0:00:43 > 0:00:47Today, the Antiques Roadshow comes from an Art Deco treasure
0:00:47 > 0:00:51of a building, with a unique history of learning, secrecy and Hollywood.
0:00:51 > 0:00:55Welcome to the nerve centre of the University of London - Senate House.
0:00:58 > 0:01:02In 1933, construction of this neoclassical colossus
0:01:02 > 0:01:04began in Bloomsbury.
0:01:04 > 0:01:06The radical design was the brainchild
0:01:06 > 0:01:09of architect Charles Holden, seen here on the right.
0:01:09 > 0:01:12It was to be a bold, modernist statement.
0:01:12 > 0:01:15Holden's attention to detail was absolute.
0:01:15 > 0:01:20Even the drainpipes are little crafted artworks in their own right.
0:01:30 > 0:01:32As well as an elegant site of learning,
0:01:32 > 0:01:35this building has a rather sinister connection.
0:01:35 > 0:01:37During the Second World War, the Government used it
0:01:37 > 0:01:39as their Ministry of Information,
0:01:39 > 0:01:42and the wife of a certain George Orwell worked here.
0:01:42 > 0:01:44And he used her experiences as the basis
0:01:44 > 0:01:48for the Ministry of Truth in his iconic novel 1984.
0:01:48 > 0:01:53And he wrote, "The Ministry of Truth, Minitrue in Newspeak,
0:01:53 > 0:01:56"was startlingly different from any other object in sight.
0:01:56 > 0:01:59"It was an enormous, pyramidal structure
0:01:59 > 0:02:03"of glittering, white concrete, soaring up, terrace after terrace,
0:02:03 > 0:02:06"300 metres into the air."
0:02:13 > 0:02:16As befits a Senate House, this is the Senate room,
0:02:16 > 0:02:19where the Vice-Chancellor would address the great and the good
0:02:19 > 0:02:21and the finest academics of the day.
0:02:21 > 0:02:24But this place apparently had another admirer,
0:02:24 > 0:02:28none other than Adolf Hitler, who wanted to use it as his HQ,
0:02:28 > 0:02:31if he'd succeeded in invading Britain.
0:02:36 > 0:02:40When it comes to firsts, Senate House can claim several.
0:02:40 > 0:02:42It was London's first skyscraper,
0:02:42 > 0:02:44and it was the first university in Britain
0:02:44 > 0:02:46to admit women to its degree programmes.
0:02:50 > 0:02:54The panoramic view from the top of Senate House has made it popular
0:02:54 > 0:02:56with film directors. Batman Begins, Nanny McPhee,
0:02:56 > 0:03:01The Day Of The Triffids, all made use of this sky-rise location.
0:03:01 > 0:03:04Today, our own directors and camera crews are hard at work
0:03:04 > 0:03:07with our experts, in several of the principal rooms
0:03:07 > 0:03:10down on the ground floor and the first floor.
0:03:10 > 0:03:12Lights, camera, action!
0:03:13 > 0:03:15"A peep into fairyland.
0:03:15 > 0:03:18"Admission 2p, children 1p."
0:03:18 > 0:03:20Shall we do that - peep into fairyland?
0:03:20 > 0:03:22SHE GASPS
0:03:23 > 0:03:25I mean, that is absolutely amazing.
0:03:25 > 0:03:30What we're looking at is this extraordinary diorama
0:03:30 > 0:03:32of painted scenery,
0:03:32 > 0:03:35little creatures, elves, rabbits.
0:03:35 > 0:03:37How did it come to you?
0:03:37 > 0:03:40Well, our grandparents, who lived in Bromley,
0:03:40 > 0:03:43lived next door to a lovely, elderly gentleman
0:03:43 > 0:03:45who they became good friends with.
0:03:45 > 0:03:47And then, through that friendship,
0:03:47 > 0:03:51they became friends with his sisters.
0:03:51 > 0:03:53When we were young, when we were children,
0:03:53 > 0:03:57we used to go round there for afternoon tea in their garden
0:03:57 > 0:04:00and it's just one particular time we went,
0:04:00 > 0:04:03we were taken through to a room and we were shown this, as children,
0:04:03 > 0:04:06which was just the most magical moment ever.
0:04:06 > 0:04:09And then it was what - inherited by you or to the family?
0:04:09 > 0:04:12Yeah, it was inherited to my grandparents
0:04:12 > 0:04:16- and then my mum and then it was inherited to us.- So, there are
0:04:16 > 0:04:20probably about another 15 to 16 of these hangings.
0:04:20 > 0:04:23And they're all designed so when you look through it,
0:04:23 > 0:04:25you get more and more of a 3D effect.
0:04:25 > 0:04:28That very back painting also gives an illusion of further depth.
0:04:28 > 0:04:30As a kid, it was just magical.
0:04:30 > 0:04:33It still has that amazing effect now.
0:04:33 > 0:04:36Let's just talk about fairies a bit
0:04:36 > 0:04:39in the early part of the 20th century.
0:04:39 > 0:04:43There was this great sort of upsurge in fairies
0:04:43 > 0:04:47and the depiction of fairies. It was a form of escapism.
0:04:47 > 0:04:50It took you away from reality, took you away from industrialisation,
0:04:50 > 0:04:52it took you away from the First World War,
0:04:52 > 0:04:57all those horrible things, you could escape into this fairyland.
0:04:57 > 0:05:01But let's think about who these little old ladies were.
0:05:01 > 0:05:02Because there's a clue.
0:05:02 > 0:05:05And, on one of the pieces of scenery,
0:05:05 > 0:05:07what have we got here?
0:05:07 > 0:05:09Well, actually, what we've got
0:05:09 > 0:05:14is part of a really fine, botanical painting,
0:05:14 > 0:05:20signed down here by somebody called Lilian Snelling.
0:05:20 > 0:05:24And one of your little old ladies was in fact
0:05:24 > 0:05:31perhaps the greatest horticultural, botanical artist of her time.
0:05:31 > 0:05:35- Wow!- She was awarded the Victoria medal
0:05:35 > 0:05:40from the Royal Horticultural Society, which is their top award.
0:05:40 > 0:05:41She was given an MBE.
0:05:41 > 0:05:43She produced illustrations.
0:05:43 > 0:05:45She produced lithographs.
0:05:45 > 0:05:48Over 800 drawings and paintings.
0:05:48 > 0:05:51We are dealing with an absolute,
0:05:51 > 0:05:55can I say, force of nature without being too punny?
0:05:55 > 0:06:00When one looks at Lilian Snelling's watercolours,
0:06:00 > 0:06:04we're talking about £4,000, £5,000 apiece.
0:06:04 > 0:06:09What is a Lilian Snelling diorama going to be worth?
0:06:09 > 0:06:12It's a completely different audience.
0:06:12 > 0:06:15I think it's worth a lot.
0:06:15 > 0:06:17I think it's fabulous.
0:06:17 > 0:06:19I would say £10,000 at least.
0:06:19 > 0:06:22It is spectacular,
0:06:22 > 0:06:27and it is that moment in particularly English history
0:06:27 > 0:06:30- where fairies were king and queen. - Right.
0:06:30 > 0:06:33- Thank you very much indeed. - Thank you.- Thank you.
0:06:39 > 0:06:42Well, let's have a look at what light does to stained glass.
0:06:45 > 0:06:48And I must say, that's a really good image.
0:06:48 > 0:06:50Tell us about it in your life.
0:06:50 > 0:06:55Well...the job I was doing, house clearances one day.
0:06:55 > 0:06:59In a skip, there were six of these sitting in the skip.
0:06:59 > 0:07:03Took them home, put them in the shed and forgot about them for six years.
0:07:03 > 0:07:06Then my wife said last night, this is down here,
0:07:06 > 0:07:08so we jumped on a bus this morning and here we are.
0:07:08 > 0:07:12These came out of an arts and crafts house.
0:07:12 > 0:07:16That style, you know, you go Baroque, rococo, neoclassical,
0:07:16 > 0:07:19Art Nouveau and Art Deco, all that lot.
0:07:19 > 0:07:21And nestled in the middle of Art Nouveau,
0:07:21 > 0:07:25arts and crafts was English Art Nouveau, sort of.
0:07:25 > 0:07:28And the artistic, painterly style
0:07:28 > 0:07:32that is most associated with the arts and crafts is Pre-Raphaelite,
0:07:32 > 0:07:34and these are Pre-Raphaelite.
0:07:34 > 0:07:39And you have a look at them and you think, this is very well executed.
0:07:39 > 0:07:41There's qualities of scale.
0:07:41 > 0:07:43It's not the greatest.
0:07:43 > 0:07:45- Oh, no, no, no. - But it's really not bad.
0:07:45 > 0:07:48Basically, the colour is really nice on this.
0:07:48 > 0:07:49You have a lovely image.
0:07:49 > 0:07:52I've seen the images of the others that you have.
0:07:52 > 0:07:55They show the stages of man, don't they...?
0:07:55 > 0:07:58From a child up to old man.
0:07:58 > 0:08:00Start with a nurse, ends with a nurse.
