0:29:16 > 0:29:17OK, I'm really stumped.
0:29:17 > 0:29:19Let's have a show of hands here
0:29:19 > 0:29:20because I have to say, I have no idea.
0:29:20 > 0:29:22So, who thinks it's the necklace?
0:29:23 > 0:29:24Nobody.
0:29:24 > 0:29:26The brooch? The brooch?
0:29:27 > 0:29:30- The brooch is not going down well, Susan.- No, it isn't, is it?
0:29:30 > 0:29:31The bracelet?
0:29:33 > 0:29:35- Hmm.- And what about this bracelet at the end?
0:29:35 > 0:29:37You think it's this one? Yeah?
0:29:37 > 0:29:41- Right? OK.- It's pretty split.
0:29:41 > 0:29:44OK, I'm going for the brooch. Do you know why I'm going for the brooch?
0:29:44 > 0:29:46- I just don't like it very much. I know.- That's a shame.
0:29:46 > 0:29:49- It is but you know, got to go for something.- Poor brooch!
0:29:49 > 0:29:51So put us out of our misery then, Susan. Which is it?
0:29:51 > 0:29:56- Well, the brooch is saved. It was the bracelet.- Oh, it's that! Oh!
0:29:56 > 0:29:58THEY LAUGH
0:29:58 > 0:30:00- Right.- Oh, no!
0:30:00 > 0:30:02Right, come on, talk us through it then.
0:30:02 > 0:30:04OK, so the bracelet itself is really bright
0:30:04 > 0:30:08and so, that would be my first gut instinct that it wasn't right.
0:30:08 > 0:30:10But when you pick it up and look at the links and the way
0:30:10 > 0:30:14that they're formed, there are the signs of wear between the links.
0:30:14 > 0:30:15So, show me, for example?
0:30:15 > 0:30:18Just, well, if you look inside, it's all a bit black and grey
0:30:18 > 0:30:19and creates that blackness.
0:30:19 > 0:30:21If it was gold, it wouldn't be like that.
0:30:21 > 0:30:23It wouldn't be like that, no.
0:30:23 > 0:30:25The aquamarine brooch, it does look too good to be true,
0:30:25 > 0:30:26doesn't it, really?
0:30:26 > 0:30:28But again, the quality of the flowers on there
0:30:28 > 0:30:30is just exceptional.
0:30:30 > 0:30:33What is interesting is, though, the values of them.
0:30:33 > 0:30:37The fact that pinchbeck has become so rare over time,
0:30:37 > 0:30:40now something like this will cost, in a good antique shop,
0:30:40 > 0:30:42about £1,800 to buy.
0:30:42 > 0:30:44- Really?- Which is extraordinary.
0:30:44 > 0:30:48Which is more than basically, certainly the aquamarine brooch,
0:30:48 > 0:30:51which is gold and that's around about £1,200.
0:30:51 > 0:30:53Well, I hope you do better than I just have.
0:30:53 > 0:30:55If you've got 18-carat gold at home
0:30:55 > 0:30:58- and you want to know if it's pinchbeck, look inside.- Look inside.
0:30:58 > 0:31:00Feel the weight and look inside.
0:31:00 > 0:31:03And if you've got some you're not sure, bring it along to a roadshow.
0:31:06 > 0:31:12This is an extraordinary plaque. Where did you get it from?
0:31:12 > 0:31:13I've had it for 28 years
0:31:13 > 0:31:19- and it was left in a will from my great aunt who lived in London.- Hmm.
0:31:19 > 0:31:22I've seen plenty of these in my time.
0:31:22 > 0:31:24They're usually English.
0:31:26 > 0:31:27And they were painted by women
0:31:27 > 0:31:30who went to classes.
0:31:30 > 0:31:33It was a done thing for women to paint plaques
0:31:33 > 0:31:36or teapots or whatever came to hand.
0:31:36 > 0:31:41This was unusual because it's continental. In fact, it's German.
0:31:42 > 0:31:46It dates from about 1875, something around there.
0:31:46 > 0:31:50Most are pretty awful but this one's spectacular.
0:31:50 > 0:31:54The person that painted this really knew what they were doing.
0:31:55 > 0:32:01Um, this lace work in white enamel is superb.
0:32:02 > 0:32:08These cabochons in turquoise are made in slight relief
0:32:08 > 0:32:13but they're painted in a way that suggests that they're standing out.
0:32:14 > 0:32:19Now, very often with these portraits,
0:32:19 > 0:32:22there is iconography,
0:32:22 > 0:32:26which tells you something about who the person was.
0:32:28 > 0:32:31And we have got it in spades all over here.
0:32:32 > 0:32:34We've got round her neck...
0:32:36 > 0:32:40..the locket with a gentleman's face on it.
0:32:40 > 0:32:41So, who is he?
0:32:43 > 0:32:47She's wearing a collar which says "Deo Gloria",
0:32:47 > 0:32:50to the glory of God. Why?
0:32:50 > 0:32:52Is she going to go into a nunnery?
0:32:53 > 0:32:55What's happened to him?
