0:00:43 > 0:00:45The Antiques Roadshow has ridden back to
0:00:45 > 0:00:49Bolsover Castle in Derbyshire, one of English Heritage's finest
0:00:49 > 0:00:53sites. And tucked away within the castle is a 17th century
0:00:53 > 0:00:57riding house, one of the oldest in the country, and still in use today.
0:00:59 > 0:01:02It was built by William Cavendish, the Duke of Newcastle,
0:01:02 > 0:01:05a man who absolutely loved horse riding.
0:01:05 > 0:01:09In fact, he was renowned as one of the best horsemen in Europe.
0:01:09 > 0:01:12He practised his riding skills every day.
0:01:12 > 0:01:15Having learnt the art of horsemanship in sunny Spain,
0:01:15 > 0:01:19he wasn't going to let the grey skies of England get in his way.
0:01:21 > 0:01:23Tall door so he could ride straight in,
0:01:23 > 0:01:27a soft, sandy floor to protect the horses' hooves,
0:01:27 > 0:01:30and high windows so the horses couldn't see out and be distracted.
0:01:30 > 0:01:33Of course he had to have a gallery so friends
0:01:33 > 0:01:35and guests could watch his daily training.
0:01:38 > 0:01:43It was about teaching the horse how to dance, to move elegantly, working
0:01:43 > 0:01:47around the post in the centre, performing graceful pirouettes
0:01:47 > 0:01:52that showed the power of the animal and the control of the rider.
0:01:55 > 0:01:56The key to all this was the horse
0:01:56 > 0:02:01and rider working together, using the horse's natural temperament
0:02:01 > 0:02:05rather than brute force - an approach that's still used today.
0:02:05 > 0:02:09In fact, Cavendish is referred to as the father of modern dressage,
0:02:09 > 0:02:12and wrote the book on the subject in 1658 -
0:02:12 > 0:02:15A General System Of Horsemanship.
0:02:15 > 0:02:18The book is still considered a definitive manual, which is
0:02:18 > 0:02:20why copies like this are still in print today.
0:02:20 > 0:02:24The 17th century originals are much sought after
0:02:24 > 0:02:26and fetch handsome prices.
0:02:26 > 0:02:29Imagine if one turned up for our specialist to see today.
0:02:29 > 0:02:30We can but hope.
0:02:35 > 0:02:39Do you know, a chair like this really suits this setting we're in.
0:02:39 > 0:02:41But it doesn't suit you.
0:02:41 > 0:02:44No, it... It's been passed down to me
0:02:44 > 0:02:46through my grandma's side of the family.
0:02:47 > 0:02:51Legend has it that she bought it in an antiques shop in Cornwall,
0:02:51 > 0:02:53and that's all I know about it.
0:02:53 > 0:02:55And so how long have you had it for? About ten years.
0:02:55 > 0:02:59And in that ten years, you've never done research as to where or...
0:02:59 > 0:03:00No, nothing.
0:03:00 > 0:03:03I had it restored because it was a bit battered and a bit chipped.
0:03:03 > 0:03:05And the fabric I had replaced
0:03:05 > 0:03:08because it was mouldy and sort of worn through.
0:03:08 > 0:03:10OK. So, I mean, it's an exotic-looking chair.
0:03:10 > 0:03:12If you had to guess, which country?
0:03:12 > 0:03:14I look at this and I wonder whether it's a peacock
0:03:14 > 0:03:16and maybe possibly from India, but I don't know.
0:03:16 > 0:03:18OK, not bad.
0:03:18 > 0:03:23Yes, slightly stylised here. All in ebony is the next clue.
0:03:23 > 0:03:27The best bit for this chair, for me, is these.
0:03:29 > 0:03:32So, in my view, they're stylised bees,
0:03:32 > 0:03:36but made of tea leaves.
0:03:36 > 0:03:38Does that take you any closer to where that could be?
0:03:38 > 0:03:40Uh, Ceylon, maybe?
0:03:40 > 0:03:45Perfect, Ceylon. Obviously nowadays Sri Lanka.
0:03:45 > 0:03:50This would have been someone who was pretty...
0:03:50 > 0:03:52well to do within that
0:03:52 > 0:03:55world, whether he was importing or owned a plantation there or
0:03:55 > 0:03:59whatever, he would have had this made locally out of solid ebony.
0:03:59 > 0:04:00Just to the highest spec.
0:04:00 > 0:04:03It's... I'm almost lost for words, it's so exciting to see.
0:04:03 > 0:04:07All of this carving is as good as you get. It's...
0:04:07 > 0:04:11tricky. I mean, 1860, 1880 in date. And you've got this
0:04:11 > 0:04:15slightly hidden, stylised helmet in there,
0:04:15 > 0:04:17but all hidden within that foliage.
0:04:17 > 0:04:20And that's actually what makes it so much more interesting to me.
0:04:20 > 0:04:22I just think it's lovely.
0:04:22 > 0:04:26Value wise, this is becoming much more collectable. I think...
0:04:26 > 0:04:30?2,500-?3,500. Wow.
0:04:31 > 0:04:34Well, that's lovely. It has pride of place in our bedroom
0:04:34 > 0:04:38and never gets used, so it'll go back to staying there.
0:04:38 > 0:04:40Thank you. Pleasure, thank you.
0:04:43 > 0:04:45It's an amazingly modern-looking bowl, really, isn't it?
0:04:45 > 0:04:49It is, but it's certainly 70 years old, because that's
0:04:49 > 0:04:50when my dad bought it.
0:04:50 > 0:04:53He used to call them Chinese pots, and he left me
0:04:53 > 0:04:56quite a few of them, and I've been collecting Chinese pots ever since.
0:04:56 > 0:04:58And that's one of my favourites.
0:04:58 > 0:05:00Well, it's lovely, it's got this old label on there.
0:05:00 > 0:05:03"From the collection of Sir Alexander Grantham."
0:05:03 > 0:05:06It says "British Ambassador to China", but he was a governor
0:05:06 > 0:05:08in Hong Kong in the 1950s.
0:05:08 > 0:05:12But the mark on the bottom is an imperial reign mark.
0:05:12 > 0:05:16To translate, it says "dar Qing Qianlong an jur",
0:05:16 > 0:05:20which means "great Qing", as in the Qing dynasty. The next one,
0:05:20 > 0:05:24"Qianlong", is the name of the Emperor, who reigned from 1736
0:05:24 > 0:05:27to 1795. And the last characters translate as "made in",
0:05:27 > 0:05:31so made in the Qianlong reign of the great Qing dynasty.
0:05:31 > 0:05:35And so it... While it looks terrifically modern,
0:05:35 > 0:05:36it's 250 years old.
0:05:36 > 0:05:39The wear, it's rather scratched on the inside,
0:05:39 > 0:05:42there's a little bit of wear on the outside. It's everything you
0:05:42 > 0:05:46would expect from a Qianlong piece of porcelain.
0:05:46 > 0:05:50Against it in the marketplace, when this was made, it's a
0:05:50 > 0:05:52copper red glaze.
0:05:52 > 0:05:55I'm sure that white patch was unintentional.
0:05:55 > 0:05:57I think that's a misfiring in the kiln. Ah.
0:05:57 > 0:05:59I don't think it was supposed to look like that.
0:05:59 > 0:06:03I reckon it was supposed to be an even copper red glaze throughout.
0:06:03 > 0:06:05Now, I am surprised you say that,
0:06:05 > 0:06:07because I always thought it was absolutely intentional.
0:06:07 > 0:06:10I don't think it is. Look at all of the other Qianlong copper reds
0:06:10 > 0:06:13and they will be even. This is a misfiring -
0:06:13 > 0:06:16it didn't get to the right temperature in the kiln here.
0:06:16 > 0:06:18Even so, I think it's a lovely piece.
0:06:18 > 0:06:20I think, in an auction, it would be probably
0:06:20 > 0:06:24because of this damage, about ?3,000.
0:06:24 > 0:06:27Well, you do surprise me. I am smiling now.
0:06:27 > 0:06:28HE LAUGHS
0:06:28 > 0:06:30That is lovely.
0:06:33 > 0:06:37Well, this is a very flamboyant pendant. Tell me about it.
0:06:37 > 0:06:39It was given to my mother by my grandfather.
0:06:39 > 0:06:41It's in two parts,
0:06:41 > 0:06:44so when my mother was born, the first painting was done. OK.
0:06:44 > 0:06:48And then when my aunt was born three years, two months, one day later,
0:06:48 > 0:06:51the reverse was painted and it was made into the locket it is now.
0:06:51 > 0:06:56Ah, wonderful. So your mother's inside. So my mother's inside.
0:06:56 > 0:06:58In there. Ah... I've got the photograph
0:06:58 > 0:07:00at home that it was taken from.
0:07:00 > 0:07:03It's very like the photo. Oh, fabulous, and then you're saying...
0:07:03 > 0:07:05And that's my aunt, so she was a little bit older
0:07:05 > 0:07:09when she was painted, and I think probably it's a better likeness.
0:07:09 > 0:07:11Oh, isn't that lovely? Doesn't she look sweet?
0:07:11 > 0:07:13She's a lovely lady.
0:07:13 > 0:07:14And your grandfather had it made?
0:07:14 > 0:07:17I presume my grandfather had it made up, yes. Yes, great.
0:07:17 > 0:07:19He was an Oppenheim and interested
0:07:19 > 0:07:21in De Beers and the diamond... Of course. ..diamond business.
0:07:21 > 0:07:24I presume that it was made with the help of the family business.
0:07:24 > 0:07:28We're seeing here, really, two different styles coming together in
0:07:28 > 0:07:31the early part of the 20th century, so that would fit in, wouldn't it,
0:07:31 > 0:07:34with the age of your mother and your aunt
0:07:34 > 0:07:38in...in the actual portraits? That would be just, just right.
0:07:38 > 0:07:40Yes, exactly, and then the
0:07:40 > 0:07:42Victorian look, which was the engraving around the edge,
0:07:42 > 0:07:44was something that carried on into the early
0:07:44 > 0:07:48part of the 20th century, even though we were introducing a much
0:07:48 > 0:07:52lighter style of design by the introduction of the platinum
0:07:52 > 0:07:57in which the diamonds are set, which helped to lighten things and get it
0:07:57 > 0:08:00very much into that lovely, delicate and feminine Edwardian period.