0:08:00 > 0:08:03And here we have young man as pretty boy.
0:08:03 > 0:08:06- A teenager.- I think we have. But he's into fashion, isn't he?
0:08:06 > 0:08:08You have a little damage here.
0:08:08 > 0:08:11It come out of the skip, remember. It could have been damaged there.
0:08:11 > 0:08:14Sure. Well, when it comes to value, this is the best.
0:08:14 > 0:08:16- Yeah, I'd say.- This one's 500 quid.
0:08:16 > 0:08:17Oh!
0:08:17 > 0:08:19Others not quite so much.
0:08:19 > 0:08:21So, let's think.
0:08:21 > 0:08:24You got six out of the skip for nothing.
0:08:24 > 0:08:26Well, I reckon...
0:08:26 > 0:08:28£1,500 at auction.
0:08:29 > 0:08:30That's sweet as a nut, that is.
0:08:30 > 0:08:32- Better than working for a living, isn't it?- Yeah.
0:08:32 > 0:08:35- Thank you very much. - You're welcome.
0:08:43 > 0:08:46Ink wells made out of horses' hooves are not uncommon.
0:08:46 > 0:08:49I've seen literally hundreds of these over the years.
0:08:49 > 0:08:53But this is a first because this is a famous horse.
0:08:53 > 0:08:56I recognise the name of this horse and that's the first time
0:08:56 > 0:08:59that's ever happened. "Ronald" on the front of here
0:08:59 > 0:09:01is quite literally a horse celeb.
0:09:01 > 0:09:04He is a warhorse of the highest calibre.
0:09:04 > 0:09:07And here we have one of his hooves, mounted in silver,
0:09:07 > 0:09:11and turned into an inkwell with an inscription on top, which reads,
0:09:11 > 0:09:15"Hoof of Ronald, the charger ridden by James Thomas Brudenel,
0:09:15 > 0:09:19"7th Earl of Cardigan, at the Battle of Balaclava,
0:09:19 > 0:09:21"October 25th, 1854."
0:09:21 > 0:09:22- Now, there's a famous date.- It is.
0:09:22 > 0:09:26How come you've ended up with Lord Cardigan's horse's hoof?
0:09:26 > 0:09:30Well...my grandfather on my mother's side,
0:09:30 > 0:09:34his great grandfather, who's a chap called John Harwood-Hill,
0:09:34 > 0:09:38was a vicar in Leicestershire in the 1830s.
0:09:38 > 0:09:41He became the Earl of Cardigan's librarian
0:09:41 > 0:09:46and they must have struck up a friendship because, in the 1870s,
0:09:46 > 0:09:50this hoof was given to him by the Countess of Cardigan.
0:09:50 > 0:09:53- Right. - As a gift.- That explains everything.
0:09:53 > 0:09:55I'm no military historian,
0:09:55 > 0:09:58so I can make no comment about the rights and wrongs
0:09:58 > 0:09:59of the Charge of the Light Brigade.
0:09:59 > 0:10:03But this was clearly an animal, whose devotion to his owner
0:10:03 > 0:10:07and bravery is beyond comprehension, really.
0:10:07 > 0:10:12And, Ronald, being Lord Cardigan's steed, led the charge.
0:10:12 > 0:10:14Ran all the way down to the Russian line,
0:10:14 > 0:10:16got through the Russian cannons,
0:10:16 > 0:10:21ran amok a bit behind the Russian cannons, and then charged back,
0:10:21 > 0:10:26survived. Out of the 600 and some horses that went into the charge,
0:10:26 > 0:10:29nearly 500 of them were killed. So then he came home
0:10:29 > 0:10:33and Ronald survived till 1872.
0:10:33 > 0:10:36And parts of him made into relics, including this hoof, of course,
0:10:36 > 0:10:42which is marked by EH Stockwell, who are very good London silversmiths.
0:10:42 > 0:10:44They've mounted this hoof in 1872.
0:10:44 > 0:10:47There are four of these hooves, as you may know.
0:10:47 > 0:10:51One of them is in the collection of the Hussars, one of them -
0:10:51 > 0:10:56in fact two of them are, because one of them was given to Edward VII
0:10:56 > 0:10:59as commander-in-chief of the 10th Hussars -
0:10:59 > 0:11:02one's retained by Lord Cardigan's family,
0:11:02 > 0:11:07and then there's the one that is on the record as having been
0:11:07 > 0:11:10in the ownership of Lady Sawyer, which is this one,
0:11:10 > 0:11:12which has now come down to you.
0:11:12 > 0:11:16In terms of a valuation, I'm going to be quite conservative.
0:11:16 > 0:11:19It's got to be worth at least £5,000.
0:11:19 > 0:11:20Ha!
0:11:20 > 0:11:22Unexpected.
0:11:22 > 0:11:24Thank you.
0:11:31 > 0:11:33I love your little collection of images here.
0:11:33 > 0:11:36- They're all Central line stations, aren't they?- Yes, they are.
0:11:36 > 0:11:39We've got Bank, Museum, Marble Arch, Notting Hill,
0:11:39 > 0:11:43and the closest station to us, which is Tottenham Court Road.
0:11:43 > 0:11:46- They're postcards, aren't they? - Absolutely, yes.
0:11:46 > 0:11:48Hard to tell that in these little frames.
0:11:48 > 0:11:52- Who framed them all up?- So my mother's been looking out for them
0:11:52 > 0:11:55for the past 10, 15 years. She lives in Suffolk.
0:11:55 > 0:11:57Goes to quite a few postcard fairs,
0:11:57 > 0:11:58so she had them framed.
0:11:58 > 0:12:01I've been having them in my flats in south London.
0:12:05 > 0:12:08Now, these were originally made in the early 20th century.
0:12:08 > 0:12:12So, these are well over 100 years old, each of these postcards.
0:12:12 > 0:12:16They were drawn by an artist called Philip May
0:12:16 > 0:12:19and he was a great graphic artist, I think.
0:12:19 > 0:12:22Quite simple in style, but I really, really like his style.
0:12:22 > 0:12:24And, to be frank,
0:12:24 > 0:12:27most of these were given away free with publications
0:12:27 > 0:12:30- in the early 20th century.- Oh, OK.
0:12:34 > 0:12:37So, anyway, you're obviously having a little bit of a problem
0:12:37 > 0:12:40- finishing off the set, are you? - I've two missing.- Right, OK.
0:12:40 > 0:12:44Essentially, what you have here is £70-£100 worth of cards.
0:12:44 > 0:12:46But, I think, actually, as they're framed up as a set,
0:12:46 > 0:12:49and they look really, really good, maybe £100, £150
0:12:49 > 0:12:52is kind of more like a sort of price for them.
0:12:52 > 0:12:55But I hope you manage to complete the set.
0:12:55 > 0:12:57Thank you. So do I.
0:13:03 > 0:13:05Here is one of the most important manuscripts
0:13:05 > 0:13:08that's ever likely to come onto the Antiques Roadshow.
0:13:08 > 0:13:11This comes from the library here, of course.
0:13:11 > 0:13:13I know it's known as the Chandos manuscript.
0:13:13 > 0:13:15What can you tell me about it?
0:13:15 > 0:13:19Well, the Chandos manuscript relates to the ownership of John Chandos.
0:13:19 > 0:13:22He was one of the most loyal supporters of the Black Prince.
0:13:22 > 0:13:25So, we're talking about the middle of the 14th century.
0:13:25 > 0:13:29- The reign of...- Edward III. - Edward III.- And, at this time,
0:13:29 > 0:13:33Chandos was following the Black Prince to various battles in France
0:13:33 > 0:13:36for the Hundred Years War - Crecy, Poitiers.
0:13:36 > 0:13:39And it was Chandos's herald, the sort of PA,
0:13:39 > 0:13:41or publicist of the time,
0:13:41 > 0:13:45who was with him at these battles, recording what was happening.
0:13:45 > 0:13:48And the eyewitness account was then used to produce
0:13:48 > 0:13:51this beautifully illuminated bound book.
0:13:51 > 0:13:54Oh, and it was the Battle of Crecy, of course,
0:13:54 > 0:13:59where the Prince of Wales got his spurs, and also won these feathers,
0:13:59 > 0:14:02which the Prince of Wales is famous for today.
0:14:02 > 0:14:06He was knighted. This is all part of the current Royal Family's insignia.
0:14:06 > 0:14:09It goes right back to the heart of chivalry.
0:14:09 > 0:14:13This book, in many ways, epitomises the glory of war,
0:14:13 > 0:14:16and how it's then encapsulated, not just in the rich illumination,
0:14:16 > 0:14:18but in the storytelling. It's a bit of a spin.
0:14:18 > 0:14:20The spin of the Hundred Years War.
0:14:20 > 0:14:23In fact, it's not in English, but it is in French, isn't it?
0:14:23 > 0:14:25It is, because that was the language of court at the time.
0:14:25 > 0:14:27It was a book for the elites, written in French,
0:14:27 > 0:14:29with a few Latin phrases thrown in.
0:14:29 > 0:14:33Yes. So, it's the most remarkable thing. As far as I know,
0:14:33 > 0:14:35it is hardly well known at all.