0:32:55 > 0:32:58Has he died and she's decided to go into a nunnery?
0:32:58 > 0:33:02She is staring into the distance.
0:33:02 > 0:33:07She's dreaming about what has happened
0:33:07 > 0:33:09or what is about to happen.
0:33:11 > 0:33:13What's it worth?
0:33:13 > 0:33:16£2,500.
0:33:16 > 0:33:18It's a great, great thing.
0:33:18 > 0:33:21- Right.- Thank you very much. - OK, no, thank you very much.
0:33:24 > 0:33:25Do you know what this is called?
0:33:25 > 0:33:28I believe it's a marriage cup or a wager cup.
0:33:28 > 0:33:30A wager cup is exactly what it is.
0:33:30 > 0:33:32Do you know why they're called wager cups?
0:33:32 > 0:33:35Erm, presumably they put wine in
0:33:35 > 0:33:38and then try and drink from it without spilling it.
0:33:38 > 0:33:40You're absolutely right, that's exactly what it is.
0:33:40 > 0:33:41- You gamble on it.- Yes.
0:33:41 > 0:33:44The idea is you fill up that cup with liquid,
0:33:44 > 0:33:45with some wine presumably.
0:33:45 > 0:33:47- Then you turn it over.- Oh.
0:33:47 > 0:33:51And you fill up that end with more wine or spirit.
0:33:51 > 0:33:53And the idea is that
0:33:53 > 0:33:55- you drink out of it.- Oh.
0:33:55 > 0:33:59- And you do it without spilling a drop from the bottom part.- Oh.
0:33:59 > 0:34:02And if you do it right, you win your wager.
0:34:02 > 0:34:03And the idea of them,
0:34:03 > 0:34:08it actually comes from Holland in the 17th century.
0:34:08 > 0:34:12It's made in London in 1909, the hallmark's 1909,
0:34:12 > 0:34:15and it's made by a firm called D & J Welby.
0:34:15 > 0:34:17They're always good quality,
0:34:17 > 0:34:19nothing that they made is ever shoddy.
0:34:19 > 0:34:22How did you happen on it?
0:34:22 > 0:34:24I bought it from a friend.
0:34:24 > 0:34:28But he bought it originally from a car-boot sale.
0:34:28 > 0:34:31- Oh, go on.- For 50 pence. - Did he?- Hmm.
0:34:31 > 0:34:35And he asked, he showed it me and was, "Do you want to sell it?"
0:34:35 > 0:34:37And we settled on £50.
0:34:37 > 0:34:39I liked it and I like silver.
0:34:39 > 0:34:43Well, I think you were quite shrewd to buy that.
0:34:43 > 0:34:44Because it would make
0:34:44 > 0:34:47somewhere in the order of £300 to £350 at auction.
0:34:47 > 0:34:50- Brilliant!- So that was quite a good wager for you, then, wasn't it?
0:34:50 > 0:34:52Yes, it was! Brilliant wager.
0:34:54 > 0:34:58As someone who's lived in Stoke-on-Trent, albeit briefly,
0:34:58 > 0:35:00I have a huge attachment to the city and its history.
0:35:00 > 0:35:03I think it's a marvellous place.
0:35:03 > 0:35:05Erm, and it's a great centre of craftsmanship.
0:35:05 > 0:35:08But of course, pottery, we all know about pottery,
0:35:08 > 0:35:10it's the great city of pots.
0:35:10 > 0:35:12But that craftsmanship to me is much wider.
0:35:12 > 0:35:16Here we're looking at ironwork. So what's the story here?
0:35:16 > 0:35:18Well, it started in 1873.
0:35:18 > 0:35:21My great-grandfather did an apprenticeship
0:35:21 > 0:35:23to be a coach-builder.
0:35:23 > 0:35:25And when he finished the apprenticeship in 1880,
0:35:25 > 0:35:30he started a wrought iron company in Tunstall called William Durose.
0:35:30 > 0:35:31Right.
0:35:31 > 0:35:34And then his sons continued the business
0:35:34 > 0:35:38and eventually, my father was the last person in the business.
0:35:38 > 0:35:41And they made wrought ironwork not only locally
0:35:41 > 0:35:44but throughout the country and throughout the world.
0:35:44 > 0:35:47- So, a famous name. I mean, I've heard that name.- Right, yeah.
0:35:47 > 0:35:50- Because it's part of the history of the city, isn't it?- That's it, yes.
0:35:50 > 0:35:51But it all fits into that period.
0:35:51 > 0:35:53You know, this is the Arts and Crafts movement.
0:35:53 > 0:35:55I mean, a piece like this, who made that?
0:35:55 > 0:35:58That was made by the original William Durose.
0:35:58 > 0:36:01It's classic Arts and Crafts - it's wonderful craftsmanship,
0:36:01 > 0:36:05it's full of that sort of sense of integrity and creativity
0:36:05 > 0:36:07of the late 19th century.
0:36:07 > 0:36:10And so, these gates are the sort of thing the company did.
0:36:10 > 0:36:15- That's it. These are iconic Tunstall Park gates.- Are they still there?