0:08:00 > 0:08:02Now, I've had my colleague, Rupert Maas, have a
0:08:02 > 0:08:06look at the miniatures, because I thought it's always nice to be able
0:08:06 > 0:08:09to link everything in together. And he said that they are...
0:08:09 > 0:08:12not the greatest of quality for the time, and this could well
0:08:12 > 0:08:15fit in with perhaps the budget that your grandfather had at the...
0:08:15 > 0:08:16Was working with, yes.
0:08:16 > 0:08:19Working with. And that each of the miniatures
0:08:19 > 0:08:21are worth about ?200-?300.
0:08:21 > 0:08:24Right. And that the family association naturally
0:08:24 > 0:08:26might add some value to it,
0:08:26 > 0:08:30but really that's more an emotional and sentimental value for you.
0:08:30 > 0:08:32Yeah. With regard to the locket,
0:08:32 > 0:08:36again it's something that you will probably never sell, I'm sure. No.
0:08:36 > 0:08:38I don't think it would mean very much to anybody else,
0:08:38 > 0:08:41but it means a vast amount to my family. I'm sure it does. Yeah.
0:08:41 > 0:08:44And have you worn it? I wore it for my wedding day. Did you?
0:08:44 > 0:08:47If you ever put it up for auction, I'd expect somebody to be
0:08:47 > 0:08:50paying round about the ?3,000 mark.
0:08:50 > 0:08:52Right, OK.
0:08:52 > 0:08:53That's lovely, that's really...
0:08:53 > 0:08:56I never thought I'd hear myself say that, thank you.
0:08:56 > 0:08:57THEY LAUGH
0:09:00 > 0:09:04Well, this is the essence of elegance
0:09:04 > 0:09:05and style, and I can only
0:09:05 > 0:09:09really just imagine what sort of a home you live in. Tell me more.
0:09:09 > 0:09:14Well, we now live in a 1960s architect-designed house. Quite a
0:09:14 > 0:09:17lot of glass, very modern, very sleek...
0:09:17 > 0:09:22and the pieces fit in fairly well. Just starting with these chairs,
0:09:22 > 0:09:23I see they've been recently reupholstered.
0:09:23 > 0:09:25And these are things you use, I guess.
0:09:25 > 0:09:29Yeah, use them every day, they sit in our sitting room...
0:09:29 > 0:09:30They remind me very much
0:09:30 > 0:09:34of the American movies from about the '40s, where somebody's got
0:09:34 > 0:09:38a cocktail and they've got maybe a cigarette in a holder and they've
0:09:38 > 0:09:41just sort of had a disastrous day as they collapse into their chair.
0:09:41 > 0:09:43So when we're finished here this evening,
0:09:43 > 0:09:45that's exactly what you're going to do. Go home,
0:09:45 > 0:09:47mix yourself a cocktail and sit down on these chairs.
0:09:47 > 0:09:50I feel I've revealed too much, yeah.
0:09:50 > 0:09:51THEY LAUGH
0:09:51 > 0:09:55And these have a very strong sort of 1930s Art Deco style.
0:09:55 > 0:09:58But I think they're a little bit later and, for me,
0:09:58 > 0:10:01they prove quite an interesting point that after the war,
0:10:01 > 0:10:05we didn't just flip straight over into the modern period
0:10:05 > 0:10:08and the sort of 1950s designs. Factories were still effectively
0:10:08 > 0:10:12picking themselves up after the war, and picking themselves up in terms
0:10:12 > 0:10:15of design. They just carried on with what had been produced before.
0:10:15 > 0:10:19So I think although they look 1930s, and they very much fit that
0:10:19 > 0:10:23look, they are actually probably a little bit later in date, as well.
0:10:23 > 0:10:26I think they're really nice, smart pieces that fit in with design,
0:10:26 > 0:10:29but almost certainly from the 1950s.
0:10:29 > 0:10:32And moving on to your plinth, where did you buy this from?
0:10:32 > 0:10:37That piece I purchased from a generalist antiques fair.
0:10:37 > 0:10:39It came with another piece, a coffee table.
0:10:39 > 0:10:41But when I saw that, I just loved the sleek look of it.
0:10:41 > 0:10:45Well, when I saw it, it sort of reminded me of skyscrapers,
0:10:45 > 0:10:46and in fact there was a range of furniture
0:10:46 > 0:10:49designed by an American designer called Paul Frankl, which was
0:10:49 > 0:10:52called the Skyscraper range, and it's got that sort
0:10:52 > 0:10:56of monumental, geometric Art Deco and a sort of almost art modern feel
0:10:56 > 0:10:58to it. But it's not modernist, of course,
0:10:58 > 0:10:59we have these little features
0:10:59 > 0:11:03here, the ball feet and these inset discs here. But you'll notice
0:11:03 > 0:11:07I said in the STYLE of Paul Frankl.
0:11:07 > 0:11:09I don't think it's Paul Frankl.
0:11:09 > 0:11:11What was it sold to you as?
0:11:11 > 0:11:16Just as an Art Deco plinth. Not with any provenance of...
0:11:16 > 0:11:19of who made it, just a... you know, of that period.
0:11:20 > 0:11:22I've shown it to a couple of colleagues, as well,
0:11:22 > 0:11:27just to make sure, and we all feel that it is actually in the style
0:11:27 > 0:11:30of the Art Deco period and that it actually is a reproduction.
0:11:30 > 0:11:32And there are a couple of clues.
0:11:32 > 0:11:36First of all, we have these feet down here, which are billiard balls.
0:11:36 > 0:11:39They are made of ivory, but they're billiard balls.
0:11:39 > 0:11:41They're all the same size and they've been pegged in.
0:11:41 > 0:11:43There's a good weight to it, but then again, that was...
0:11:43 > 0:11:46That can often easily be added. But the real clue is,
0:11:46 > 0:11:51if you take a good look at the base, it's completely clean. Mm-hm.
0:11:51 > 0:11:54It shouldn't also have a base like that, it should actually be
0:11:54 > 0:11:57hollow, effectively, inside and solid wood over the top.
0:11:57 > 0:12:00I had wondered whether it had been restored, this very
0:12:00 > 0:12:04sort of high gloss glaze just looks a little bit too good to be true.
0:12:04 > 0:12:05I think it's probably somewhere
0:12:05 > 0:12:07in the region of maybe 20, 30 years old.
0:12:07 > 0:12:09All right.
0:12:09 > 0:12:10Be brave.
0:12:10 > 0:12:12THEY LAUGH
0:12:12 > 0:12:13Yeah, can I ask what you paid for it?
0:12:13 > 0:12:18I think probably about 150, 200 for it, yeah.
0:12:18 > 0:12:20I don't think that's bad.
0:12:20 > 0:12:23The chairs, probably ?200-?300, maybe ?300-?400 the pair.
0:12:23 > 0:12:26Nice and practical, comfortable, indicative of a period.
0:12:26 > 0:12:27Going back to your cocktails,
0:12:27 > 0:12:29and you'll probably need one now, won't you?
0:12:29 > 0:12:32Yeah. Any excuse. THEY LAUGH
0:12:32 > 0:12:35And your wonderful idea of this 1930s style, in design terms,
0:12:35 > 0:12:38I'm kind of wondering, who's Jeeves and who's Wooster?
0:12:38 > 0:12:39THEY LAUGH
0:12:39 > 0:12:42Yeah. We'll leave that one a mystery. Yeah.
0:12:42 > 0:12:44Thank you. Thank you.
0:12:44 > 0:12:45Ah, thank you.
0:12:49 > 0:12:53This is a 1796 light cavalry officer's patterned sword
0:12:53 > 0:12:57and...phwoo, it's certainly one of the best-decorated ones I've ever
0:12:57 > 0:13:00seen, and certainly in the best condition I think I've ever
0:13:00 > 0:13:03seen. It really is absolutely stunning.
0:13:03 > 0:13:06It looked like it walked out the sword cutler's shop yesterday,
0:13:06 > 0:13:09but it clearly didn't. But...
0:13:09 > 0:13:12you tell me where it came from. Well, my husband was a greengrocer,
0:13:12 > 0:13:16he delivered every Friday to his customers.
0:13:16 > 0:13:19This particular Friday, he...
0:13:19 > 0:13:24took the box of greens into the house and the guy there was cleaning
0:13:24 > 0:13:27it, and my husband admired it, as you would,
0:13:27 > 0:13:29and that was it, he left,
0:13:29 > 0:13:34went back the following week and the chap asked him if he would like it.
0:13:34 > 0:13:37He asked him how much, and he said, "No, I want to give it to you."
0:13:37 > 0:13:38And from then on he had free greens for the rest of his life.
0:13:39 > 0:13:42And from then on he had free greens for the rest of his life.
0:13:42 > 0:13:45He was 90 at the time, so... That's fantastic.
0:13:45 > 0:13:48Why do things like that not happen to me?
0:13:48 > 0:13:51It's just so unfair. It's a beautiful example.
0:13:51 > 0:13:55And when you look at it, it's such a simple design.
0:13:55 > 0:13:59It's got this very curved blade, it's a slashing blade,
0:13:59 > 0:14:02and the light cavalry were used for reconnaissance
0:14:02 > 0:14:06and they were also used for chasing up enemy troops that were
0:14:06 > 0:14:09broken, that were running away. And they... Their job was
0:14:09 > 0:14:12to make...to harass them beyond endurance, really,
0:14:12 > 0:14:15just to keep them moving, and that's just ideal for that.
0:14:15 > 0:14:20And it's got this very, very simple hilt on this, and we call it
0:14:20 > 0:14:22a stirrup hilt because it looks like the rider's stirrup.
0:14:22 > 0:14:26Oh, right, yeah, yeah. It doesn't give you...
0:14:26 > 0:14:28fantastic protection for the hand,
0:14:28 > 0:14:31but it's really just more than enough for somebody who's
0:14:31 > 0:14:36quick moving, on a horse, and that would be a very fearsome thing.
0:14:36 > 0:14:40It's in such good condition that this decoration on it,
0:14:40 > 0:14:43which is called fire gilding and charcoal blowing,
0:14:43 > 0:14:46so you get that yellow and blue contrast.
0:14:46 > 0:14:49And as you work your way down the blade,
0:14:49 > 0:14:52there are these swags of foliage.
0:14:52 > 0:14:56The royal arms there, there's a trophy of arms, but I think the best
0:14:56 > 0:15:00bit on this, and the bit I always love on these swords, is just...