0:14:35 > 0:14:40There is a similar version in Worcester College library in Oxford.
0:14:40 > 0:14:42Yes, but I'm talking about printed copies.
0:14:42 > 0:14:45Very few. 1842, we think there was a version, but it's...
0:14:45 > 0:14:48The text is well known, but as an object,
0:14:48 > 0:14:51as something that we treasure, it's almost unique.
0:14:51 > 0:14:53And he didn't get his notebook out and write it all down,
0:14:53 > 0:14:56he got a monk, presumably, to write it,
0:14:56 > 0:14:59as you would write an illuminated manuscript,
0:14:59 > 0:15:04a piece of sacred text, or something like that, and in a sacred way,
0:15:04 > 0:15:08and put this wonderful illuminated frontispiece here,
0:15:08 > 0:15:12showing God the Father supporting Christ on the cross.
0:15:12 > 0:15:15Underneath here, this is the bit that's been thumbed most.
0:15:15 > 0:15:18The Prince of Wales, here.
0:15:18 > 0:15:22He's on his knees, dressed in a surcoat.
0:15:22 > 0:15:24And the Prince of Wales feathers are on either side.
0:15:24 > 0:15:27This is the first time the feathers had been shown.
0:15:27 > 0:15:32And he's saying, "Tres unum sunt."
0:15:32 > 0:15:34Three in one are.
0:15:34 > 0:15:37Then the "Ich dien" here.
0:15:37 > 0:15:38To serve. I serve.
0:15:38 > 0:15:42So, it's a combination of different languages and symbolism.
0:15:42 > 0:15:44Any contemporary would have understood this.
0:15:44 > 0:15:47It does take a little bit more deciphering today.
0:15:47 > 0:15:50But it is absolutely exquisite and beautiful.
0:15:50 > 0:15:52Is it the most valuable thing you think you've got?
0:15:52 > 0:15:55It's the biggest treasure. It is the most valuable item.
0:15:55 > 0:15:57It is unique. It's priceless, in many ways.
0:15:57 > 0:16:00As far as I'm concerned, this is one of the cornerstones
0:16:00 > 0:16:01of English literature.
0:16:01 > 0:16:04Now, I know you've had it insured, and all the rest of it...
0:16:04 > 0:16:06Can you let us know?
0:16:06 > 0:16:08To me, this is a priceless item.
0:16:08 > 0:16:11But, for insurance purposes, £2 million.
0:16:11 > 0:16:13£2 million!
0:16:13 > 0:16:16Well, I think that's ridiculous
0:16:16 > 0:16:18because I think, if it came on the open market,
0:16:18 > 0:16:20and heaven forbid that it ever would,
0:16:20 > 0:16:23I think it would be worth twice that - £4 million.
0:16:27 > 0:16:28Well, as a Londoner,
0:16:28 > 0:16:32it's great for me to come back to London and see a London pot.
0:16:32 > 0:16:34It's terrific, isn't it?
0:16:34 > 0:16:37Made by the Doulton factory in Lambeth.
0:16:37 > 0:16:41- Yes.- One of the greatest potters at the Lambeth factory
0:16:41 > 0:16:44in the 19th century was Hannah Barlow,
0:16:44 > 0:16:48who specialised in incising pots while they were wet
0:16:48 > 0:16:52and then decorating them - horses and bulls and cows
0:16:52 > 0:16:55and all sorts of wonderful creatures.
0:16:55 > 0:16:59She was a wonderful lady, who owned all these animals.
0:16:59 > 0:17:01- She had her own zoo.- Oh, did she?
0:17:01 > 0:17:04Yes, had her own zoo! These are just horses
0:17:04 > 0:17:07but you can get kangaroos and all sorts of things by her!
0:17:07 > 0:17:09I think she's a wonderful woman.
0:17:09 > 0:17:15Had this incredible ability to incise and draw these horses.
0:17:15 > 0:17:17I think they're terrific things.
0:17:17 > 0:17:19- They're so lifelike, aren't they? - Yes.
0:17:19 > 0:17:21It's basically called a loving cup.
0:17:21 > 0:17:24The idea is, you'd pass it round the table with drink in
0:17:24 > 0:17:29and everybody can take a handle and drink from one side of it.
0:17:29 > 0:17:31Oh, right. Very hygienic.
0:17:31 > 0:17:34It goes back a long way, these loving cups.
0:17:34 > 0:17:35But this is great.
0:17:35 > 0:17:38And, um, I think it's absolutely wonderful.
0:17:38 > 0:17:39Have you had it a long time?
0:17:39 > 0:17:41Not all that long.
0:17:41 > 0:17:46I was at an auction about nine months ago and I saw this.
0:17:46 > 0:17:50- Hm.- I've got a bit of Hannah Barlow, but in those days,
0:17:50 > 0:17:53I couldn't afford to buy anything really decent.
0:17:53 > 0:17:55And I saw this and I thought, "I really must have it."
0:17:55 > 0:17:57They're often dated.
0:17:57 > 0:18:00This one... Yes, there we are.
0:18:00 > 0:18:021875.
0:18:02 > 0:18:03She was quite young.
0:18:03 > 0:18:05How old would she be then, when she did that?
0:18:05 > 0:18:07She'd be in her twenties then.
0:18:07 > 0:18:10She came from the Lambeth School of Art.
0:18:10 > 0:18:13- Oh, right.- Where she was trained,
0:18:13 > 0:18:15and, um, Doulton, Henry Doulton,
0:18:15 > 0:18:19was a wonderful chap in getting these young girls and boys
0:18:19 > 0:18:23from the Lambeth School of Art to come and work at the Doulton factory
0:18:23 > 0:18:25and encouraged them enormously.
0:18:25 > 0:18:28The prices of Hannah Barlow have dropped down a little bit
0:18:28 > 0:18:31- in recent years, I don't know why. - Oh, dear.
0:18:31 > 0:18:33But one day she'll boost up again.
0:18:33 > 0:18:37But, I suppose, a pot like this, a year or so ago,
0:18:37 > 0:18:39would have been something like £1,000.
0:18:39 > 0:18:42Now down, possibly, to about £500.
0:18:42 > 0:18:44But it's still a jolly fine pot.
0:18:44 > 0:18:47- I love it very much. I'm sure you do.- I do.
0:18:47 > 0:18:49It's a real statement, isn't it?
0:18:49 > 0:18:52So, look after it. Think of Hannah Barlow,
0:18:52 > 0:18:53- working in Lambeth.- Yes.
0:18:59 > 0:19:02Well, this is one of the largest ship models
0:19:02 > 0:19:04we've ever had on the show.
0:19:04 > 0:19:06None other than HMS Victory,
0:19:06 > 0:19:10perhaps the best-known British warship of all times.
0:19:10 > 0:19:13You must live in a pretty large house to accommodate this.
0:19:13 > 0:19:15Unfortunately not, no.
0:19:15 > 0:19:19It lives with us in our main room.
0:19:19 > 0:19:21We have it on a sideboard against the wall
0:19:21 > 0:19:25and we sort of forget it's there half the time, really.
0:19:25 > 0:19:27We have to be careful that we don't get too close to it.
0:19:27 > 0:19:29- Yeah.- It's quite fragile.
0:19:29 > 0:19:32Absolutely. You've two very pretty little girls
0:19:32 > 0:19:34and your wife stood behind you.
0:19:34 > 0:19:36How do they cope with it?
0:19:36 > 0:19:40Well, I do wonder it's still in one piece after bringing these two up,
0:19:40 > 0:19:42because they do like to bounce around on the settee,
0:19:42 > 0:19:44that's quite close.
0:19:44 > 0:19:46- And it's amazing it's still in one piece, really.- Yeah.
0:19:46 > 0:19:49Built in around 1920.
0:19:49 > 0:19:53The quality's kind of middling, not spectacular quality,
0:19:53 > 0:19:56but you have all the gun deck detail and cannons.
0:19:56 > 0:19:59- I'd agree.- When did it first come to you?
0:19:59 > 0:20:02I inherited it from my late father,
0:20:02 > 0:20:06who acquired it originally in the late '90s.
0:20:06 > 0:20:10- Right.- And it came to him from a dealer on the coast in Emsworth.
0:20:10 > 0:20:12- Right.- Not far from Portsmouth.
0:20:12 > 0:20:16- Yeah.- And my dad received it as part payment
0:20:16 > 0:20:19for a boat he was selling to this chap.
0:20:19 > 0:20:21So, it was cash and this boat as well.
0:20:21 > 0:20:23OK. A bit of wheeling and dealing.
0:20:23 > 0:20:26The story that came with it was there was some provenance
0:20:26 > 0:20:30- attached to it...- Yes. - ..which related to
0:20:30 > 0:20:35the fundraising tour organised by WL Wyllie, in the 1920s.
0:20:35 > 0:20:39William Lionel Wyllie, born actually in Camden
0:20:39 > 0:20:41just a few miles from here.
0:20:41 > 0:20:44One of the greatest of naval and maritime painters.