0:36:15 > 0:36:17- They're still there. - So they're a lasting memorial.
0:36:17 > 0:36:19That's it, they were made in 1904.
0:36:19 > 0:36:23But having said we're not talking about pottery, of course we are.
0:36:23 > 0:36:25Because who's that?
0:36:25 > 0:36:32Well, that's my father. And the business was 100 years old in 1980.
0:36:32 > 0:36:34And my mother knew Peggy Davies,
0:36:34 > 0:36:37who was a sculptress at the Royal Doulton's.
0:36:37 > 0:36:42And she made this as a unique one-off piece.
0:36:42 > 0:36:44What, to mark that centenary?
0:36:44 > 0:36:47To mark the centenary, used my father's photograph, which is here.
0:36:47 > 0:36:49What did your father think when he saw it?
0:36:49 > 0:36:52Well, it was a total surprise and he thought it was fantastic
0:36:52 > 0:36:55and obviously, it's a family heirloom now
0:36:55 > 0:36:58so it can be passed down to my children.
0:36:58 > 0:37:01You throw out the name Peggy Davies quite casually.
0:37:01 > 0:37:03She was totally local,
0:37:03 > 0:37:06Burslem School of Art at the age of 12, came through the ranks.
0:37:06 > 0:37:11You know, she is the greatest modeller in that amazing story.
0:37:11 > 0:37:13So, what happened to the factory?
0:37:13 > 0:37:15Unfortunately, I had to close the business
0:37:15 > 0:37:19and it was knocked down and now it's a superstore.
0:37:20 > 0:37:23That's... That's the fate of historic industry today.
0:37:23 > 0:37:25That's right, yes.
0:37:25 > 0:37:26Values? God knows.
0:37:26 > 0:37:30I mean, the ironwork is what it is, it's part of our history.
0:37:30 > 0:37:32Erm, that figure I think to a collector,
0:37:32 > 0:37:36- we're looking at £1,500, £2,000, something like that.- Right.
0:37:36 > 0:37:40- But it doesn't really matter, does it?- No, no. No, it won't be sold.
0:37:40 > 0:37:42- Thank you. - Thank you very much, thank you.
0:37:47 > 0:37:50Well, of all the local Staffordshire potters,
0:37:50 > 0:37:52the best known and most successful was Wedgwood.
0:37:52 > 0:37:55And of course Wedgwood doesn't come any better than these!
0:37:57 > 0:38:00- Tell me about the caps. - Well, this front cap here is my
0:38:00 > 0:38:02third-generation great-granddad.
0:38:02 > 0:38:05That's his England cap when he played for England
0:38:05 > 0:38:06in 1886 against Ireland.
0:38:08 > 0:38:10Because jasperware was Wedgwood's great invention,
0:38:10 > 0:38:12it's what he's best known for.
0:38:12 > 0:38:14His method was to stain the background colour
0:38:14 > 0:38:19wonderful rich blues or greens and then to apply
0:38:19 > 0:38:22a decoration in the beautifully modelled white relief.
0:38:22 > 0:38:23And in the kiln, they're fired together
0:38:23 > 0:38:25and the quality doesn't change.
0:38:25 > 0:38:26They're sealed forever.
0:38:28 > 0:38:31This is interesting because 1888, I think,
0:38:31 > 0:38:33was the inaugural year of the Football League.
0:38:33 > 0:38:35And this is obviously a year later.
0:38:35 > 0:38:38Stoke City were one of the teams in the first league.
0:38:38 > 0:38:40- The first league. - And they finished last, I think.
0:38:40 > 0:38:43- I think I'm right! - THEY LAUGH
0:38:45 > 0:38:49- These were made in 1775. - As early as that?
0:38:49 > 0:38:53I suppose a pair like these are worth today, well, just over £2,000.
0:38:54 > 0:38:56To me, they're just perfection.
0:38:57 > 0:39:00If you were to offer them all as one lot in an auction sale,
0:39:00 > 0:39:03you could probably expect an estimate of
0:39:03 > 0:39:05something like £1,000-£1,500.
0:39:05 > 0:39:07It's all right, hey?
0:39:07 > 0:39:08Cheers for that. Cheers.
0:39:25 > 0:39:28The problem with furniture is it doesn't like sun
0:39:28 > 0:39:30and it doesn't like rain.
0:39:30 > 0:39:31And today we've got a bit of both
0:39:31 > 0:39:33so we're under this precautionary umbrella,
0:39:33 > 0:39:36so I hope it'll look after us well.
0:39:36 > 0:39:41Now, one of the reasons we don't want to get this wet is it would
0:39:41 > 0:39:44not help this very pretty painted decoration on the top of this.
0:39:44 > 0:39:47But I gather that's not how you found
0:39:47 > 0:39:48this little piece of furniture.
0:39:48 > 0:39:51Yes, I've got memories of when I was a little boy
0:39:51 > 0:39:55seeing this in the attic painted a lurid pink.
0:39:55 > 0:39:59My goodness, and how did you find that it was not pink?