0:15:00 > 0:15:04I think it's fascinating to see the way that the Georgians portrayed
0:15:04 > 0:15:08themselves, so there's this little light cavalry officer there.
0:15:08 > 0:15:12And he's wearing a thing called a tartan helmet, which was like
0:15:12 > 0:15:16a jockey cap made out of leather with a big bearskin top on it.
0:15:16 > 0:15:18And that's what he would have looked like,
0:15:18 > 0:15:20the man who owned this sword. Oh, right.
0:15:20 > 0:15:24And I think that because it doesn't show any signs of use,
0:15:24 > 0:15:28it was owned by an officer of the yeomanry cavalry,
0:15:28 > 0:15:30and they were the sort of territorial army of their day,
0:15:30 > 0:15:33and there's a huge interest in this period at the moment
0:15:33 > 0:15:37because of the recent bicentenary of the Battle of Waterloo.
0:15:37 > 0:15:41And that's really pushed the prices up...
0:15:41 > 0:15:43and you would pay for this between
0:15:43 > 0:15:461,500 to...
0:15:46 > 0:15:50?2,000. Perhaps you might pay ?2,500 because they're so rare
0:15:50 > 0:15:53in this condition.
0:15:53 > 0:15:56And I think it's definitely worth a box of greens.
0:15:56 > 0:15:57Oh, yes.
0:16:00 > 0:16:01Where did your sister-in-law get this?
0:16:01 > 0:16:05She got it at a school sale, in a box
0:16:05 > 0:16:08of costume jewellery, for 10p.
0:16:08 > 0:16:09It's a beautiful gem.
0:16:09 > 0:16:11Really? Oh, OK.
0:16:11 > 0:16:15And it's also gold, turn the back of it. It is gold, yes.
0:16:15 > 0:16:18You can see here, it's all this beautiful gold work on the back.
0:16:18 > 0:16:22Now this gold work is telling me a date,
0:16:22 > 0:16:25and this is dating from around about
0:16:25 > 0:16:291800, 1820. And the value,
0:16:29 > 0:16:33I would say, is going to be around about ?500.
0:16:35 > 0:16:37She will be surprised. SHE LAUGHS
0:16:40 > 0:16:44Well, I'd like to tell you I'd come to Bolsover Castle by train.
0:16:44 > 0:16:47This suggests I might have done one day, but I couldn't, could I?
0:16:47 > 0:16:48When did it close?
0:16:48 > 0:16:51It was closed 1980. The lines have all been took away,
0:16:51 > 0:16:53and the station totally demolished.
0:16:53 > 0:16:56So there's no station, no trains to here, but there is a sign.
0:16:56 > 0:16:59I mean, what could be more suitable to be here?
0:16:59 > 0:17:00Where did you get it from?
0:17:00 > 0:17:03I bought it at Barrel Hill, 1972.
0:17:03 > 0:17:05And you paid?
0:17:05 > 0:17:07I hate to say it, ?5.
0:17:07 > 0:17:10?5 for something that doesn't exist anywhere
0:17:10 > 0:17:12else in the world. I think that's pretty good.
0:17:12 > 0:17:16And as a piece of local history, I'm going to say...
0:17:16 > 0:17:18?300.
0:17:21 > 0:17:22What do you think the ladle's made of?
0:17:22 > 0:17:24I always thought it was made of silver
0:17:24 > 0:17:28because of the hallmark on the back of the handle. Right. Now,
0:17:28 > 0:17:32what it says there is "Nevada silver". Mm-hm.
0:17:32 > 0:17:35Nevada silver was nickel.
0:17:35 > 0:17:36Oh, right.
0:17:36 > 0:17:41So that is pure nickel, there's actually no silver there at all.
0:17:41 > 0:17:43Oh, right. That's... That's fooled me.
0:17:43 > 0:17:44THEY LAUGH
0:17:44 > 0:17:47It would have been made in Sheffield or Birmingham,
0:17:47 > 0:17:50probably around the 1860s, 1870s.
0:17:50 > 0:17:52Oh, right.
0:17:52 > 0:17:56Today, you wouldn't be allowed to do it. Value wise...
0:17:56 > 0:17:58?5. ?5.
0:17:59 > 0:18:03Well, what a beast you've brought us in to take a look at today.
0:18:03 > 0:18:05I certainly wouldn't want to bump into him in the middle of the night.
0:18:05 > 0:18:08What can you tell me about him, where did you come by him?
0:18:08 > 0:18:11Well, he's a family piece, he belonged originally
0:18:11 > 0:18:14to my grandfather, who did quite a lot of travelling,
0:18:14 > 0:18:19probably in the '20s and the '30s, and brought back
0:18:19 > 0:18:20this lovely animal.
0:18:20 > 0:18:23My father inherited the lion after
0:18:23 > 0:18:26Grandad died, and then the lion
0:18:26 > 0:18:30was in my parents' home, where it had pride of place - excuse the pun.
0:18:30 > 0:18:32SHE LAUGHS
0:18:32 > 0:18:34The first thing I've got to note about him is just how lovingly
0:18:34 > 0:18:36polished over the years - he's
0:18:36 > 0:18:40built up just a fantastic patina and colour. So was that...
0:18:40 > 0:18:41That's Mum. Mum, OK.
0:18:41 > 0:18:43Mum used to dust and polish him daily, she... OK.
0:18:43 > 0:18:45She loved him. You can see that,
0:18:45 > 0:18:47she's done a great job. It's just, it's created a wonderful
0:18:47 > 0:18:51patination, which is very important with bronzes like this.
0:18:51 > 0:18:52Yeah. So what is he?
0:18:52 > 0:18:56He's Japanese and he dates from the Meiji period, which is
0:18:56 > 0:19:011868 to 1912, and he's probably produced maybe in that kind of
0:19:01 > 0:19:061880, 1890, so just the end of the 19th century.
0:19:06 > 0:19:07And it's at a time,
0:19:07 > 0:19:10particularly here, you know, in Europe,
0:19:10 > 0:19:13where there was a great appetite for all things Japanese,
0:19:13 > 0:19:16so he would have been made for the European market.
0:19:16 > 0:19:18So if we just turn him over here... Can you do it?
0:19:18 > 0:19:20Very carefully, there we go,
0:19:20 > 0:19:24We can see underneath that we have this seal mark under here.
0:19:24 > 0:19:29Now that seal mark tells us that it is...
0:19:29 > 0:19:31Sawyer Sacco, which is
0:19:31 > 0:19:34the workshops of Sawyer.
0:19:34 > 0:19:37You know, what they're very good at doing is just capturing
0:19:37 > 0:19:38the movement and
0:19:38 > 0:19:41really bringing to life this very realistic casting.
0:19:41 > 0:19:44At any moment you expect him to leap off the table
0:19:44 > 0:19:46and run around the gardens here.
0:19:46 > 0:19:48There's a great appetite for these,
0:19:48 > 0:19:52and the Japanese market is certainly getting stronger and stronger.
0:19:52 > 0:19:55If that came up for auction, I think that that would carry
0:19:55 > 0:19:59a pre-sale estimate of between ?1,500-?2,500.
0:19:59 > 0:20:03That's lovely, very nice, thank you very, very much indeed.
0:20:06 > 0:20:08Well, I usually look at books and manuscripts,
0:20:08 > 0:20:12and so I was surprised to see you come towards me with a picture.
0:20:12 > 0:20:15It was painted by DH Lawrence for my father.
0:20:15 > 0:20:19DH Lawrence the author? The author, yes. Right, I see.
0:20:19 > 0:20:22He hasn't signed it, so we would really like you,
0:20:22 > 0:20:25if you could tell us anything about it perhaps.
0:20:25 > 0:20:28Gosh, well it's a... Let's just have a look at it first.
0:20:28 > 0:20:32It's very simple, it's a pub scene, I think, as it's
0:20:32 > 0:20:35playing skittles in the yard of a pub. It's accomplished,
0:20:35 > 0:20:38but it's certainly the work of somebody learning to paint, I think.
0:20:38 > 0:20:43Right. How do we know this is definitely by DH Lawrence?
0:20:43 > 0:20:45It's always been in the family. My father told us
0:20:45 > 0:20:49he painted it for him. My father was his doctor, and
0:20:49 > 0:20:51DH Lawrence was very ill with influenza.
0:20:51 > 0:20:52And he painted it as a thank you to my father for looking after him.
0:20:52 > 0:20:55And he painted it as a thank you to my father for looking after him.
0:20:55 > 0:20:58So it's actually a very, a very clear story... Yes, yes.
0:20:58 > 0:20:59..that links it quite directly to him, which is wonderful.
0:20:59 > 0:21:01..that links it quite directly to him, which is wonderful.
0:21:01 > 0:21:02So where would that have been?
0:21:02 > 0:21:05Lawrence was in London and abroad for much of his life...
0:21:05 > 0:21:07It's when he was living in a place called
0:21:07 > 0:21:11Mountain Cottage, in Via Gellia, which is near Ripley.
0:21:11 > 0:21:14My father lived in Ripley. So we're talking about a very early stage
0:21:14 > 0:21:17of DH Lawrence's life. 1912, I think it was. Right.
0:21:17 > 0:21:19A little bit before he published Sons And Lovers,
0:21:19 > 0:21:21which was his first... Yes, I would...
0:21:21 > 0:21:23..important novel. ..think so.
0:21:23 > 0:21:25Certainly long before the scandalous Lady Chatterley,
0:21:25 > 0:21:29which I think we all know him for. It's the only one I know. Yes.
0:21:29 > 0:21:32So we think of Lawrence, really, as a literary figure,
0:21:32 > 0:21:34and a fairly scandalous literary figure,
0:21:34 > 0:21:37so when I look at this, I think, "Hm, that doesn't quite fit."
0:21:37 > 0:21:39Well, I'm quite pleased, really.
0:21:39 > 0:21:40SHE LAUGHS
0:21:40 > 0:21:43I mean, he did paint...throughout his life.
0:21:43 > 0:21:46I think, at this stage, he was teaching himself to paint.
0:21:46 > 0:21:50As he went through his career, he painted much more daring scenes.
0:21:50 > 0:21:54Indeed, he did an exhibition of his paintings much later on, which
0:21:54 > 0:21:57caused a great scandal as well.
0:21:57 > 0:22:02His pictures are often nudes, they're often, frankly, sexual.