0:20:44 > 0:20:49He was one of the main campaigners to have the original HMS Victory,
0:20:49 > 0:20:53which was in a terrible state, in the sort of 1910...
0:20:53 > 0:20:57And he realised how important this was
0:20:57 > 0:21:00as a national icon and that the ship should be saved.
0:21:00 > 0:21:05And he, in fact, spent time touring the UK, giving lectures,
0:21:05 > 0:21:09and raising funds to make a start.
0:21:09 > 0:21:13I think the restoration started in 1922 and took seven years.
0:21:13 > 0:21:15But, I mean, it's ongoing, isn't it?
0:21:15 > 0:21:21It is. Yeah. They've just recently repainted it, last year, I think,
0:21:21 > 0:21:24- in a lemon yellow and grey colour. - Right.
0:21:24 > 0:21:27William Lionel Wyllie's attempt to raise the funds worked.
0:21:27 > 0:21:29It was saved for the nation.
0:21:29 > 0:21:32And it's quite possible that a model like this was used
0:21:32 > 0:21:36to show what the restored wreck of the ship
0:21:36 > 0:21:39would look like on completion.
0:21:39 > 0:21:43In fact, what took me was the detail of the rigging.
0:21:43 > 0:21:45There's no sails on this particular model.
0:21:45 > 0:21:48No, there's not, no. I also understand it was made
0:21:48 > 0:21:50for the restorers to get the rigging precise.
0:21:50 > 0:21:53- Oh, right.- That was part of the purpose of this model.
0:21:53 > 0:21:57We do decorate it every year for Christmas with lights -
0:21:57 > 0:22:00fairy lights - and a few small baubles, bit of tinsel.
0:22:00 > 0:22:03Instead of getting a tree, sometimes, you know.
0:22:03 > 0:22:07Great. It obviously is a ship that earns its keep in your household.
0:22:07 > 0:22:09- It does.- Part of the landscape.
0:22:09 > 0:22:11I would have thought, in a special sale,
0:22:11 > 0:22:15with obviously the link to Wyllie,
0:22:15 > 0:22:18which obviously we've no absolute concrete evidence about,
0:22:18 > 0:22:22it's worth... And it is limited by size, I'll be honest.
0:22:22 > 0:22:24Smaller ships could make more sometimes.
0:22:24 > 0:22:28It's the kind of piece that might look good in the Victory Hotel,
0:22:28 > 0:22:29- you know, on display.- Or here!
0:22:29 > 0:22:32- Yeah, here!- It's great here. - You've got the room.
0:22:32 > 0:22:38- Value, at auction, £1,500, £2,500, that sort of area.- OK.
0:22:38 > 0:22:40OK. Been a pleasure.
0:22:45 > 0:22:48Really, you have got a very lovely fan.
0:22:48 > 0:22:50French.
0:22:50 > 0:22:541780, 1790, this sort of period.
0:22:54 > 0:22:56A silk panel here.
0:22:56 > 0:22:59So, this is something you've acquired recently?
0:22:59 > 0:23:01Yes, quite recently, a couple of months or so.
0:23:01 > 0:23:04But it's pretty much to put towards my fashion business
0:23:04 > 0:23:06- that I'm trying to launch.- Good.
0:23:06 > 0:23:08I haven't managed to get any funding from anywhere else,
0:23:08 > 0:23:11so I thought, "Why not buy and sell antiques?"
0:23:11 > 0:23:14I love that. I love the kind of beautiful objects from the past.
0:23:19 > 0:23:21It's good. I don't know what it cost you.
0:23:21 > 0:23:23100 quid.
0:23:23 > 0:23:25That sounds remarkably cheap.
0:23:27 > 0:23:28I shouldn't go into fashion at all.
0:23:28 > 0:23:30- Stick to antiques.- It's a bargain.
0:23:30 > 0:23:33You're going to do rather better, I think!
0:23:33 > 0:23:34He's got an amazing eye.
0:23:40 > 0:23:42Just a really jolly day out.
0:23:42 > 0:23:44A lovely, romantic scene.
0:23:44 > 0:23:47Flanked to either side by these oval panels,
0:23:47 > 0:23:49with musical instruments, floral swags.
0:23:49 > 0:23:53It really is a really romantic piece.
0:23:53 > 0:23:55Value-wise, they are slightly tricky.
0:23:55 > 0:23:58But it's upper hundreds. Is it towards £1,000?
0:23:58 > 0:24:01£800, £1,000 - is it a little over that?
0:24:01 > 0:24:03That sort of region, really.
0:24:03 > 0:24:04The colours are bright.
0:24:04 > 0:24:08It's got everything somebody would really like to own in a fan, really.
0:24:17 > 0:24:19This is such a celebration of colour.
0:24:19 > 0:24:23And I see that it's signed "Nolan."
0:24:23 > 0:24:25Who's Sidney Nolan,
0:24:25 > 0:24:29who's obviously Australia's greatest 20th-century artist.
0:24:29 > 0:24:31Can you tell us how it came to be yours?
0:24:31 > 0:24:36In 1987, I was a young company manager at the Royal Opera House.
0:24:36 > 0:24:38We were doing a new production
0:24:38 > 0:24:40of Mozart's Die Entfuhrung Aus Dem Serail,
0:24:40 > 0:24:43And the director, Elijah Moshinsky,
0:24:43 > 0:24:46asked his friend, who was Sidney Nolan,
0:24:46 > 0:24:47to come and design the sets.
0:24:47 > 0:24:50Amazing! So, can you tell us a little bit more
0:24:50 > 0:24:52about where does this fit in to the set design?
0:24:52 > 0:24:55They did lots of model development meetings
0:24:55 > 0:24:59and, during the course of that, Sidney designed four drops
0:24:59 > 0:25:02to be used in production. There was a front cloth
0:25:02 > 0:25:05and three other backdrops and this is one of them.
0:25:05 > 0:25:08This one wasn't actually used in the production
0:25:08 > 0:25:11because we ran out of money and didn't have enough to realise them all.
0:25:11 > 0:25:14So, I suppose it's unusual from that point of view as well,
0:25:14 > 0:25:16because it wasn't actually in the show in the end.
0:25:16 > 0:25:19I think that actually makes it even more unusual
0:25:19 > 0:25:22because the other designs that were used,
0:25:22 > 0:25:24they're captured in images of the set,
0:25:24 > 0:25:27whereas this is probably the first time
0:25:27 > 0:25:31this design has ever been unveiled to the world on camera.
0:25:31 > 0:25:35For me, it's also really interesting because Nolan is most well known
0:25:35 > 0:25:38for an incredible series of work about Ned Kelly,
0:25:38 > 0:25:40who is this Australian outlaw.
0:25:40 > 0:25:43When the Royal Academy had their recent Australia exhibition,
0:25:43 > 0:25:47that series was at the heart of the whole exhibition.
0:25:47 > 0:25:50What's interesting about this piece though, is that it shows
0:25:50 > 0:25:52a really very different side.
0:25:52 > 0:25:55He designed many sets for the Royal Opera House.
0:25:55 > 0:25:59What's particularly interesting about this one from the '80s is,
0:25:59 > 0:26:00if you look closely at it,
0:26:00 > 0:26:04- it's a water-based paint, but he's actually used spray paint.- Yeah.
0:26:04 > 0:26:09That shows how innovative he was and he was also really interested
0:26:09 > 0:26:13in changing, using different materials, using different paints.
0:26:13 > 0:26:15When he first started painting in oil,
0:26:15 > 0:26:18he actually painted using Ripolin, which is just a household paint.
0:26:18 > 0:26:21What I love about this piece, though, is the history.
0:26:21 > 0:26:26Knowing it's for a set design, so he designed it to be huge.
0:26:26 > 0:26:29But actually, on this scale, it works remarkably well.
0:26:29 > 0:26:30Yeah, it absolutely does.
0:26:30 > 0:26:32So, if this was coming up at auction,
0:26:32 > 0:26:36I'd suggest an estimate in the region of £1,200 to £1,800.
0:26:36 > 0:26:39Great. That's really nice, but I'm going to keep it
0:26:39 > 0:26:41because it was something that he gave to me.
0:26:44 > 0:26:47Talk about decadent. Talk about amazing.
0:26:47 > 0:26:51This is exactly the sort of things that members of the Bloomsbury Set
0:26:51 > 0:26:55would have sported to smoke their cheroots or cigarettes in -
0:26:55 > 0:26:56this miniature,
0:26:56 > 0:26:59pipe-shaped cigarette holder.
0:26:59 > 0:27:02And we're in the heart of Bloomsbury,
0:27:02 > 0:27:05- and you guys are dressed so appropriately.- Indeed.
0:27:05 > 0:27:09You clearly know where to find fabulous accessories.
0:27:09 > 0:27:10Where on earth did you find this?
0:27:10 > 0:27:17Well, this is sort of inherited from my next-door neighbour, in Italy,
0:27:17 > 0:27:19in Trieste. I was the only one in the family
0:27:19 > 0:27:22to actually appreciate the sort of things she collected.
0:27:22 > 0:27:25She collected a lot of bits and pieces.