0:39:59 > 0:40:04Well, I decided I liked the shape of it. And so, I sent it to be dipped.
0:40:04 > 0:40:06I thought it was probably pine.
0:40:06 > 0:40:08But that would have ruined it,
0:40:08 > 0:40:10it would have taken all the decoration off.
0:40:10 > 0:40:12So, how do we get left with this?
0:40:12 > 0:40:15Well, the restorer rang me up and he said he must have tried
0:40:15 > 0:40:18a little bit or noticed there was a design, possibly.
0:40:18 > 0:40:21He said he was going to strip it by hand.
0:40:21 > 0:40:24Well, you were very lucky to find a sensitive restorer
0:40:24 > 0:40:27who didn't just plunge the whole thing into an acid bath.
0:40:27 > 0:40:31- So, it's a very recognisable shape. - Hmm.
0:40:31 > 0:40:37- And you know and I know that, in fact, it is a wash stand.- Yes.
0:40:37 > 0:40:40So, this lifts up.
0:40:40 > 0:40:42And that folds out.
0:40:42 > 0:40:45So, here you have the en-suite of the day.
0:40:45 > 0:40:46Ah, yes.
0:40:46 > 0:40:48Tucked into the corner, very handy.
0:40:48 > 0:40:50So, it hasn't got its basins any more.
0:40:50 > 0:40:55And I'm a little bit doubtful actually about the colour here.
0:40:55 > 0:40:57I think this might have gone with the psychedelic pink.
0:40:57 > 0:41:00It is a very Regency shape, it's got a slightly splayed legs,
0:41:00 > 0:41:01this bowed front.
0:41:01 > 0:41:05It's the kind of thing you'll find in design books by Hepplewhite
0:41:05 > 0:41:07at the end of the 18th century.
0:41:07 > 0:41:10- I think it could be American. - Oh, gosh!
0:41:10 > 0:41:14Well, I don't know but there is a great tradition in America
0:41:14 > 0:41:16of stencilled and painted decoration
0:41:16 > 0:41:20of very much this kind coming from what they call the federal period,
0:41:20 > 0:41:22which is the equivalent of our Regency.
0:41:22 > 0:41:25So, I would put this at around 1820.
0:41:25 > 0:41:28It's really delightful, I think stencilled
0:41:28 > 0:41:31and then hand-painted on top of that to give the detail.
0:41:31 > 0:41:35As it is, it's very much in the decorator market.
0:41:35 > 0:41:42And I would like to say that you can expect between £500 and £800.
0:41:42 > 0:41:46- That would be a nice surprise, yes. - Nice. Really good.
0:41:46 > 0:41:49Thank you very much, that's interesting. Very interesting.
0:41:49 > 0:41:50Thanks.
0:41:53 > 0:41:55On the face of it, this looks like a bit of a conundrum,
0:41:55 > 0:41:58I have to confess. OK,
0:41:58 > 0:42:01so top right-hand corner of this scroll, if you like.
0:42:01 > 0:42:04- Malta.- That's right. - And a Maltese cross.
0:42:04 > 0:42:08- In the middle, this is a white Russian flag.- Oh!
0:42:08 > 0:42:12So, the flag of the Imperial side during the Russian Revolution.
0:42:13 > 0:42:16And the whole of the rest of the sheet is covered with signatures,
0:42:16 > 0:42:19which even I can see are pretty well all Russian names.
0:42:19 > 0:42:21The date, 1919 here.
0:42:22 > 0:42:24You're going to have to help me a little bit.
0:42:24 > 0:42:25Do you know what this is?
0:42:25 > 0:42:27Can you tell me something about its background?
0:42:27 > 0:42:30I just know it's passed down through the family.
0:42:30 > 0:42:33It belonged to my father, who had it off his father
0:42:33 > 0:42:37and it was his grandfather's brother's originally,
0:42:37 > 0:42:39that's who the Major Smith is.
0:42:39 > 0:42:43- So, you're from the Smith family? - That's right, yeah.- Right.
0:42:43 > 0:42:48So, "Major Smith, we Russian refugees beg you to accept
0:42:48 > 0:42:51"this humble gift with our best wishes and thanks.
0:42:51 > 0:42:54"Malta, 9th September 1919."
0:42:54 > 0:42:59- Yeah.- And then we see all of these Russian names.
0:42:59 > 0:43:03Here, look, the Prince and Princess Obolensky.
0:43:03 > 0:43:04Nicolas Stroganoff.
0:43:06 > 0:43:08I keep seeing the word count,
0:43:08 > 0:43:11I see the word prince and princess several times.
0:43:11 > 0:43:13I can even make out here...
0:43:13 > 0:43:16- I think this says the Empress of Russia.- Yeah!
0:43:16 > 0:43:20So, I think what we have here is a certificate, if you like,
0:43:20 > 0:43:26put together as a token of thanks by the Russian refugees
0:43:26 > 0:43:28- from the Russian Revolution.- Yeah.
0:43:28 > 0:43:30Those who had escaped Russia.