0:22:02 > 0:22:05This is not at all, hence my question, is it really DH Lawrence?
0:22:05 > 0:22:08Yes. But I am convinced by what you tell me.
0:22:08 > 0:22:09I like it very much indeed.
0:22:09 > 0:22:13I'm not sure our picture specialist would like it quite as much,
0:22:13 > 0:22:16so I think a literary scholar would really enjoy looking at this
0:22:16 > 0:22:19picture, taking apart, taking it apart in detail,
0:22:19 > 0:22:22thinking about it and what it meant to Lawrence.
0:22:22 > 0:22:25And therefore I think it has a commercial value.
0:22:25 > 0:22:28I think it's worth ?800-?1,200.
0:22:28 > 0:22:29Oh, right.
0:22:29 > 0:22:31I'm surprised.
0:22:31 > 0:22:32SHE LAUGHS
0:22:36 > 0:22:39Here we have, in its entirety,
0:22:39 > 0:22:41the relic of a long forgotten
0:22:41 > 0:22:45cottage industry, that of lace making in the mid 19th century.
0:22:45 > 0:22:49And I've never seen it in its entirety like this,
0:22:49 > 0:22:50except in a museum.
0:22:50 > 0:22:54It was given to me by a neighbour of my mother-in-law.
0:22:54 > 0:22:59She knew I did lace making at the time, which was 1984.
0:22:59 > 0:23:00All of it, lock, stock and barrel?
0:23:00 > 0:23:03Lock, stock and barrel. With all these... It was all in the box.
0:23:03 > 0:23:05And the bobbin winder? And the winder.
0:23:05 > 0:23:08Which you, you know, you've helped us assemble here.
0:23:08 > 0:23:10And this is obviously the thing that runs the wheel,
0:23:10 > 0:23:13but that would have been leather, and it's now a shoelace. Yep.
0:23:13 > 0:23:15And a remnant of old lace? Yeah.
0:23:15 > 0:23:17And do you know how to make lace?
0:23:17 > 0:23:19Oh, gosh, I wish I did, to be honest.
0:23:19 > 0:23:20Never done anything like it, really.
0:23:20 > 0:23:22And have you looked at these before?
0:23:22 > 0:23:25Yeah, I have seen one before and I have been where they've been
0:23:25 > 0:23:27made and that and... And you've been to see where they make those?
0:23:27 > 0:23:29Yeah, really interesting.
0:23:29 > 0:23:31Because I've seen old photographs of them sitting
0:23:31 > 0:23:33outside cottages in the evening,
0:23:33 > 0:23:37light making lace at tables, and this bobbin winding machine
0:23:37 > 0:23:40tells us this must be mid 19th century.
0:23:40 > 0:23:43My assumption is that
0:23:43 > 0:23:45that would fit in there.
0:23:47 > 0:23:48The cotton would come from
0:23:48 > 0:23:52there onto the end of the bobbin. They could wind the bobbin up.
0:23:52 > 0:23:55Perfect. My interest in this whole thing is that
0:23:55 > 0:23:58I used to collect the bobbins. As I've said, I've never seen
0:23:58 > 0:24:01the whole thing like this. And I like the inscriptions
0:24:01 > 0:24:03on them and the names, and that one's got Emma on it.
0:24:03 > 0:24:06And this one here says,
0:24:06 > 0:24:10"I want a husband." And that just cracks me up.
0:24:10 > 0:24:13I think that's amazing, because these would have been
0:24:13 > 0:24:18made by the men-folk. So a lady would have asked a man to make her
0:24:18 > 0:24:22one that said "I want a husband", maybe to give him a hint.
0:24:22 > 0:24:24THEY LAUGH
0:24:24 > 0:24:28And here we have one of a number of patterns pricked into nicely
0:24:28 > 0:24:32tanned goat skin, and of course this would have been laid on a pillow
0:24:32 > 0:24:36and made, as you probably know from making it. I mean, explain...
0:24:36 > 0:24:40My assumption is that they would fix that end onto the pillow...
0:24:40 > 0:24:42Yeah.
0:24:42 > 0:24:46..unwind this. And then they would start with the cotton round
0:24:46 > 0:24:51the pins and gradually work their way down, twisting the bobbins
0:24:51 > 0:24:55and then putting pins in. Are you listening to this? Yeah.
0:24:55 > 0:24:58Because you're going to be doing this soon. Trying to, it's going past my head.
0:24:58 > 0:25:01No, it's amazing to see it all like this together.
0:25:01 > 0:25:05I would think this whole lot is about ?800-?1,000.
0:25:05 > 0:25:10Oh! Wow. Wow! Wow. That does surprise me.
0:25:10 > 0:25:13Well, this one that said "I want a husband",
0:25:13 > 0:25:17someone would probably pay ?75 for that one because it's so unusual.
0:25:17 > 0:25:19Oh! THEY LAUGH
0:25:19 > 0:25:21Well, they've been stuck in a cupboard for 30 years.
0:25:21 > 0:25:23Well, there you go.
0:25:23 > 0:25:26I love them. I've never seen them all together like this, it's a
0:25:26 > 0:25:28museum piece. Well, thank you.
0:25:28 > 0:25:29My pleasure.
0:25:31 > 0:25:35This map from 1916, a geological map of the Sheffield District
0:25:35 > 0:25:38showing the sites of collieries and important bore holes,
0:25:38 > 0:25:42this reveals a landscape that has now vanished.
0:25:42 > 0:25:43Tell me about it.
0:25:43 > 0:25:48It shows the mines around Sheffield and Barnsley and south to
0:25:48 > 0:25:52Bolsover, and also the other mineral that were available in the area.
0:25:52 > 0:25:55Now looking down here, because Bolsover's just down here,
0:25:55 > 0:25:59so we're here on the map and then the Bolsover mine was just there.
0:25:59 > 0:26:04That's right. And then below here were the coal workers' cottages,
0:26:04 > 0:26:06the National Coal Board was down here, there was another mine
0:26:06 > 0:26:08over there.
0:26:08 > 0:26:12And looking at this here...these are all the seams.
0:26:12 > 0:26:14And the outcrops where they first started mining
0:26:14 > 0:26:17the coal on the surface. And then they followed the seams
0:26:17 > 0:26:21underground and that was the basis of the industry
0:26:21 > 0:26:25in South Yorkshire, Sheffield and beyond.
0:26:25 > 0:26:28You work for a local charity. That's right.
0:26:28 > 0:26:30A hospice in Sheffield.
0:26:30 > 0:26:34This was donated to you. What are you planning to do with it?
0:26:34 > 0:26:36Well, after today, it's going to be available for sale.
0:26:36 > 0:26:38I spoke to one of our experts about it.
0:26:38 > 0:26:42It's difficult to know what it would go for. It will mean
0:26:42 > 0:26:45so much to some people who are connected with the area or
0:26:45 > 0:26:48connected with mining, and not much to people who aren't.
0:26:48 > 0:26:53Certainly, according to our experts, possibly 50, ?80, but to the right
0:26:53 > 0:26:57person, if it has a huge significance to them, it could be more.
0:26:57 > 0:27:00It's so fascinating to see how, from this vantage point, what is
0:27:00 > 0:27:03here in 1916...
0:27:04 > 0:27:06..is just no longer there.
0:27:07 > 0:27:12You are an immensely wealthy householder. And we will discuss
0:27:12 > 0:27:15where and when in a moment. Let's go in and see what it's like inside.
0:27:15 > 0:27:17Right. Well, this is the external locking key.
0:27:20 > 0:27:23And it's jolly lucky we...you haven't lost your keys.
0:27:23 > 0:27:27So, we're opening the door
0:27:27 > 0:27:30to reveal an amazing lock that you have
0:27:30 > 0:27:33just opened to let us in.
0:27:33 > 0:27:35There.
0:27:35 > 0:27:37So the key comes out...
0:27:38 > 0:27:41And there it is, fantastic key. But the snag
0:27:41 > 0:27:44is...no knobs,
0:27:44 > 0:27:47nothing to get us out again. We've had a jolly good
0:27:47 > 0:27:51evening savouring the contents of your cellar, but how do we get out?
0:27:51 > 0:27:54Right. Well, this is the internal key...
0:27:54 > 0:27:57and that goes on the square there.
0:27:57 > 0:28:01There's a little sequence of pushing the button
0:28:01 > 0:28:03to engage the lock.
0:28:03 > 0:28:06And then you need to lift the lizard's tail.
0:28:08 > 0:28:11And it draws back the... And it draws back. ..bolt.
0:28:11 > 0:28:13It's a very early lock, of course. Of course.
0:28:13 > 0:28:17Um, I would think probably early 17th century.
0:28:17 > 0:28:19I think you're absolutely right.
0:28:19 > 0:28:22Where was the house? Almost certainly in Germany. Yes.
0:28:22 > 0:28:26In the area of Nuremburg, famous for its metalwork.
0:28:26 > 0:28:29And one of the elements in metalwork we see reasonably
0:28:29 > 0:28:33frequently on the Roadshow are the big so-called Armada chests.
0:28:33 > 0:28:37Massive iron-bound chests that were meant to have come over with
0:28:37 > 0:28:39the Spanish Armada. Absolute nonsense -
0:28:39 > 0:28:43they all came from Nuremburg, and they have simpler versions
0:28:43 > 0:28:48but quite clearly the same parentage, as it were as, as this lock.
0:28:48 > 0:28:52Where did you get it? I bought it off a man that had actually bought it at auction.
0:28:52 > 0:28:54And I bought it about two years ago.
0:28:54 > 0:28:58What did you pay for it? I paid 1,475 for it,
0:28:58 > 0:29:02which turned out to be ?100 less than the man had paid at auction.
0:29:02 > 0:29:06You recognised it for what it is. I recognised it for what it is, being a mechanical engineer.
0:29:06 > 0:29:10Right. And something I'd gone to buy - watches - but ended up buying a lock.
0:29:10 > 0:29:14But it's all metalwork, you clearly appreciate metalwork.
0:29:14 > 0:29:16Indeed. Let me see that key.
0:29:16 > 0:29:19Yes, I mean, it is an immensely complicated key.
0:29:19 > 0:29:23And all those cuts are vital to clear the various,
0:29:23 > 0:29:26what are called wards, inside the lock.
0:29:26 > 0:29:30The bolts all held in place by this wonderful little lizard.