0:27:25 > 0:27:28And so it ended up with me because I deserve it, I think.
0:27:29 > 0:27:33You know, things that fit in with the way you guys look,
0:27:33 > 0:27:35obviously find their way to you.
0:27:35 > 0:27:37Indeed. I believe so.
0:27:37 > 0:27:39- Absolutely.- It's a very rare thing. - Oh.
0:27:39 > 0:27:44It's made in Renaissance tradition and in Austro-Hungary,
0:27:44 > 0:27:48when this was made, which was about 1880, 1890, or a bit before,
0:27:48 > 0:27:51they did Renaissance revival pieces,
0:27:51 > 0:27:54jewellery, just like you've described.
0:27:54 > 0:27:59But they also mounted rock crystal and semi-precious stone vessels,
0:27:59 > 0:28:03lapis, with silver and gold on silver-gilt mounts, with enamel,
0:28:03 > 0:28:06all in the Renaissance style. That's what this fits into.
0:28:06 > 0:28:08Blackamoors were exotic.
0:28:08 > 0:28:11He's dressed with a turban from the Ottoman style,
0:28:11 > 0:28:13with the crescent on there.
0:28:13 > 0:28:16And it's got a little jewel in his turban.
0:28:16 > 0:28:17It's so beautiful.
0:28:17 > 0:28:21The face is enamelled in black with earrings.
0:28:21 > 0:28:24It's so complete. It's like a miniature pipe.
0:28:24 > 0:28:27- Yeah.- You get Meerschaum pipes, full size,
0:28:27 > 0:28:30carved in the forms of Blackamoors and other subject matter.
0:28:30 > 0:28:32But this is a miniature pipe.
0:28:32 > 0:28:35In silvergilt. This was gilt once.
0:28:35 > 0:28:38The gilt has worn off because you've smoked so much with it.
0:28:38 > 0:28:42- Guilty.- And I think the jewel is probably a garnet,
0:28:42 > 0:28:45which was typical again of Austro-Hungarian work.
0:28:45 > 0:28:50- Right.- I've never seen one of these in the flesh, so to speak,
0:28:50 > 0:28:52or in the metal. And, um...
0:28:52 > 0:28:58something like that, in the right shop in the West End, or in Paris,
0:28:58 > 0:29:01or in New York, or in a good auction,
0:29:01 > 0:29:04would make at least £1,500.
0:29:07 > 0:29:08Seriously?
0:29:08 > 0:29:10Seriously.
0:29:10 > 0:29:12- Thank you very much. - A very rare thing.
0:29:12 > 0:29:14- Fantastic!- Thank you.
0:29:20 > 0:29:24Well, I must say, this is the nicest piece of engraving
0:29:24 > 0:29:27that's been brought in on the series for me.
0:29:27 > 0:29:29It is such a beautiful glass.
0:29:29 > 0:29:31So, I need to place it in your life
0:29:31 > 0:29:34before going any further. How do you know it?
0:29:34 > 0:29:39This was given to my husband as a gift by one of his patients,
0:29:39 > 0:29:41as a thank you.
0:29:41 > 0:29:44OK. What did he do?
0:29:44 > 0:29:46I really don't know.
0:29:46 > 0:29:48- OK.- I possibly can't say.
0:29:48 > 0:29:52OK. What do you think of it yourself? How do you see it?
0:29:52 > 0:29:54I love it. I love the engraving on it.
0:29:54 > 0:29:56It's so intricate.
0:29:56 > 0:29:59What you have is a glass that, first of all,
0:29:59 > 0:30:03dates from 1740, or thereabouts.
0:30:03 > 0:30:08So, it's 260, 270 years old.
0:30:09 > 0:30:11It comes from Silesia,
0:30:11 > 0:30:15which has had a chequered history and it's now in southern Germany,
0:30:15 > 0:30:19Poland. That's where it is, right down Central Europe,
0:30:19 > 0:30:24where wheel engraving was practised
0:30:24 > 0:30:30to a degree of complex, rococo-style scrolls.
0:30:30 > 0:30:34This has come out of a style known as Baroque, into rococo,
0:30:34 > 0:30:37where you have... The glass is smothered.
0:30:37 > 0:30:41It's called Laub und Bandelwerk, which is framed.
0:30:41 > 0:30:45You have trellises and it's all interconnected.
0:30:46 > 0:30:50And the quality of the engraving ranges through the glass.
0:30:50 > 0:30:55So, at the front, the ship, the galleon we have here,
0:30:55 > 0:30:57is very high quality indeed.
0:30:57 > 0:31:00But what surrounds it is not quite as good.
0:31:00 > 0:31:06So, it's like Leonardo da Vinci might paint your portrait
0:31:06 > 0:31:08and others would paint the backgrounds.
0:31:08 > 0:31:12That's what's happened here. You've got two qualities.
0:31:12 > 0:31:13On the back,
0:31:13 > 0:31:18you have an inscription in high German Gothic, which says,
0:31:18 > 0:31:22"Words can't express my gratitude to you,
0:31:22 > 0:31:27"so let me give you this glass as an expression of my thoughts."
0:31:27 > 0:31:30So, whoever gave him this actually...
0:31:30 > 0:31:33He knew what he was doing. This wasn't an accident.
0:31:33 > 0:31:37This is somebody saying, "Thank you very much indeed."
0:31:38 > 0:31:40And isn't that an eloquent...?
0:31:40 > 0:31:43If you get it, it makes it a much more valuable item.
0:31:43 > 0:31:46To you, it doesn't make it more valuable in the market,
0:31:46 > 0:31:49but, to your husband, I can't wait for you to be sitting down
0:31:49 > 0:31:52and telling him this tonight when you go home
0:31:52 > 0:31:54because he's going to be so chuffed.
0:31:54 > 0:31:55- He will.- He will.
0:31:55 > 0:31:58So, it's a value in sentiment
0:31:58 > 0:32:01which got a tear on the end of my eyelid
0:32:01 > 0:32:05but it's also kind of 600 quid's worth of value, too.
0:32:05 > 0:32:10So, can I come and be a fly on the wall when you tell him tonight?
0:32:10 > 0:32:12I will. Thank you very much.
0:32:12 > 0:32:14You're most welcome. What a pleasure it is
0:32:14 > 0:32:17to be explaining your own possessions to you! Lovely!
0:32:17 > 0:32:20- It's wonderful. Thank you. - Thank you.
0:32:35 > 0:32:37It's time for this week's Enigma.
0:32:37 > 0:32:40We haven't trawled the local museums here in London,
0:32:40 > 0:32:43we've actually had a little help from a friend, Henry Sandon.
0:32:43 > 0:32:46Fergus Gambon is here to tell us about our mystery item.
0:32:46 > 0:32:47This is Henry's originally.
0:32:47 > 0:32:52This is Henry's. He brought it in just for our delectation today.
0:32:52 > 0:32:54Now, it can't be a gravy boat
0:32:54 > 0:32:57because it looks a bit like one but that's too obvious.
0:32:57 > 0:32:59That's what it is.
0:32:59 > 0:33:02So, what suggestions have you got?
0:33:02 > 0:33:04It's a gravy boat. I don't know what the problem is.
0:33:04 > 0:33:06- It's not a gravy boat! - Of course it is.
0:33:06 > 0:33:08What else could it be? It's a gravy boat.
0:33:08 > 0:33:10More specifically, it's a gravy boat for soy sauce.
0:33:10 > 0:33:14- Ah!- Or rather, for soy sauce substitute,
0:33:14 > 0:33:16which was made using portobello mushrooms
0:33:16 > 0:33:18when they couldn't get the real thing.
0:33:18 > 0:33:21Why would soy sauce or a substitute for it
0:33:21 > 0:33:23have a special kind of gravy boat?
0:33:23 > 0:33:26The truth of the matter is, I really don't know.
0:33:26 > 0:33:28But I guess also, most 18th-century sauce boats
0:33:28 > 0:33:30are very open in their shape.
0:33:30 > 0:33:33This idea of enclosing it to keep the contents warm
0:33:33 > 0:33:36without the need for a cover is what this is all about.
0:33:36 > 0:33:39OK. So, a fancy type of gravy boat.
0:33:40 > 0:33:42What else could it be?
0:33:42 > 0:33:45It's a communal drinking vessel.
0:33:47 > 0:33:48And how would such be used?
0:33:48 > 0:33:50Well, if you think through history,
0:33:50 > 0:33:54one of the great things that people did when they gathered together
0:33:54 > 0:33:57to reaffirm their friendship and love for each other,
0:33:57 > 0:33:59through history, is they've drunk together.
0:33:59 > 0:34:02- What, like this? - Like that, or from the side.
0:34:02 > 0:34:05- We're not quite sure. - How could you drink from the side?
0:34:05 > 0:34:08The fact it's folded over means it would go everywhere.
0:34:08 > 0:34:09It would.
0:34:09 > 0:34:11Again, it's not totally certain.
0:34:11 > 0:34:14But I think, you pick it up like that, and you do it like this.