0:43:30 > 0:43:34We think that the Tsar himself Nicholas II and his family
0:43:34 > 0:43:38had been shot and executed in 1918, this is the following year.
0:43:38 > 0:43:43This is, I suppose, what was left of the Imperial government.
0:43:43 > 0:43:47And they were evacuated with the help of the British Navy and Army
0:43:47 > 0:43:49and this is where I think Major Smith comes in.
0:43:49 > 0:43:52- They were evacuated to Malta.- Yeah.
0:43:52 > 0:43:55So, this is a really extraordinary piece!
0:43:55 > 0:43:57It's full of important names,
0:43:57 > 0:44:00full of names of people who will have descendants today
0:44:00 > 0:44:02who will be fascinated to find that their forebears
0:44:02 > 0:44:05were named on here in this historical occasion.
0:44:05 > 0:44:08Being Russian of course, some of those descendants may be wealthy
0:44:08 > 0:44:11and certainly would be people enthusiastic about buying
0:44:11 > 0:44:13items of their history back, I suppose.
0:44:13 > 0:44:16So I'd be very confident in putting a figure
0:44:16 > 0:44:18of £3,000 to £4,000 on this.
0:44:18 > 0:44:20Wow!
0:44:22 > 0:44:25- Worth the journey! - SHE LAUGHS
0:44:25 > 0:44:28- I'm very glad you brought it. Thank you very much.- Thank you.
0:44:30 > 0:44:33Here we are in the heart of the Potteries
0:44:33 > 0:44:36and I wonder how many people watching the roadshow
0:44:36 > 0:44:39and eating their supper
0:44:39 > 0:44:42have ever thought about the plates that they're eating off.
0:44:42 > 0:44:45We tend to take pottery for granted, it's something which is part of
0:44:45 > 0:44:47our lives and we tend not to think about the people
0:44:47 > 0:44:48who actually made them.
0:44:48 > 0:44:53But you know all about one aspect of making, which is engraving.
0:44:53 > 0:44:54How's that?
0:44:54 > 0:44:59Well, my grandfather was a copper plate engraver at Wedgwood's
0:44:59 > 0:45:00for many, many years.
0:45:00 > 0:45:06And he didn't retire until he was about 73, 74.
0:45:06 > 0:45:10Because of the War, the lack of skilled people.
0:45:10 > 0:45:12There'd be no young apprentices coming through, exactly.
0:45:12 > 0:45:17And the most bizarre thing is that as you arrived this morning
0:45:17 > 0:45:21with these tissue pools from the copper plates,
0:45:21 > 0:45:24- somebody else in the queue arrived with copper plates.- Yes.
0:45:24 > 0:45:26And it was like they both came together
0:45:26 > 0:45:28and we've got the whole story.
0:45:28 > 0:45:30And I think we just don't appreciate the skill.
0:45:30 > 0:45:35These are hand-engraved, little taps of a hammer individually.
0:45:35 > 0:45:38The deeper the hammer goes, the darker the colour is.
0:45:38 > 0:45:42And then from this plate, it would all be inked up,
0:45:42 > 0:45:46it's then scraped off with a knife and then rubbed down with corduroy.
0:45:46 > 0:45:50And then the tissue is laid on, it transfers the ink to the tissue,
0:45:50 > 0:45:52the tissue then goes on to the ware.
0:45:52 > 0:45:55These were some of the most valuable things a pottery owned
0:45:55 > 0:45:58because the amount of time and skill that went into them.
0:45:58 > 0:46:00Often the engravers and the modellers
0:46:00 > 0:46:03were the most well-paid people at the pottery.
0:46:03 > 0:46:05So your grandfather would have been...
0:46:05 > 0:46:07Well, not a wealthy man but comparatively wealthy.
0:46:07 > 0:46:08Yes, I suppose.
0:46:08 > 0:46:11But what amazing skill and you can see on this one here,
0:46:11 > 0:46:14not only did they have to have the skills to engrave
0:46:14 > 0:46:18but you have to get the curvature right to fit around the plate.
0:46:18 > 0:46:21And when you look at this one here,
0:46:21 > 0:46:23particularly you can see where the join is there.
0:46:23 > 0:46:27- And also, if you see, notice this green spot?- Yes, yes.
0:46:27 > 0:46:29- That's because this is a second. - Yes.
0:46:29 > 0:46:31- So, even though he engraved this... - That's right.
0:46:31 > 0:46:34..he's probably seen this one's been rejected, thought,
0:46:34 > 0:46:36- "Right, I'll have that and keep that."- Yes, that's right.
0:46:36 > 0:46:39Because people who worked in properties were very proud
0:46:39 > 0:46:40but in a very modest way.
0:46:40 > 0:46:43They knew the skill they had but they didn't really celebrate it.
0:46:43 > 0:46:46I think what's fascinating about meeting people like yourself
0:46:46 > 0:46:50is that often this is unsung work, this was just a job they were doing.
0:46:50 > 0:46:52A very skilled job, admittedly.
0:46:52 > 0:46:54- We should celebrate it more.- Yes.