0:29:30 > 0:29:32It is actually more beautiful, it is
0:29:32 > 0:29:36as beautiful as technical to most people's eye.
0:29:36 > 0:29:39I think it's worth the best part of ?5,000.
0:29:39 > 0:29:41I think it's wonderful.
0:29:41 > 0:29:45You are a very lucky man. Thank you very much.
0:29:45 > 0:29:48Now, here we are in a castle, a great castle, and of course to me
0:29:48 > 0:29:51a castle means adventures,
0:29:51 > 0:29:54and adventures mean Enid Blyton.
0:29:55 > 0:29:58We're looking at, I think, the complete set of the
0:29:58 > 0:30:02Famous Five books. I don't think I've ever seen such a thing before.
0:30:02 > 0:30:05And of course, we're all plunging back in to...
0:30:05 > 0:30:09nostalgia, memory. But first of all, why have you got the set?
0:30:09 > 0:30:12You're mother and daughter, aren't you? Yes.
0:30:12 > 0:30:15So whose are they? They're mine. OK. Why have you got them?
0:30:15 > 0:30:18I have got them because my grandad passed them down to me
0:30:18 > 0:30:20when he passed away. So you inherited them?
0:30:20 > 0:30:23I inherited them, yeah. What do they mean to you?
0:30:23 > 0:30:25They've got a lot of sentimental value to me
0:30:25 > 0:30:29because I know how long it took him to collect them
0:30:29 > 0:30:33and the methodical way of putting it all together from over the years.
0:30:33 > 0:30:35I mean, the difficulty with a set is you've got to get the set.
0:30:35 > 0:30:39And that last one might take a lifetime. Once you start, you've got to carry on, yeah.
0:30:39 > 0:30:41What was Enid Blyton to him?
0:30:41 > 0:30:43He loved reading the books.
0:30:43 > 0:30:45Loved Enid Blyton, yeah.
0:30:45 > 0:30:46Do you think he'd read them as a child?
0:30:46 > 0:30:48Yeah, definitely, yeah.
0:30:48 > 0:30:50And so at a certain point he went back as a grown-up,
0:30:50 > 0:30:52and thought, I'll start again.
0:30:52 > 0:30:54Yeah, for the grandchildren.
0:30:54 > 0:30:55Yeah.
0:30:55 > 0:30:58Well, she started writing, I think, in 1922, with children's poems,
0:30:58 > 0:31:02but this, which is probably her most famous series,
0:31:02 > 0:31:04Five On A Treasure Island, comes out in 1942,
0:31:04 > 0:31:07and it's interesting it starts in a wartime context,
0:31:07 > 0:31:09there are paper shortages.
0:31:09 > 0:31:12There's all the difficulties of publishing in wartime,
0:31:12 > 0:31:14and yet that is the moment this series is launched,
0:31:14 > 0:31:17and then they come out at least once a year
0:31:17 > 0:31:20steadily through the '50s and into the 1960s
0:31:20 > 0:31:23and she was still writing when she died in 1968.
0:31:23 > 0:31:25She was hugely popular.
0:31:25 > 0:31:30If I say she did I think over 760 books through her lifetime,
0:31:30 > 0:31:32she died at 71,
0:31:32 > 0:31:34her first book was published in 1922,
0:31:34 > 0:31:36which was called Child Whispers,
0:31:36 > 0:31:38and then she suddenly got going,
0:31:38 > 0:31:42and apparently she could write 10,000 words a day,
0:31:42 > 0:31:44and that's why she produced so many books -
0:31:44 > 0:31:46she was a writing factory,
0:31:46 > 0:31:48and I think she was a phenomenon.
0:31:48 > 0:31:51The problem was that although she was read universally,
0:31:51 > 0:31:54come the '60s and '70s,
0:31:54 > 0:31:59the sort of spectre of political correctness hung over her,
0:31:59 > 0:32:03and certain libraries stopped giving her books out,
0:32:03 > 0:32:08shops refused to sell them cos they were perceived to be unsuitable,
0:32:08 > 0:32:09for all sorts of reasons.
0:32:09 > 0:32:11Now, it's all changed,
0:32:11 > 0:32:13and people can see that she's actually a great writer,
0:32:13 > 0:32:15in her field.
0:32:15 > 0:32:17Have you ever read them? No, I haven't.
0:32:17 > 0:32:18So you own the complete set.
0:32:18 > 0:32:23I own the set, and I leave it there untouched, as my grandad left it,
0:32:23 > 0:32:25just so it's... So it's a memory of him.
0:32:25 > 0:32:26Nice and secure, yeah.
0:32:26 > 0:32:28Ten years ago, these were unsaleable.
0:32:28 > 0:32:31I mean, I know he bought them and paid something for them,
0:32:31 > 0:32:35but in principle in book collecting terms they were a dead subject.
0:32:35 > 0:32:39Now, people have put aside all those prejudices
0:32:39 > 0:32:41about her being elitist and so on,
0:32:41 > 0:32:44and they've realised here is something worth collecting.
0:32:44 > 0:32:45The covers are dynamic,
0:32:45 > 0:32:47they have a wonderful period charm.
0:32:47 > 0:32:49Everybody has memories, like I do.
0:32:49 > 0:32:53And so the early ones, and here we have the first five,
0:32:53 > 0:32:57now fetch reasonable sums of money, dependent on condition.
0:32:57 > 0:32:59So, what are we looking at?
0:32:59 > 0:33:02Well, Five On A Treasure Island, the first,
0:33:02 > 0:33:07now goes regularly for ?1,000 in good condition,
0:33:07 > 0:33:08and this isn't bad.
0:33:08 > 0:33:11Two and three fetch similar sums,
0:33:11 > 0:33:14and then of course as we get on down the line,
0:33:14 > 0:33:15the value drops rapidly
0:33:15 > 0:33:17cos it's all about the print run.
0:33:17 > 0:33:19This was the first in the series,
0:33:19 > 0:33:20small print run.
0:33:20 > 0:33:22By the time you get to the end,
0:33:22 > 0:33:24they're printing thousands and thousands,
0:33:24 > 0:33:25and therefore rarity isn't an issue.
0:33:25 > 0:33:28Someone would buy it as a set, so you're looking at about...
0:33:29 > 0:33:32?5,000. OK.
0:33:32 > 0:33:34And one day, do read them! Yes.
0:33:34 > 0:33:36You'll have a good time.
0:33:36 > 0:33:37Thank you. I will. Thank you. Thank you.
0:33:53 > 0:33:57For this sort of timepiece, this is a most unusual shape.
0:33:57 > 0:34:00Yes. Do you know what sort of clock it is?
0:34:00 > 0:34:01I really have no idea.
0:34:01 > 0:34:04Apart from the fact it came from my father-in-law's third wife,
0:34:04 > 0:34:07I know nothing about it. OK.
0:34:07 > 0:34:11Well, it is what we refer to as a sedan clock,
0:34:11 > 0:34:14or a sedan timepiece. Goodness.
0:34:14 > 0:34:18Normally, they are circular, sometimes square,
0:34:18 > 0:34:22but this lancet-shaped case is really very unusual.
0:34:22 > 0:34:28Typically, the frame, about 1820, always done in the same way.
0:34:28 > 0:34:29With this sort of thing,
0:34:29 > 0:34:33you've got the brass strap work all round the outside,
0:34:33 > 0:34:35this is a sort of lacquered finish here,
0:34:35 > 0:34:37you've got the gilt metal mounts,
0:34:37 > 0:34:44and then the carcass itself is just a solid slab of oak. Yes.
0:34:44 > 0:34:46The important thing about these is that
0:34:46 > 0:34:51sometimes they used movements of the period. Yes.
0:34:51 > 0:34:54Often rectangular plated movements from the 1820s,
0:34:54 > 0:34:56specially made for these things. OK.
0:34:56 > 0:35:01But very often, they used earlier, surplus watch movements
0:35:01 > 0:35:03to put in here. Ah.
0:35:03 > 0:35:05Have you ever looked in the back? Yes, I have.
0:35:05 > 0:35:06I've just peered inside.
0:35:06 > 0:35:09OK. Well, let me have a peek inside...
0:35:10 > 0:35:15And I can tell you that that watch movement is very, very much earlier
0:35:15 > 0:35:16than this case.
0:35:16 > 0:35:20It's by a chap called Isaac Birdwhistle of London.
0:35:20 > 0:35:25I want you to look at, for instance, the balance cock, which is big.
0:35:25 > 0:35:28The foot is absolutely massive,
0:35:28 > 0:35:30lovely big regulator.
0:35:30 > 0:35:34Isaac Birdwhistle was free of the Clockmakers Company
0:35:34 > 0:35:37in early 1690s,
0:35:37 > 0:35:41and we know that he was still making certainly in 1702,
0:35:41 > 0:35:44and probably some few years after that.
0:35:44 > 0:35:46We don't know much more. No.
0:35:46 > 0:35:52But I'm going to put this movement as being about 1705 in date,
0:35:52 > 0:35:55so 120 years before the clock case. Before the case. Mmm.
0:35:56 > 0:35:59And you obviously haven't had it running for many years.
0:35:59 > 0:36:00Not at all, no.
0:36:00 > 0:36:02Would it be worth restoring?
0:36:02 > 0:36:04To clean and overhaul the movement, very definitely,
0:36:04 > 0:36:06and then it would run.
0:36:06 > 0:36:09Remember it's only short duration, it's only going to go for a day.
0:36:09 > 0:36:11Actually, 30 hours. You'd have to wind it every day. Every day.
0:36:11 > 0:36:14Which would, long term, drive you mad. It certainly would.
0:36:14 > 0:36:16And because the case is so unusual,
0:36:16 > 0:36:19and because, despite the fact it's grubby... Yes.
0:36:19 > 0:36:21..it will be lovely when it's done.
0:36:21 > 0:36:25I'm going to quote you an auction price in its current condition
0:36:25 > 0:36:28of ?700 to ?1,000. Wow.
0:36:28 > 0:36:29Are you happy with that?
0:36:29 > 0:36:31You've added a nought to what I thought it was worth.
0:36:31 > 0:36:3470 would have been my figure. Brilliant, yes.
0:36:34 > 0:36:36Thank you, I shall certainly have it restored.
0:36:39 > 0:36:43So, what made you bring a jug with no spout to the Antiques Roadshow?