0:34:14 > 0:34:18Some thought it was done when people gathered together at hunts,
0:34:18 > 0:34:21that kind of thing. The hunt followers would have used it
0:34:21 > 0:34:24- for that purpose.- OK.- OK.
0:34:24 > 0:34:26So, what's your third offer?
0:34:26 > 0:34:29- Your final and best offer? - My third offer...
0:34:29 > 0:34:33is that it's a lady's portable urinal.
0:34:35 > 0:34:38- A she-wee.- And 18th-century she-wee, that's right.
0:34:38 > 0:34:40How would that be used, then?
0:34:41 > 0:34:43This should be obvious to me.
0:34:43 > 0:34:46I'm not the best equipped to demonstrate, I'm afraid.
0:34:48 > 0:34:54So, why would it be needed instead of a retiring room, a kind of loo?
0:34:54 > 0:34:58People at courts, or people, say, at church,
0:34:58 > 0:35:04they had to sit or stand for a long time and they got caught short.
0:35:04 > 0:35:08- So, a fancy gravy boat for soy sauce or the equivalent.- Yeah.
0:35:08 > 0:35:10A communal drinking cup.
0:35:10 > 0:35:13Though it must be quite a messy one.
0:35:13 > 0:35:18Or a portable female urinal contraption thingamajig.
0:35:19 > 0:35:21OK, what we do we think?
0:35:21 > 0:35:23Chaps, I'm going to leave you out of this for a minute.
0:35:23 > 0:35:25Ladies, what do we think?
0:35:25 > 0:35:27Hands up for the gravy boat thing.
0:35:28 > 0:35:31OK. A few for the gravy boat.
0:35:31 > 0:35:32Communal drinking cup?
0:35:34 > 0:35:35Portable female urinal?
0:35:38 > 0:35:39Do you know, I'm going for that.
0:35:39 > 0:35:42Because, apart from anything else, the shape, Fergus.
0:35:42 > 0:35:46The shape alone, without wishing to be indelicate
0:35:46 > 0:35:48at this time of the day, and evening in fact,
0:35:48 > 0:35:52it just lends itself so beautifully, I would say.
0:35:52 > 0:35:54And actually, people were pretty...
0:35:54 > 0:35:56- Shameless? - They were pretty shameless
0:35:56 > 0:35:58about their bodily functions.
0:35:58 > 0:36:01I can just imagine someone slipping it under their skirts and presumably
0:36:01 > 0:36:03passing it to some hapless and very unfortunate flunky.
0:36:03 > 0:36:06We're going for the female urinal?
0:36:06 > 0:36:07We are.
0:36:07 > 0:36:09- You've beaten me.- Yes!
0:36:09 > 0:36:12CHEERING AND LAUGHTER
0:36:12 > 0:36:14No, it is. That's what it is.
0:36:14 > 0:36:17And it has a very, very poncy name.
0:36:17 > 0:36:18It's called a borderloo.
0:36:18 > 0:36:21A friend of mine went to a very posh dinner party
0:36:21 > 0:36:22in a lovely country house.
0:36:22 > 0:36:26And he sat down at this lovely, long table, laid with white linen,
0:36:26 > 0:36:2918th-century porcelain, wonderful silver.
0:36:29 > 0:36:31And there, on the table, was one of those.
0:36:31 > 0:36:33- As a gravy boat?- As a gravy boat.
0:36:33 > 0:36:35The occupants of the house had no idea.
0:36:36 > 0:36:39So, he had his food, minus gravy.
0:36:43 > 0:36:45What a great thing!
0:36:45 > 0:36:47- Thanks, Fergus.- It's a pleasure.
0:36:50 > 0:36:52So, how does a book
0:36:52 > 0:36:55about fruits from the West Indies
0:36:55 > 0:36:57come into your possession?
0:36:57 > 0:37:00We actually think it belonged to my grandmother.
0:37:00 > 0:37:02- Right.- She lived in Bristol.
0:37:02 > 0:37:06She was a Lady Mayoress there in the '50s, and she was a great collector.
0:37:06 > 0:37:10After my father died, we found this amongst his archive.
0:37:10 > 0:37:12- Right.- She had scrapbooks and a lot of other things,
0:37:12 > 0:37:16but we just came across these and hadn't been aware of them.
0:37:16 > 0:37:19Interesting. So, she'd never showed the book to you in her lifetime.
0:37:19 > 0:37:22No. I doubt it's seen the light of day for about 70 years,
0:37:22 > 0:37:25- something like that. - Well, it certainly seems it.
0:37:25 > 0:37:26It's actually in very good condition,
0:37:26 > 0:37:29the original condition it would have been found in,
0:37:29 > 0:37:33would have been published in. It's by this lady, Lydia Byam.
0:37:33 > 0:37:36- Yes.- She came from a big family on Antigua.
0:37:37 > 0:37:40But, because there were several Lydia Byams,
0:37:40 > 0:37:44there's a little bit of confusion about sometimes which one it is.
0:37:44 > 0:37:47- Right.- But, about the book itself,
0:37:47 > 0:37:52published in 1800, and probably done privately,
0:37:52 > 0:37:55as it says. It says printed at the Oriental Press for the author.
0:37:55 > 0:37:59So, done in a very, very small number of copies.
0:37:59 > 0:38:02- Yes.- It's illustrated with wonderful colour plates,
0:38:02 > 0:38:05produced with aquatint, all done by hand.
0:38:05 > 0:38:10But these are exotic fruits that people back in the UK
0:38:10 > 0:38:13- probably might not have ever heard about...- Or let alone seen.
0:38:13 > 0:38:15Certainly wouldn't have seen.
0:38:15 > 0:38:18So, this sort of life-size, I guess, I don't know,
0:38:18 > 0:38:21or even bigger than life-size, illustrated depictions
0:38:21 > 0:38:22of what these fruits looked like
0:38:22 > 0:38:24must have been quite stunning in those days.
0:38:24 > 0:38:29- Fantastic!- There are supposed to be nine of these in the book.
0:38:29 > 0:38:32- Yes.- Sadly, you're missing one.
0:38:32 > 0:38:33- Yes.- No idea where it is?
0:38:33 > 0:38:37No. We think maybe it got framed, and hung a long time ago,
0:38:37 > 0:38:40- but, no, we don't know. - It's a great shame.
0:38:40 > 0:38:42- It is a shame. - Because it's a very rare book.
0:38:42 > 0:38:45It doesn't come up very often for sale on the market.
0:38:45 > 0:38:48I couldn't find any copies available at the moment.
0:38:48 > 0:38:50So, that means it's rare.
0:38:50 > 0:38:53And, if it was complete, in this condition,
0:38:53 > 0:38:56I think you'd easily see a collector paying
0:38:56 > 0:38:59- somewhere around £10,000 for it. - What?
0:38:59 > 0:39:01- But it's not complete.- No. I know.
0:39:01 > 0:39:06Despite that, it's still, I think, an estimate of £4,000 to £6,000.
0:39:06 > 0:39:10- Really?- Yeah.- Blimey! - It's a really, really rare thing.
0:39:10 > 0:39:13And there are a lot of very good collectors
0:39:13 > 0:39:16for books about the West Indies.
0:39:16 > 0:39:19- OK.- Particularly books of natural history,
0:39:19 > 0:39:22which are very, very obscure and difficult to come by.
0:39:22 > 0:39:24Well, how extraordinary!
0:39:24 > 0:39:27- But it's a lovely thing. Thank you very much indeed.- Thank you.
0:39:31 > 0:39:33This has got to be one of
0:39:33 > 0:39:35the most unusually-known sports I've ever come across.
0:39:35 > 0:39:39Perhaps you can tell me, rather than me trip over my words.
0:39:39 > 0:39:43It's a style of wrestling called catch as catch can.
0:39:43 > 0:39:45It was predominantly in Lancashire and Cheshire,
0:39:45 > 0:39:47but other areas did have it as well.
0:39:47 > 0:39:49And this is your grandfather, I believe?
0:39:49 > 0:39:52- It certainly is, yes. - As world champion?- Champion...
0:39:52 > 0:39:56Wearing this very belt, which he was presented in 1905.
0:39:56 > 0:39:59- 1905, yes.- And the belt's 1904, so that kind of makes sense.
0:39:59 > 0:40:02- Yes.- I gather your father also participated.
0:40:02 > 0:40:06Yes. He joined a gymnasium in Manchester run by my grandfather.
0:40:06 > 0:40:10- Right.- My grandfather was teaching him to become a wrestler
0:40:10 > 0:40:13with a view to entering the 1916 Olympics.
0:40:13 > 0:40:17Unfortunately, my father got injured on the Somme in 1916,
0:40:17 > 0:40:20so that put an end to his active wrestling career.
0:40:20 > 0:40:22But he became a referee.
0:40:22 > 0:40:24And this is a picture of him.
0:40:24 > 0:40:28- Refereeing? - Refereeing in Leigh, Lancashire,
0:40:28 > 0:40:31in 1926.
0:40:31 > 0:40:34- Right.- He did a lot of refereeing.
0:40:34 > 0:40:36He was a referee at the 1924 Olympics in Paris.
0:40:36 > 0:40:38Wow! He must've been a good referee.