0:46:54 > 0:46:59Because behind every ordinary plate are many, many hands
0:46:59 > 0:47:02- that made the final product and we never talk about them.- No.
0:47:02 > 0:47:06- The awful thing is there's not a lot of value here.- No, I know that.
0:47:06 > 0:47:09The copper plates themselves, maybe with the exception of this one -
0:47:09 > 0:47:12this is actually a plate for a pot lid.
0:47:12 > 0:47:14Pot lids with bear-baiting scenes
0:47:14 > 0:47:16are the most desirable pot lids there are.
0:47:16 > 0:47:20So, to a pot lid collector, they would want to have this
0:47:20 > 0:47:24- and they might well pay £500 to £800 for this one.- Gosh.
0:47:24 > 0:47:27The other ones are probably frankly worth a little bit more
0:47:27 > 0:47:29than what the scrap value is.
0:47:29 > 0:47:32- Your collection, the tissue sample, this is one of many.- Hmm.
0:47:32 > 0:47:34And the associated plates.
0:47:35 > 0:47:38To a ceramic geek like myself...
0:47:38 > 0:47:42- £400, £500, £600 perhaps.- Oh, OK. - But to you, priceless memories.
0:47:42 > 0:47:43They're just priceless, yes.
0:47:43 > 0:47:45And as I say, a celebration of what was made here.
0:47:45 > 0:47:48- And what's still made here today. - That's right.- Thank you very much.
0:47:48 > 0:47:50Thank you, thank you, it's very interesting.
0:47:53 > 0:47:55So, what do we have here? A little miniature carriage clock.
0:47:55 > 0:47:59Yeah, my grandfather was the manager of a local jewellery shop
0:47:59 > 0:48:03and people used to bring things in that they wanted to sell.
0:48:03 > 0:48:05And if he liked something, he'd buy it himself.
0:48:05 > 0:48:09- That's where I think it comes from. - Do you know who made it?- No, no.
0:48:09 > 0:48:12All it says on the back is Paris, so I've no idea.
0:48:12 > 0:48:14- Well, that's a pretty good start, isn't it?- Yeah.
0:48:14 > 0:48:16So we know that it's French-made and in France,
0:48:16 > 0:48:19they made them in the hundreds of thousands but in England,
0:48:19 > 0:48:22they made them more in the tens of thousands in the 19th century.
0:48:22 > 0:48:24So, French carriage clocks, much more numerous
0:48:24 > 0:48:25and therefore worth less.
0:48:25 > 0:48:29However, what I particularly like about this are two things.
0:48:29 > 0:48:32- Firstly, that it has the original gilding.- Yes.
0:48:32 > 0:48:35And secondly, that it is
0:48:35 > 0:48:38- such a small and pretty size. - Lovely.- Yeah.
0:48:38 > 0:48:40We've got other carriage clocks, bigger ones
0:48:40 > 0:48:42but that one has always been my favourite.
0:48:42 > 0:48:44So, taking into account that it is
0:48:44 > 0:48:47what we call a sub-miniature carriage timepiece,
0:48:47 > 0:48:51we're talking at auction between £700 and £1,000.
0:48:51 > 0:48:52Wow!
0:48:52 > 0:48:56- Wow, it's not going anywhere anyway. - Oh, don't say that.
0:48:56 > 0:48:59Say, "Yippee, I'm going to flog it!" Fantastic!
0:48:59 > 0:49:01No, it won't go anywhere. That's lovely to know, yeah.
0:49:03 > 0:49:04Wow, this is bright.
0:49:04 > 0:49:07Someone's been busy with the polish and the cleaner.
0:49:07 > 0:49:08Er, not exactly.
0:49:08 > 0:49:11It would be polished maybe once every five years
0:49:11 > 0:49:15but seeing this week, I had the idea of bringing it here,
0:49:15 > 0:49:17needed something quick.
0:49:17 > 0:49:19So I took it down the garden, put it on the patio table,
0:49:19 > 0:49:21laid it out flat.
0:49:21 > 0:49:23Got some cola, a couple of litres.
0:49:23 > 0:49:26Poured the cola over it, left it 12 hours.
0:49:26 > 0:49:30- Come back to it the next day, it had lifted all that tarnish off.- Wow.
0:49:30 > 0:49:33Well, it's as bright as a new pin, isn't it now?
0:49:33 > 0:49:37It probably would have been silver-plated in the first place.
0:49:37 > 0:49:40Erm, the reason I suggest this is
0:49:40 > 0:49:43because it's inscribed down here for Elkington & Co,
0:49:43 > 0:49:47who were a very famous Victorian firm based in Birmingham.
0:49:47 > 0:49:51Metalware but largely silver-plated metalware.
0:49:51 > 0:49:54The casting is very sharp. The lettering is wonderful.
0:49:54 > 0:49:56Sir Joseph Whitworth, Baronet.
0:49:56 > 0:50:00Do you know anything about the individual who is portrayed here?
0:50:00 > 0:50:04So, Joseph Whitworth, erm, world-famous engineer.
0:50:04 > 0:50:07Originated the screw thread.