0:36:43 > 0:36:46Well, an aunt found it on top of a dustbin -
0:36:46 > 0:36:48it was thrown away 30 years ago.
0:36:48 > 0:36:52And we just thought it would be interesting to find out
0:36:52 > 0:36:53more about it, really.
0:36:53 > 0:36:56So, she took it in? Yes, yes. Looked after it.
0:36:56 > 0:37:00You thought, well, should it have gone in the trash? That's right.
0:37:00 > 0:37:01That's right.
0:37:01 > 0:37:04Well, it's an interesting job because we've got, on the front,
0:37:04 > 0:37:08we have a lady with a child being chased by a man with a whip.
0:37:08 > 0:37:10We've the mark of Ridgway and Abington on the base,
0:37:10 > 0:37:12who are the best makers of this type of ware.
0:37:12 > 0:37:15And it's dated, as well, January 1st, 1853,
0:37:15 > 0:37:17so what more could we want?
0:37:18 > 0:37:21But when we turn it around, there's a different scene,
0:37:21 > 0:37:24there's an auction, but it's not of art and antiques.
0:37:24 > 0:37:26It's of people, and it's a slave auction.
0:37:28 > 0:37:31Have you ever read what this says? I have, actually, yeah.
0:37:31 > 0:37:33It's, you know...
0:37:33 > 0:37:35"By auction this day..."
0:37:36 > 0:37:39"..a prime lot of healthy Negroes."
0:37:39 > 0:37:44It's a slave auction, and here is the slave family up for auction.
0:37:44 > 0:37:49It's a... It's a very uncomfortable scene, and the bidders...
0:37:49 > 0:37:53Something to our modern eyes we can't comprehend.
0:37:53 > 0:37:55It's not celebrating slavery,
0:37:55 > 0:37:59it's actually saying slavery was a bad thing.
0:37:59 > 0:38:01This is actually a scene from Uncle Tom's Cabin,
0:38:01 > 0:38:05which was a very famous American anti-slavery novel,
0:38:05 > 0:38:06which came out in the 1850s.
0:38:06 > 0:38:08In many ways, Uncle Tom's Cabin
0:38:08 > 0:38:11sort of started to change the debate about slavery,
0:38:11 > 0:38:15and then of course with the Civil War coming in the 1860s,
0:38:15 > 0:38:18just afterwards, everything changed, so...
0:38:19 > 0:38:21Whilst this is uncomfortable to us,
0:38:21 > 0:38:24at the time, people who were supportive of
0:38:24 > 0:38:26the anti-slavery movement
0:38:26 > 0:38:28would have seen this as a good thing,
0:38:28 > 0:38:31a celebration of what was good about anti-slavery,
0:38:31 > 0:38:33and not a celebration of slavery itself.
0:38:33 > 0:38:36Because of its unusual subject matter,
0:38:36 > 0:38:39to the American market especially,
0:38:39 > 0:38:41it's still going to have a value. Yes.
0:38:41 > 0:38:44So I think your aunt did well to bring it in,
0:38:44 > 0:38:48because she found about ?400 on a dustbin. Wow. Wow.
0:38:48 > 0:38:51And what they've said is that slavery's broken,
0:38:51 > 0:38:55and this is broken, so that's kind of quite nice, isn't it, as well?
0:38:55 > 0:38:59It makes me goosebumpy. I'm goosebumpy, as well. So...
0:38:59 > 0:39:02But that's a perfect analogy. Yeah. Fantastic, yeah.
0:39:06 > 0:39:09There's great interest in the Napoleonic wars at the moment,
0:39:09 > 0:39:12because we've had the recent 200th anniversary
0:39:12 > 0:39:14of the Battle of Waterloo,
0:39:14 > 0:39:16and what a better way of celebrating it on the Roadshow
0:39:16 > 0:39:18with this fantastic Waterloo medal?
0:39:18 > 0:39:19Yeah. Tell me about it.
0:39:19 > 0:39:22My mum was helping my grandfather tidy up his house, pack up.
0:39:22 > 0:39:23He was moving off to New Zealand,
0:39:23 > 0:39:26and there was a box that he sort of just handed her,
0:39:26 > 0:39:28and said, "I'm not sure what's in there,"
0:39:28 > 0:39:30but there was a whole muddle of different medals and things,
0:39:30 > 0:39:33and that was amongst it.
0:39:33 > 0:39:37The letter that pertained to it said that it was gifted to
0:39:37 > 0:39:41one of my great-great grandfathers by Anthony Planner.
0:39:41 > 0:39:44So this chap Planner, he was awarded,
0:39:44 > 0:39:48and we will be able to see, on the edge, his name,
0:39:48 > 0:39:51Anthony Planner...
0:39:51 > 0:39:5332nd Regiment...
0:39:53 > 0:39:54Foot.
0:39:54 > 0:39:58Do you know anything about the 32nd? Nothing, absolutely nothing.
0:39:58 > 0:40:02Right. It's known as the 32nd, the Cornwall Regiment
0:40:02 > 0:40:06and that was the regiment into which Ross Poldark was allegedly...
0:40:06 > 0:40:08Oh, really? In the stories, yes. Well, we like him.
0:40:08 > 0:40:11Yeah! No, I think many, many ladies did.
0:40:11 > 0:40:14This was given to everybody who fought at Waterloo,
0:40:14 > 0:40:17and we can see on there Wellington's name,
0:40:17 > 0:40:20with the figure of Victory there, with her wings,
0:40:20 > 0:40:22and turn him over,
0:40:22 > 0:40:29and there is the rather stout portrait of the Prince Regent,
0:40:29 > 0:40:31who was in charge of the country at the time.
0:40:31 > 0:40:34Obviously, it was Wellington's finest hour,
0:40:34 > 0:40:38but Wellington himself always said it was a very near-run thing,
0:40:38 > 0:40:42and he once said that it was "the most desperate affair I've ever been in in all my life,"
0:40:42 > 0:40:44and it was very, very close run,
0:40:44 > 0:40:48and I think had it not been for the Prussians turning up when they did,
0:40:48 > 0:40:51the face of Europe might have been very, very different.
0:40:51 > 0:40:54The Cornwall Regiment stood very stoically in the centre,
0:40:54 > 0:40:57against the French attacks, these great French attacks,
0:40:57 > 0:41:00they just rolled in, they kept rolling in,
0:41:00 > 0:41:03and they stood there very stoically and saw them off,
0:41:03 > 0:41:05and really took a lot of the brunt of the fighting,
0:41:05 > 0:41:09and when they engaged, they were 647 men.
0:41:09 > 0:41:12By the time that they'd finished and Napoleon had been seen off,
0:41:12 > 0:41:16there was 131 left, so I think it's a very special medal,
0:41:16 > 0:41:19and if you had to go and buy that from a dealer,
0:41:19 > 0:41:22I'd guess you'd be paying about ?5,000 for it.
0:41:22 > 0:41:25Oh, my! Yeah. So that's a lot of money. Wow.
0:41:25 > 0:41:26Goodness gracious.
0:41:28 > 0:41:31Of all the things I'm going to see on the Roadshow today,
0:41:31 > 0:41:35I think this will be my favourite, because I LOVE hats.
0:41:35 > 0:41:38Obviously, so do you. Absolutely.
0:41:38 > 0:41:40And this is all of your collection?
0:41:40 > 0:41:42No, there are a few more at home.
0:41:42 > 0:41:43So how many do you have?
0:41:43 > 0:41:46At the last count, about 350...
0:41:47 > 0:41:50..but there are a few more, sort of, been added since.
0:41:50 > 0:41:53Where do you keep them all? They've got their own room.
0:41:53 > 0:41:54LAUGHTER
0:41:54 > 0:41:56The hat room? Yes, yeah.
0:41:56 > 0:41:57And why hats?
0:41:57 > 0:42:02When I was a young kid, it was de rigueur to wear a hat
0:42:02 > 0:42:06if you were going to church or some social occasion.
0:42:06 > 0:42:09It was just one of those things that you did,
0:42:09 > 0:42:11and, as a teenager, it used to be
0:42:11 > 0:42:13the thing on the way home from school
0:42:13 > 0:42:15to drop into shops and try these hats on.
0:42:15 > 0:42:17Well, I have to say when I was a teenager,
0:42:17 > 0:42:18it wasn't the thing to try on hats,
0:42:18 > 0:42:21and you know we're not a dissimilar age, so... Must be a Midlands thing.
0:42:21 > 0:42:25Yeah, a Midlands thing! Gosh, I love this one.
0:42:25 > 0:42:27And you're a milliner, is that right? That's right, yes.
0:42:27 > 0:42:29These are a variety of vintage hats,
0:42:29 > 0:42:31so as well as creating your own hats,
0:42:31 > 0:42:34you just decided you were going to start your own collection.
0:42:34 > 0:42:37Well, actually, the collection foreshadowed my occupation as a milliner -
0:42:37 > 0:42:40I think that's what made me do it.
0:42:40 > 0:42:41Now, this caught my eye.
0:42:42 > 0:42:46It says here, "The sun or rain hat that inflates and deflates."
0:42:46 > 0:42:47Yes. So tell me about this one.
0:42:47 > 0:42:52Well, I got that from America. I'd never seen one before,
0:42:52 > 0:42:56and... Right. ..they were just so quirky I had to have them.
0:42:56 > 0:42:58So when I go on holiday, I always put one in my bag,
0:42:58 > 0:43:00in case of rain or heavy sun.
0:43:00 > 0:43:02You actually wear it? Yes! LAUGHTER
0:43:02 > 0:43:04So you... You blow in here, do you?
0:43:04 > 0:43:06Yeah, just remove the green cap,
0:43:06 > 0:43:07and blow.
0:43:09 > 0:43:10LAUGHTER
0:43:10 > 0:43:13Oh, God, there's an art to it that I haven't got, I think.
0:43:13 > 0:43:15Hang on a second.
0:43:15 > 0:43:16It's going, it's going.
0:43:16 > 0:43:17Oh, my goodness.
0:43:17 > 0:43:19It's starting to go. Oh, look! Yeah.
0:43:19 > 0:43:21Here it go... Oh, this is brilliant!
0:43:21 > 0:43:24And have you had anyone assess your collection? No, not yet.
0:43:24 > 0:43:26Well, I think Hilary Kay is your woman.
0:43:26 > 0:43:28She'll be as thrilled to see this lot as I am.
0:43:28 > 0:43:29Thank you. Thank you.