0:40:38 > 0:40:41- Well...- You can't get to the Olympics as a champion,
0:40:41 > 0:40:44- you get to the Olympics as a referee.- Yes.
0:40:44 > 0:40:49Now, this belt is the silver belt of a World Champion.
0:40:49 > 0:40:52And, if you don't mind, if you'll indulge me for a second,
0:40:52 > 0:40:54something I've been dying to do all day.
0:40:56 > 0:41:00Not that I'm ever going to win the belt of a World Champion.
0:41:00 > 0:41:03But if I could just pull it behind me and strike that pose...
0:41:05 > 0:41:08..I can feel like it for a minute or two.
0:41:08 > 0:41:12Better pop it back before I get delusions of grandeur.
0:41:14 > 0:41:17And there we are. So, this is a gorgeous belt.
0:41:17 > 0:41:19It's velvet-backed, obviously.
0:41:19 > 0:41:22The five plaques are made of solid silver.
0:41:22 > 0:41:25They're all marked for London 1904.
0:41:25 > 0:41:28And the ropes around the ring here are in gilt,
0:41:28 > 0:41:29they've been gold-plated,
0:41:29 > 0:41:33so to pick them out and make it look even grander around his waist,
0:41:33 > 0:41:35- as it does there.- Yeah.
0:41:35 > 0:41:39I gather this bowl, you think, was bought with his wrestling winnings.
0:41:39 > 0:41:41Could well have been, yes.
0:41:41 > 0:41:44He's a very far-sighted man because this bowl,
0:41:44 > 0:41:49which he very cleverly bought somewhere in the late-19th century,
0:41:49 > 0:41:52I assume, it's dated 1885...
0:41:52 > 0:41:56- Yes.- ..is of a design attributed to a fellow called Christopher Dresser,
0:41:56 > 0:41:59who's one of the most important designers in silver
0:41:59 > 0:42:01- in the late-19th century. - That's interesting.
0:42:01 > 0:42:03Your belt here, which he was so proud of,
0:42:03 > 0:42:06and I should think thought much more of than this bowl,
0:42:06 > 0:42:08is worth around £800.
0:42:08 > 0:42:12This bowl is today worth about £3,000.
0:42:12 > 0:42:14Oh!
0:42:15 > 0:42:17That is as a surprise.
0:42:17 > 0:42:21Clever fellow. And very far-sighted for a man who was much more keen on
0:42:21 > 0:42:25wrestling than he was, presumably, on applied art and silverware.
0:42:25 > 0:42:26Yes.
0:42:31 > 0:42:34There's really only two names we could think of
0:42:34 > 0:42:35when we see this vase.
0:42:35 > 0:42:37One was William Moorcroft
0:42:37 > 0:42:38and the other is Liberty.
0:42:38 > 0:42:42And, lo and behold, yours has got both of them on.
0:42:42 > 0:42:44How did it come into your possession?
0:42:44 > 0:42:45Well, it was my mother's.
0:42:45 > 0:42:47And I don't really know how she got it
0:42:47 > 0:42:51except that it's possible it was given to her by one of her admirers.
0:42:55 > 0:42:561930, when this was made,
0:42:56 > 0:42:59it's already been an expensive piece of pottery.
0:42:59 > 0:43:01This is Moorcroft flambe.
0:43:01 > 0:43:03It's a very hard technique to do.
0:43:03 > 0:43:07If you fire it too much, all the design disappears.
0:43:07 > 0:43:11But if you fire it perfectly, it's wonderful.
0:43:11 > 0:43:13This is kind of just a little bit over-fired,
0:43:13 > 0:43:15but it's a lovely shape.
0:43:15 > 0:43:19The pattern, the tree landscape, everything works together.
0:43:23 > 0:43:26Your mother must have been a well-admired lady
0:43:26 > 0:43:29because if I had an admirer, who gave this to me,
0:43:29 > 0:43:31in cash terms,
0:43:31 > 0:43:33they'd be giving me £2,000.
0:43:33 > 0:43:36- Wow!- So that's some admiration.
0:43:40 > 0:43:42Do you know, one of the great pleasures of doing this show,
0:43:42 > 0:43:45and in fact actually working in my profession is,
0:43:45 > 0:43:47I never know what I'm going to be confronted with.
0:43:47 > 0:43:51Then, suddenly, to be confronted with an item that is this good,
0:43:51 > 0:43:53this superlative, and looks this beautiful,
0:43:53 > 0:43:55it's always an absolute joy.
0:43:55 > 0:43:59We've got this amazing, carved, little, wooden object.
0:43:59 > 0:44:01Now, do you know what it is?
0:44:01 > 0:44:03- No idea at all. - You have no idea at all.
0:44:03 > 0:44:07- No.- OK. Well, I'm not going to tell you for a minute.
0:44:07 > 0:44:10What I want to know is, where did you get it from?
0:44:10 > 0:44:13Well, it belongs to my father-in-law and he got it from a family friend.
0:44:13 > 0:44:16And, beyond that, we know nothing at all.
0:44:16 > 0:44:19You know nothing at all? You must have admired it as an object.
0:44:19 > 0:44:21- It really is beautiful, isn't it? - Yes, it is.
0:44:21 > 0:44:24Actually, what it is is a knitting sheath.
0:44:25 > 0:44:27It's a tool, basically.
0:44:27 > 0:44:29It's not absolutely complete.
0:44:29 > 0:44:32It would have had what's known as a prick in the end of it,
0:44:32 > 0:44:35a needle in the end of it here.
0:44:35 > 0:44:37But I want to talk about the way it's been made
0:44:37 > 0:44:40because it is absolutely, exquisitely carved.
0:44:40 > 0:44:43- It's essentially folk art.- Yeah.
0:44:43 > 0:44:47This kind of object is just in such demand with collectors,
0:44:47 > 0:44:50I have to say. The obvious inscription is
0:44:50 > 0:44:52that set of initials there.
0:44:52 > 0:44:55That looks like an IB.
0:44:55 > 0:44:57Had you ever noticed another inscription?
0:44:57 > 0:45:00There's a number at the end of it, but, er...
0:45:00 > 0:45:01There is a number at the end of it.
0:45:01 > 0:45:05Actually, it's the arrangement of the set of numbers that's important
0:45:05 > 0:45:08because you can construe it in a couple of ways, can't you?
0:45:08 > 0:45:12But I'm going to construe it as the date 1749.
0:45:12 > 0:45:15That is really, really beautiful because not only to get
0:45:15 > 0:45:19a superlatively-carved little knitting sheath like this
0:45:19 > 0:45:23with a set of initials, but with a date as well,
0:45:23 > 0:45:25is exceptionally rare.
0:45:25 > 0:45:27And actually, really fabulous.
0:45:27 > 0:45:29Look at some of the detail on here!
0:45:29 > 0:45:31We've got these really incredible little figures.
0:45:31 > 0:45:33In fact, actually, they look much older, don't they?
0:45:33 > 0:45:36They look Elizabethan, almost. Figures with fans.
0:45:36 > 0:45:39We've got some zoomorphic sort of creatures there.
0:45:39 > 0:45:43What appears to be a lizard, perhaps, and some snakes.
0:45:43 > 0:45:46But what is almost certain is that this was carved
0:45:46 > 0:45:49perhaps by a gentleman for his sweetheart.
0:45:49 > 0:45:54Now, if we look at this section here, we've got a seal.
0:45:54 > 0:45:56And it's a dove with an olive branch.
0:45:56 > 0:46:00Now, that should have been connected to that bit with a wooden chain.
0:46:02 > 0:46:04And the wooden chain has gone missing.
0:46:04 > 0:46:06But, do you know? I can kind of forgive it that,
0:46:06 > 0:46:09because it's such a beautiful object
0:46:09 > 0:46:14that it might not be quite complete, but it's of such superlative quality
0:46:14 > 0:46:16that I can kind of put up with that, really.
0:46:16 > 0:46:20But it is really very beautiful piece of folk art.
0:46:20 > 0:46:23- I think this is probably cherrywood. - Right.
0:46:23 > 0:46:27Look at the way it has acquired that colour, that patination.
0:46:27 > 0:46:31It is a very lovely item and I doubt that I'm ever likely to see one
0:46:31 > 0:46:33as good on the Roadshow again.
0:46:33 > 0:46:36- Right.- Let's think about the valuation on it.
0:46:36 > 0:46:39I think, if this were to go into a good sale,
0:46:39 > 0:46:43this would more than likely make round about £2,000 to £3,000.
0:46:46 > 0:46:49- Astonishing!- It is astonishing, really, isn't it?
0:46:49 > 0:46:51Thank you.
0:46:56 > 0:47:00So, I can very safely say that the watch is rather older than you,
0:47:00 > 0:47:03so I presume it wasn't yours. So, how have you got it now?
0:47:03 > 0:47:07Well, this watch originally belonged to my great-grandfather.
0:47:07 > 0:47:10He died in the mid '80s and left it to my grandmother,
0:47:10 > 0:47:11and she gave it to me.