0:50:07 > 0:50:12He had the idea that in the 1870s, 1890s, he wanted to try
0:50:12 > 0:50:15to make it universal in the railways.
0:50:15 > 0:50:17- Everyone used the same thread. - I see, I see.
0:50:17 > 0:50:19So, if it was in India or South America,
0:50:19 > 0:50:21they would have the Whitworth thread.
0:50:21 > 0:50:23- So, it's a specific railway interest.- Yes.
0:50:23 > 0:50:25And it's a local thing, you found it locally?
0:50:27 > 0:50:32A builder took it off a building from Crewe Railway Works.
0:50:33 > 0:50:37I saw it a few months later because I used to do contract work for him.
0:50:37 > 0:50:40And I said, "Would you like to part with it, Mike?" "No, no."
0:50:40 > 0:50:43Saw him 12 months later, "Would you like...?" "No, no."
0:50:43 > 0:50:45He said, "I tell you what I do want."
0:50:45 > 0:50:46He said, "I'd like a key old desk."
0:50:46 > 0:50:48I said, "All right, leave it with me."
0:50:48 > 0:50:51So a friend of mine was selling a desk, £5.
0:50:51 > 0:50:53HE CHUCKLES
0:50:53 > 0:50:56Yeah, I'll give you £5 for it, Pete, no problem.
0:50:56 > 0:50:58Saw the builder later. "You want to do a swap?"
0:50:58 > 0:51:00- "Yeah, I'll do it, yeah, definitely."- Fantastic.
0:51:00 > 0:51:04So, of course it wasn't in this condition, it was very, very dark.
0:51:04 > 0:51:07Because it'd been on the building wall for over 100 years.
0:51:07 > 0:51:10I think you've done well out of the deal for that five quid desk.
0:51:10 > 0:51:13I think that if you entered this into an auction sale now,
0:51:13 > 0:51:17you could probably expect somewhere in the region of £500 to £800.
0:51:17 > 0:51:19Very good, shall we start the bidding today?
0:51:19 > 0:51:21OTHERS CHUCKLE
0:51:24 > 0:51:29This is just sublime, it's a fabulous, fabulous vase.
0:51:29 > 0:51:31- Of which you have a pair.- Mm-hm.
0:51:31 > 0:51:33So, tell us about them in your life.
0:51:34 > 0:51:37Well, I've always known them.
0:51:37 > 0:51:42Er, my understanding is that my grandfather
0:51:42 > 0:51:46was a travelling salesman for the Irish Linen Company.
0:51:46 > 0:51:48And...
0:51:49 > 0:51:54..best of my knowledge, he visited Czechoslovakia in the 1930s
0:51:54 > 0:51:57and these have been in the family since.
0:51:57 > 0:52:00- OK. And do you like them?- Found their way down to me. I love them.
0:52:00 > 0:52:02Oh, I can't say I blame you.
0:52:02 > 0:52:09Over the centuries, certain European glassworks have emerged as greats.
0:52:09 > 0:52:12And there are not many of them.
0:52:12 > 0:52:14There's Baccarat in France.
0:52:15 > 0:52:18And the other one that really comes to mind is Moser.
0:52:19 > 0:52:24Leo Moser founded this firm in the 19th century.
0:52:24 > 0:52:27And quality was always paramount.
0:52:27 > 0:52:30There has never been rubbish Moser.
0:52:30 > 0:52:34What you have here is an acid etching, a resist.
0:52:34 > 0:52:39A rubbery-type material is laid over all the areas
0:52:39 > 0:52:42which are to remain on the original surface.
0:52:42 > 0:52:46And then the vase is immersed in an extremely aggressive acid.
0:52:46 > 0:52:49So, all the areas which are now blue, cobalt blue,
0:52:49 > 0:52:52have been eaten back by the acid,
0:52:52 > 0:52:55leaving the elephants and the palm trees.
0:52:56 > 0:52:58It is without doubt Moser
0:52:58 > 0:53:04because we have a very clear signature on the base here.
0:53:04 > 0:53:08But it's not the best signature. There's a superior signature.
0:53:08 > 0:53:09Oh, right.
0:53:11 > 0:53:14- Which is just there.- Really? - You ever seen it?
0:53:14 > 0:53:19- No, I have not noticed that. - It says "Moser, Karlsbad".
0:53:19 > 0:53:21- Just there, hidden in the vegetation.- Yes.
0:53:21 > 0:53:24So, you've got a heap of work here.
0:53:26 > 0:53:28Quality is the word that comes to mind.
0:53:28 > 0:53:32This is hours and hours of expert labour.
0:53:32 > 0:53:34Designed in 1925.
0:53:34 > 0:53:37- What do you reckon the pair of these is worth?- Maybe £1,000.
0:53:39 > 0:53:44These as a pair at auction are five times greater than you imagined.
0:53:44 > 0:53:48They're either £4,000 to £5,000, the pair.
0:53:48 > 0:53:53- Oh, wow!- Very, very good things.
0:53:53 > 0:53:54Surprising!
0:53:54 > 0:53:57That's my job. And it's one of the best parts of my job.