0:43:33 > 0:43:36It's a piece of glass made for a job,
0:43:36 > 0:43:39and I need you to guess what that job was.
0:43:39 > 0:43:42Is it for separating something, milk and cream,
0:43:42 > 0:43:44or something like that?
0:43:44 > 0:43:46No. No. It's not that.
0:43:46 > 0:43:48Anybody else, what's this for?
0:43:48 > 0:43:49For pouring mead.
0:43:49 > 0:43:50Pouring mead.
0:43:50 > 0:43:52It's not for pouring mead.
0:43:52 > 0:43:54It's for drinking left-hand or right-hand,
0:43:54 > 0:43:56I mean, right-hand, or left-hand. LAUGHTER
0:43:58 > 0:44:00And so, your idea?
0:44:00 > 0:44:02It's a rinser. Go on, explain that.
0:44:02 > 0:44:04It would be used at a dinner party,
0:44:04 > 0:44:08so when you'd used your glass, you would put it inside there
0:44:08 > 0:44:11to rinse it out for the next time you use it.
0:44:11 > 0:44:12So, that's exactly right.
0:44:12 > 0:44:16What you had... As a meal progressed, you kept the same glass.
0:44:16 > 0:44:21When you changed the wines, you would put your glass into here
0:44:21 > 0:44:24with its stem resting in one of the ears.
0:44:24 > 0:44:27You'd rotate it in iced water, then flick it out,
0:44:27 > 0:44:31and you're now ready to have your second type of wine,
0:44:31 > 0:44:35and of course you had the guest from this side would use this side,
0:44:35 > 0:44:38and the guest sitting on this side would use that ear,
0:44:38 > 0:44:42and that is exactly what it is, a wine-glass rinser.
0:44:42 > 0:44:43Brilliant, good for you, Mrs.
0:44:43 > 0:44:45Very good. Well done you!
0:44:48 > 0:44:50I would like to think that there's going to be a time
0:44:50 > 0:44:51when, once again,
0:44:51 > 0:44:54we don't consider ourselves dressed until we wear a hat.
0:44:55 > 0:44:57And there are enough to choose from here.
0:44:57 > 0:45:02My grandmother was a milliner, and I've grown up with the habit of...
0:45:02 > 0:45:06They weren't worn for special occasions, they were just worn. Yes.
0:45:06 > 0:45:09And I think that's somehow what this collection represents to me,
0:45:09 > 0:45:13is the fact... Almost the normality of hats.
0:45:13 > 0:45:14It was not a special occasion,
0:45:14 > 0:45:16it was the final piece of your dressing. Yes.
0:45:16 > 0:45:19You would choose your hat, and off you'd go.
0:45:19 > 0:45:22Now, the hat you're wearing is very striking. Who is it made by?
0:45:22 > 0:45:25It's a Howard Hodge, who was an American designer.
0:45:25 > 0:45:29Now, we've got a number of Hodge hats here.
0:45:29 > 0:45:32This has got its original box and its swing tag and so on. Yes.
0:45:32 > 0:45:35Is this Howard Hodge in... This is him, yes.
0:45:35 > 0:45:37Now, he was working in America,
0:45:37 > 0:45:40and I think a number of these are American hats, aren't they? Yeah.
0:45:40 > 0:45:43The style is fabulous! It is, yes.
0:45:43 > 0:45:45I mean, that's made out of reeds. Yes.
0:45:46 > 0:45:48It's a fabulous hat. Thank you.
0:45:48 > 0:45:50I mean, I've got lots of favourites here,
0:45:50 > 0:45:54but which would you say is, in your opinion, the rarest?
0:45:54 > 0:45:56For rarity, it would have to be
0:45:56 > 0:46:01the little black Charlie Chan lookalike there, with the studs.
0:46:01 > 0:46:03Not the most exciting, is it?
0:46:03 > 0:46:07No, but if you look at the label,
0:46:07 > 0:46:08it's Warner Brothers,
0:46:08 > 0:46:14and Warner Brothers themselves used to have foyer sales.
0:46:14 > 0:46:16So they would have costume,
0:46:16 > 0:46:20they would also have hats that appeared in the movies,
0:46:20 > 0:46:22and that is a copy of the movie hat.
0:46:22 > 0:46:25That is just fabulous, and to have that fully labelled, too.
0:46:25 > 0:46:28Although hats themselves weren't rationed,
0:46:28 > 0:46:31of course, the materials that they were made out of were. Yes.
0:46:31 > 0:46:34And I love this, which is a little wartime hat, isn't it? It is.
0:46:34 > 0:46:38Made out of strips which are poppered onto the base,
0:46:38 > 0:46:41and it means then that you could... you could have a yellow one. Yes.
0:46:41 > 0:46:44Of strands, of felt, to go with a yellow outfit.
0:46:44 > 0:46:47This was a hat that was infinitely usable,
0:46:47 > 0:46:50and very cheap, and using perhaps little bits of off-cuts,
0:46:50 > 0:46:52which weren't rationed. Brilliant!
0:46:53 > 0:46:54The...
0:46:54 > 0:46:57issue, I suppose, is...
0:46:58 > 0:47:01..are they being sought after today?
0:47:01 > 0:47:03Because they certainly were then.
0:47:03 > 0:47:07I mean, I know the most expensive hat that ever came up for auction.
0:47:07 > 0:47:11The estimate was $150 to $200,000 American dollars.
0:47:11 > 0:47:15Yes. Now, I guess you're not paying quite that much for yours.
0:47:15 > 0:47:18Not really, no. So what are your ranges?
0:47:18 > 0:47:23I'd pay anything up to about ?5-?600,
0:47:23 > 0:47:26and then hopefully they appreciate in value afterwards.
0:47:26 > 0:47:29I'm absolutely certain with the good eye that you've got,
0:47:29 > 0:47:33which comes from the insight of being a maker yourself.
0:47:33 > 0:47:36Overall value, I mean, looking at what you've got here,
0:47:36 > 0:47:38it has to be between 15 and 20,000.
0:47:40 > 0:47:42LAUGHTER
0:47:42 > 0:47:44And, look, all the audience are going to go back
0:47:44 > 0:47:46and look for their grandmother's hats!
0:47:46 > 0:47:48LAUGHTER
0:47:48 > 0:47:49It's a fabulous collection here,
0:47:49 > 0:47:52and thank you so much for letting us enjoy them with you.
0:47:52 > 0:47:53Thank you. Thank you.
0:47:58 > 0:48:01If Dirty Harry was around in the 1800s,
0:48:01 > 0:48:03that would be the sort of pistol he has.
0:48:04 > 0:48:06It's fantastic quality.
0:48:06 > 0:48:09It's yours, you lucky fellow. It certainly is, yeah.
0:48:09 > 0:48:11This is a reasonably recent purchase?
0:48:11 > 0:48:12About three years.
0:48:13 > 0:48:17I can see lots and lots of reasons why you would purchase it.
0:48:17 > 0:48:20What appealed to you specifically?
0:48:20 > 0:48:22Well, flintlocks appeal to me, period,
0:48:22 > 0:48:27and I like the barrel, and all the silver mount -
0:48:27 > 0:48:29it just shouted quality.
0:48:29 > 0:48:31I think that's an excellent reason.
0:48:31 > 0:48:35You're absolutely right, it just shouts quality.
0:48:35 > 0:48:37It's late, with a flintlock.
0:48:38 > 0:48:41Waterproof pan, stops the powder getting wet,
0:48:41 > 0:48:43because if powder gets wet, it don't go bang.
0:48:43 > 0:48:47The Damascus is fantastic,
0:48:47 > 0:48:48it's really bold,
0:48:48 > 0:48:50it's got a wonderful colour,
0:48:50 > 0:48:53German nickel silver,
0:48:53 > 0:48:54half-cocked safety,
0:48:54 > 0:48:56spur trigger,
0:48:56 > 0:48:58and of course you've got the bore size.
0:48:58 > 0:49:00Ten bore. Right.
0:49:00 > 0:49:04That's the size of the regulation musket,
0:49:04 > 0:49:05which is a big thing.
0:49:05 > 0:49:07It weighs a lot.
0:49:07 > 0:49:09This is a little thing you fire one-handed.
0:49:10 > 0:49:15That's got to be the last word in man-stopper. Yeah.
0:49:15 > 0:49:21I put it right at the end of the flintlock, so 1810, 1820.
0:49:21 > 0:49:23It's made by Richardson of Manchester.
0:49:24 > 0:49:28I wonder if it might even be London quality,
0:49:28 > 0:49:29and then badged.
0:49:29 > 0:49:30That's the only issue,
0:49:30 > 0:49:32it's from Lancashire, I'm from Yorkshire, so...
0:49:32 > 0:49:34LAUGHTER
0:49:34 > 0:49:36I'm surprised you could bring yourself to touch it.
0:49:36 > 0:49:38It's just a superb pistol.
0:49:40 > 0:49:41We have to address value,
0:49:41 > 0:49:45cos you said you bought it about... Three years, max.
0:49:46 > 0:49:47Can you tell us what you did,
0:49:47 > 0:49:50without embarrassing yourself in front of the family?
0:49:50 > 0:49:53No, me wife knows. I paid ?1,500 for it.
0:49:53 > 0:49:55?1,500, about...
0:49:55 > 0:49:57Three year ago. ..three years ago.
0:49:57 > 0:49:59With the quality of that,
0:49:59 > 0:50:02if you had to go and buy it now,
0:50:02 > 0:50:05I think you'd have to pay twice as much. Right.
0:50:05 > 0:50:08I think that's ?3,000 worth of pistol. Good news.
0:50:08 > 0:50:11It is just...fantastic.
0:50:11 > 0:50:13Pleased I bought it. I'll bet you are!
0:50:17 > 0:50:19Thank you so much for bringing this in. Pleasure.
0:50:19 > 0:50:22It's one of the most stylish things we've seen all day.
0:50:22 > 0:50:26From a distance, it looks like a bit of an abstract pattern,
0:50:26 > 0:50:27but when you get closer,
0:50:27 > 0:50:31intertwined, lying, reclining, on a hillside, or a beach,
0:50:31 > 0:50:35and it's painted in very, very fine watercolour,
0:50:35 > 0:50:39with this real injection of red which outlines the male figures.
0:50:39 > 0:50:44The artist has signed, right in the middle, Sidney Hunt, 1925.