0:54:01 > 0:54:04This is one of the most extraordinary watercolours
0:54:04 > 0:54:06I've ever seen on the Antiques Roadshow.
0:54:06 > 0:54:10And before I talk about why I think it is extraordinary,
0:54:10 > 0:54:12I want to look right.
0:54:12 > 0:54:19And we see here a clear signature, Lindner, and date, Paris '35.
0:54:19 > 0:54:23So this is the artist Richard Lindner, who is associated
0:54:23 > 0:54:27with the New York Pop Art scene in the 1950s and '60s.
0:54:27 > 0:54:31And here we have a conductor surrounded rather claustrophobically
0:54:31 > 0:54:33with a whole number of figures.
0:54:33 > 0:54:37- Do you know who the conductor is? - The conductor's Offenbach.
0:54:37 > 0:54:39So how are you connected to this picture?
0:54:39 > 0:54:44This picture was painted by my uncle, who was my father's brother,
0:54:44 > 0:54:49who grew up in Nuremberg and lived in Paris in the '30s.
0:54:49 > 0:54:52Sadly was in a concentration camp but escaped
0:54:52 > 0:54:56and got to New York, where he became quite famous.
0:54:57 > 0:54:59He was befriended by Andy Warhol
0:54:59 > 0:55:03and John Lennon really liked my uncle's painting.
0:55:03 > 0:55:06And when they designed the Sgt Pepper LP,
0:55:06 > 0:55:10I think John Lennon asked for my uncle's picture to be on that.
0:55:10 > 0:55:12See, this is amazing.
0:55:12 > 0:55:15Because if we look at the lower right of this picture and we look at
0:55:15 > 0:55:20that figure in a red costume on his breastplate and yellow lapels,
0:55:20 > 0:55:22you think of that album cover
0:55:22 > 0:55:25and you think of John on the left-hand side in his yellow
0:55:25 > 0:55:27and George in his red.
0:55:27 > 0:55:33Um, and with Richard being in the picture himself, you wonder whether
0:55:33 > 0:55:39he had the influence on Peter Blake, the album cover, and John.
0:55:39 > 0:55:41So, here's someone in the '30s
0:55:41 > 0:55:46almost anticipating the Pop Art scene in the '50s
0:55:46 > 0:55:48which pretty much started in Britain
0:55:48 > 0:55:51and later on, became very famous in New York with Andy Warhol
0:55:51 > 0:55:53and all his contemporaries.
0:55:53 > 0:55:57And that's the extraordinary thing about this picture.
0:55:57 > 0:56:02So, I have to say, the provenance and your story is unbelievable.
0:56:02 > 0:56:06I mean, he must have had the most extraordinary life.
0:56:06 > 0:56:07What did you like about him?
0:56:07 > 0:56:10The last time I saw him was 1968
0:56:10 > 0:56:13and he got off the train in double denim,
0:56:13 > 0:56:17smoking a little clay pipe, which was amazing for us at that time.
0:56:17 > 0:56:20And he was just a great person to have in the house
0:56:20 > 0:56:22and meet and talk to.
0:56:22 > 0:56:26So, I'm using the word extraordinary because this is all extraordinary.
0:56:26 > 0:56:29We have an amazing family provenance, we have a picture
0:56:29 > 0:56:34that almost anticipates the Pop Art scene in the '50s and '60s.
0:56:34 > 0:56:36And as such, I think this is a real rarity.
0:56:36 > 0:56:40It's actually a very difficult picture to value.
0:56:40 > 0:56:42But I'm just going to put it there.
0:56:42 > 0:56:47- I think it's worth at least £40,000 to £60,000.- Really!
0:56:47 > 0:56:49That's amazing, thank you!
0:56:49 > 0:56:53- Thank you so much, a truly brilliant picture.- Thank you.
0:56:53 > 0:56:56So there you have it, the painting that might have inspired
0:56:56 > 0:57:00one of the most iconic album covers of all time.
0:57:00 > 0:57:01The Beatles' Sgt Pepper.
0:57:03 > 0:57:08Of all the tickets I've ever been given, this is the most exciting.
0:57:08 > 0:57:11A ticket to the moon!
0:57:11 > 0:57:13One of our visitors brought this along today.
0:57:13 > 0:57:15It was given to her mum in the 1970s by an airline,
0:57:15 > 0:57:18Trans International Airlines, an American company.
0:57:18 > 0:57:20Ceased trading in the 1980s.
0:57:20 > 0:57:24And if you think about it, 1969, the first man on the moon.
0:57:24 > 0:57:26Everything seemed possible.
0:57:26 > 0:57:30Look, there's even a travel guide, Charters To The Moon.
0:57:30 > 0:57:32And this is my favourite bit.
0:57:32 > 0:57:34"Moon Charter Series, one reservation.
0:57:34 > 0:57:37"Departures, to be announced."
0:57:37 > 0:57:40And 40 years on, we're still waiting!
0:57:40 > 0:57:44From Trentham Gardens and the Antiques Roadshow team, bye-bye.