0:50:44 > 0:50:49Now, 1925, that's such an amazing period after the First World War,
0:50:49 > 0:50:51right in the middle of the roaring '20s.
0:50:51 > 0:50:52Can you tell us how you got it?
0:50:52 > 0:50:55I got it from the flea market in Chesterfield,
0:50:55 > 0:50:58about three years ago. You got it from a flea market?!
0:50:58 > 0:51:01Yeah, a flea market, yeah, I was surprised. How did you spot it?
0:51:01 > 0:51:03Well, I saw it and, erm...
0:51:03 > 0:51:05I looked for his name, Sidney Hunt, on it.
0:51:05 > 0:51:06I didn't know of him,
0:51:06 > 0:51:10so I did quite a bit of research before I bought it,
0:51:10 > 0:51:13and it's very difficult to locate him anywhere.
0:51:13 > 0:51:16He's a really rare artist... Yeah.
0:51:16 > 0:51:18..which is why it's so exciting to see.
0:51:18 > 0:51:20And how much did you pay for it in the flea market? ?250.
0:51:20 > 0:51:23One of the reasons why I've come across his name
0:51:23 > 0:51:25is I've never seen that many images of his work before,
0:51:25 > 0:51:29but in the '20s, probably the most avant-garde society
0:51:29 > 0:51:31that there was to join
0:51:31 > 0:51:33was something called the Seven and Five Society. That's right.
0:51:33 > 0:51:36And the most famous artists like Ben Nicholson,
0:51:36 > 0:51:38Henry Moore, Barbara Hepworth,
0:51:38 > 0:51:40they were all key members of the time,
0:51:40 > 0:51:43and if you look at the list of members,
0:51:43 > 0:51:44Sidney Hunt was one of them.
0:51:44 > 0:51:47What was it that drew you to the image?
0:51:47 > 0:51:50Well, I like Art Deco. Ornaments and so on,
0:51:50 > 0:51:51anything to do with Art Deco,
0:51:51 > 0:51:53and I thought it very Art Deco, the painting.
0:51:53 > 0:51:57I think you're spot on by saying it has an Art Deco feel about it,
0:51:57 > 0:51:59it's because it is SO stylish.
0:51:59 > 0:52:02What's so clever about Sidney Hunt in this picture
0:52:02 > 0:52:06is that he's only used a very fine outline
0:52:06 > 0:52:09which he's managed to portray...
0:52:09 > 0:52:11This figure here, I think, is just fantastic,
0:52:11 > 0:52:14where you can tell that this is the leg coming over,
0:52:14 > 0:52:15this is the foot,
0:52:15 > 0:52:18and he's actually in quite a contorted position. He is, yes.
0:52:18 > 0:52:21And I mean if I tried to draw that it would look a complete mess,
0:52:21 > 0:52:24but Sidney Hunt's managed to do it just with a very fine line.
0:52:24 > 0:52:27I don't know whether you know that much about Hunt's life.
0:52:27 > 0:52:29I've looked into the history of him,
0:52:29 > 0:52:32and he was born in 1896,
0:52:32 > 0:52:35and unfortunately he was killed in the Blitz in 1940,
0:52:35 > 0:52:38and I think a lot of his work perished with him,
0:52:38 > 0:52:39and you can still get some of his work,
0:52:39 > 0:52:41but it's few and far between now.
0:52:41 > 0:52:43He's a very rare artist.
0:52:43 > 0:52:46Someone who doesn't appear that often,
0:52:46 > 0:52:49and for me the exciting thing about it is it's the kind of thing that,
0:52:49 > 0:52:53if you were put it up at auction at, say, something like ?6-?800,
0:52:53 > 0:52:55you'd really expect people to fight for it,
0:52:55 > 0:52:58and it might make somewhere in the region of ?1-?2,000
0:52:58 > 0:53:00on a really good day. Oh, right. That's lovely.
0:53:00 > 0:53:02Thank you. Pleasure. Thank you very much.
0:53:06 > 0:53:09Of all the things in your house
0:53:09 > 0:53:12that you could have brought to the Antiques Roadshow,
0:53:12 > 0:53:14what on earth made you bring this?
0:53:14 > 0:53:15I've no idea.
0:53:15 > 0:53:18Just really, I think, to find out what it was.
0:53:18 > 0:53:19Has it been in your house long?
0:53:19 > 0:53:2130 years.
0:53:21 > 0:53:22Grief! You've had it for 30 years?
0:53:22 > 0:53:26Mm-hm. And did you buy it in a boot fair, or did you inherit it?
0:53:26 > 0:53:27I found it in the garden.
0:53:27 > 0:53:29What do you mean, you found it in the garden?
0:53:29 > 0:53:32I was weeding, and I just found it in the garden.
0:53:32 > 0:53:34What, buried in the garden? Yes.
0:53:34 > 0:53:36That's extraordinary.
0:53:36 > 0:53:40This is as far away from this spot on Earth as anything could be.
0:53:40 > 0:53:42It's from the other side of the hemisphere,
0:53:42 > 0:53:44in New Zealand.
0:53:44 > 0:53:46Do you know what this is? No, I don't.
0:53:46 > 0:53:50It's called a heitiki, or tiki, as it's commonly known as,
0:53:50 > 0:53:52and it's a pendant worn usually at the throat,
0:53:52 > 0:53:55often on its side like that, usually at its side,
0:53:55 > 0:53:57with a thong through there,
0:53:57 > 0:54:00or drilled through the head as this one is and worn straight down.
0:54:00 > 0:54:04Right. And it represents either an ancestor,
0:54:04 > 0:54:06or the goddess of childbirth.
0:54:06 > 0:54:09Is that supposed to be a baby, then, this?
0:54:09 > 0:54:12Tiki just means "carved human figure". Right.
0:54:12 > 0:54:17And some people think it represents the first man,
0:54:17 > 0:54:19in Maori mythology.
0:54:19 > 0:54:20Really?
0:54:20 > 0:54:26And it's made of jade, nephrite, a very, very hard material,
0:54:26 > 0:54:28that's very prized in New Zealand
0:54:28 > 0:54:30and certainly was when this was made.
0:54:30 > 0:54:32Prized because of its colour,
0:54:32 > 0:54:34and this is a beautiful colour, it's often darker,
0:54:34 > 0:54:37and its hardness. It was incredibly hard to work.
0:54:37 > 0:54:40It took for ever to make something like this,
0:54:40 > 0:54:42and only noble classes,
0:54:42 > 0:54:44higher classes, wore these,
0:54:44 > 0:54:47and this one is really old.
0:54:47 > 0:54:50I'm going to stick my neck out - I say it's 17th century. Really?
0:54:50 > 0:54:54It's just extraordinary. So, what was it... Was it just buried?
0:54:54 > 0:54:57It was in a cloth bag. Ah, I see.
0:54:57 > 0:54:59And I had a look, "Well, what's in here?"
0:54:59 > 0:55:02And that fell out and that's as much as I can tell you, and then...
0:55:02 > 0:55:04I just can't believe it. Believe it.
0:55:04 > 0:55:06And how old's the house you live in?
0:55:06 > 0:55:10It was built in 1676, as far as I can tell. Oh, my God.
0:55:10 > 0:55:12So that fits in with what I'm saying.
0:55:12 > 0:55:15Well, this takes generations to wear.
0:55:15 > 0:55:18They were often buried with guardians,
0:55:18 > 0:55:19later dug up,
0:55:19 > 0:55:21and kept somewhere special,
0:55:21 > 0:55:23and brought out in times of mourning,
0:55:23 > 0:55:28or when maybe a woman was having trouble conceiving,
0:55:28 > 0:55:30and the husband's family would give it to the woman
0:55:30 > 0:55:33to wear as a fertility thing,
0:55:33 > 0:55:35and they're very, very collectable.
0:55:35 > 0:55:39If this was in really good condition...
0:55:39 > 0:55:45A piece like this would make at least ?12 to ?15,000. No!
0:55:45 > 0:55:48Blimey, I can't believe that.
0:55:49 > 0:55:52I just thought it were a piece of green rock.
0:55:52 > 0:55:54And just this little break in the leg there
0:55:54 > 0:55:57actually doesn't make that much difference,
0:55:57 > 0:56:00so I'm still going to say that's worth between 12 and ?15,000. Oh!
0:56:00 > 0:56:03I can't believe that, Emma.
0:56:03 > 0:56:05Because it's irrelevant, it's the bottom part.
0:56:05 > 0:56:08It is fantastic, the wear is beyond belief.
0:56:10 > 0:56:12I've always wanted to find one of these.
0:56:12 > 0:56:14I never, ever have.
0:56:14 > 0:56:17I've got one that's probably about 1900, 1910,
0:56:17 > 0:56:19that is really nice,
0:56:19 > 0:56:20but it's not a patch on this!
0:56:20 > 0:56:22Really? It really has.
0:56:22 > 0:56:23I just can't believe it.
0:56:23 > 0:56:26I know a few people I could show this to and they'd be blown away.
0:56:26 > 0:56:29I gave this to Emma 20 years ago.
0:56:29 > 0:56:31You're a lucky girl. Didn't I?
0:56:31 > 0:56:35Do you want it back, then? No, you can have it. No, no, I don't.
0:56:35 > 0:56:38You lovely woman. Thank you. Thanks very much.
0:56:39 > 0:56:41Amazing to think it was dug up in the back garden.
0:56:41 > 0:56:43What a find!
0:56:43 > 0:56:45Do you remember this glorious collection of hats
0:56:45 > 0:56:49that we saw earlier on? I absolutely love them,
0:56:49 > 0:56:50but there was that inflatable rain hat
0:56:50 > 0:56:53that I was trying and failing to blow up.
0:56:53 > 0:56:55Well, since you last saw me...
0:56:55 > 0:56:56Thank you very much.
0:56:56 > 0:56:57..I have succeeded.
0:56:57 > 0:56:59Here it is, and I think...
0:56:59 > 0:57:02this could be an essential for every member of the Antiques Roadshow
0:57:02 > 0:57:04because you never know what the weather will do.
0:57:04 > 0:57:07So, from Bolsover Castle, and the Antiques Roadshow team,
0:57:07 > 0:57:09until next time, in the hope of good weather...
0:57:10 > 0:57:11..bye-bye!
0:57:11 > 0:57:13LAUGHTER
0:57:13 > 0:57:14APPLAUSE