0:47:11 > 0:47:14- Have you ever worn it? Do you use it?- No. I never.
0:47:14 > 0:47:18I think it's too precious, so I just keep it on the side.
0:47:18 > 0:47:20OK, it's a Bulova Accutron.
0:47:20 > 0:47:24They first came on the market in October 1960.
0:47:25 > 0:47:28And this was the first electronic wrist watch.
0:47:29 > 0:47:32It has, and you can see there, the tuning fork,
0:47:32 > 0:47:36which vibrated 360 times a second,
0:47:36 > 0:47:41and via miniature, transistorised, electronic circuit,
0:47:41 > 0:47:46it was very much the first full-blown electric wristwatch.
0:47:46 > 0:47:50And this particular one is in what the Americans call rolled gold,
0:47:50 > 0:47:52so just plated.
0:47:52 > 0:47:55But it would have retailed at the time for about 150,
0:47:55 > 0:47:58which was a great deal of money in the 1960s.
0:47:58 > 0:48:04Production ceased in about '75, '76, having sold 5 million.
0:48:05 > 0:48:10And the reason production ceased is because the big Japanese companies
0:48:10 > 0:48:13came cracking in with the quartz crystal
0:48:13 > 0:48:18and the liquid crystal display of the digital dial.
0:48:18 > 0:48:22And is there anything specific you've noticed about that,
0:48:22 > 0:48:24compared to a normal watch?
0:48:24 > 0:48:25It doesn't have a watch face.
0:48:25 > 0:48:30Correct. It's got a skeletonised dial, and this particular one
0:48:30 > 0:48:33is what Bulova referred to as the space view.
0:48:33 > 0:48:37So you can see right through to all the electronic circuitry
0:48:37 > 0:48:42and, particularly, the little tuning-fork device.
0:48:42 > 0:48:45What is lovely, it's got an original Bulova strap.
0:48:45 > 0:48:49When I see these, most of the straps are worn out and rather poor,
0:48:49 > 0:48:51- but this is good.- Yeah.
0:48:52 > 0:48:56I did say that there had been many millions produced...
0:48:56 > 0:48:58- Yeah.- So, you're probably going to be disappointed
0:48:58 > 0:49:02- when I tell you it's not a high-value item.- OK.
0:49:02 > 0:49:05And condition is so important.
0:49:05 > 0:49:10There's slight scratching on this dial, on the glass.
0:49:10 > 0:49:14I'm going to say, in that state, about £300.
0:49:14 > 0:49:16OK. Quite nice.
0:49:16 > 0:49:18It's still nice, you're absolutely right.
0:49:18 > 0:49:20Bearing in mind there were 5 million made...
0:49:20 > 0:49:23- Yeah.- ..it's not bad at all, is it? - Not bad.
0:49:27 > 0:49:2912 musical plates.
0:49:29 > 0:49:31We're used to musical chairs, but musical plates?
0:49:31 > 0:49:33- Yes.- Where did they come from?
0:49:33 > 0:49:36It was bought by my late husband.
0:49:36 > 0:49:41He passed an antique shop and he saw it.
0:49:41 > 0:49:46He said it's so interesting because the different plate,
0:49:46 > 0:49:50the same figure, but the pattern is different...
0:49:50 > 0:49:54- Yes.- But the whole style is in the same genre.
0:49:54 > 0:49:58These are French plates from a very well-known part of France,
0:49:58 > 0:50:03up in the top north-east corner of France.
0:50:03 > 0:50:08And they specialised in producing high-quality, multicoloured,
0:50:08 > 0:50:11printed plates of the mid-19th century and beyond.
0:50:11 > 0:50:14So this is actually quite a revolutionary technique.
0:50:14 > 0:50:18- Yes.- But the other thing is, there's a sense of humour about this.
0:50:18 > 0:50:21- Yes.- I'm hoping there are musicians in your family.
0:50:21 > 0:50:25- But there aren't! - Maybe, Peking Opera.
0:50:25 > 0:50:27Oh, Peking Opera! Oh, no. Yeah.
0:50:29 > 0:50:31Well, that's a noise I do not want to replicate.
0:50:31 > 0:50:35But, it's funny. Yes, it is that sort of caterwauling sound,
0:50:35 > 0:50:37- isn't it?- Yes.- It is that sound.
0:50:37 > 0:50:40And that's the sound which Rossini sends up
0:50:40 > 0:50:44in a well-known duet for sopranos, where they sing like cats.
0:50:44 > 0:50:46And that's what we've got...
0:50:46 > 0:50:49- I see!- ..on the rim of every single plate -
0:50:49 > 0:50:54- cats forming the notes of this piece of music.- Ah!
0:50:54 > 0:50:57Yes? It's in 6/8 time.
0:50:57 > 0:50:59- All these cats... - Oh, that's the story.
0:50:59 > 0:51:03Well, it's very much in that satirical vein.
0:51:03 > 0:51:06The Rossini Cat Duet.
0:51:06 > 0:51:10I'm not going to attempt it, but it does sound like Peking Opera,
0:51:10 > 0:51:11- I have to tell you.- OK.
0:51:11 > 0:51:14- Yeah.- So, these are beautifully printed.
0:51:14 > 0:51:17At the centre of each, there is a conductor.
0:51:17 > 0:51:20I think there's a touch of the Franz Liszt about him.
0:51:20 > 0:51:22He has that wild look.
0:51:22 > 0:51:27We go through all the various movements and styles of music.
0:51:27 > 0:51:30So, we start off "in dolce", which means sweetly.
0:51:30 > 0:51:33"Grave", which means serious,
0:51:33 > 0:51:35and "largo", which is slow.
0:51:35 > 0:51:39- I see.- We go through all these musical moods and we end up with...
0:51:39 > 0:51:41Sadness.
0:51:42 > 0:51:44It's not sadness.
0:51:44 > 0:51:47Well, it is sadness, you're absolutely right.
0:51:47 > 0:51:51Cos the only broken plate is the last movement.
0:51:51 > 0:51:53- OK.- "Morendo".
0:51:53 > 0:51:56- Morendo.- Dying.
0:51:56 > 0:51:57- Oh!- This plate has died.
0:51:57 > 0:52:00It is an ex-plate.
0:52:01 > 0:52:03It has been smashed.
0:52:03 > 0:52:07After a whole 12 movements of musical performance,
0:52:07 > 0:52:09it's the last one to go.
0:52:09 > 0:52:11Anyway... Date?
0:52:12 > 0:52:16Probably somewhere between 1850 and 1870.
0:52:16 > 0:52:17OK. Yes.
0:52:17 > 0:52:19A very, very nice set.
0:52:19 > 0:52:22Very rare. Transfer printing in colours.
0:52:22 > 0:52:25I suppose we ought to compose some sort of a value for you.
0:52:25 > 0:52:30- Yes.- A musician would really like to own these and I would have thought
0:52:30 > 0:52:33they might pay in the region of £300 to £500 for them.
0:52:33 > 0:52:37- Yeah. OK. Yes.- And the piece they may have had in mind,
0:52:37 > 0:52:41when they put the cats on the staves, goes something like this.
0:52:41 > 0:52:44# Meow
0:52:44 > 0:52:47- # Meow - Meow
0:52:47 > 0:52:52# Meow. #
0:52:55 > 0:52:57I'm a good student.
0:53:04 > 0:53:08Well, you've brought me the most marvellous, slinky malinky,
0:53:08 > 0:53:10diamond and platinum bracelet.
0:53:10 > 0:53:11Now, how did it come to you?
0:53:11 > 0:53:13I inherited it from my mother-in-law.
0:53:13 > 0:53:16It was bought to her by her husband, who may have got it in an auction.
0:53:16 > 0:53:18He travelled a lot around the world,
0:53:18 > 0:53:21so he may have purchased it anywhere on his travels.
0:53:21 > 0:53:24And, were you startled when you saw it?
0:53:24 > 0:53:27Yeah. I was startled that it was going to come to me.
0:53:27 > 0:53:30Well, I've no idea about the age of everybody in the family
0:53:30 > 0:53:32but I think there's another ghost here.
0:53:32 > 0:53:35I think this is the ghost of a marvellous lady
0:53:35 > 0:53:37living in the Art Deco style,
0:53:37 > 0:53:41with a silk dress, perhaps with a geometric pattern to it,
0:53:41 > 0:53:44shot with green and blue silk.
0:53:44 > 0:53:46She gets out of a motor car, in the Place Vendome,
0:53:46 > 0:53:49that's lined with maple wood, with a chauffeur,
0:53:49 > 0:53:52and chooses, or at least hints, that that's what she wants.
0:53:52 > 0:53:57And then her husband comes along and says he's going to buy it for her.
0:53:57 > 0:54:00And he buys it as a caprice. It's not an investment,
0:54:00 > 0:54:04it's simply part of the most astonishing arrangement, really,
0:54:04 > 0:54:07the last-gasp of luxury at that level, really.
0:54:07 > 0:54:10We never saw it again after the Second World War.
0:54:10 > 0:54:12This was bought for sheer pleasure,
0:54:12 > 0:54:16to wear at some fantastic reception in Paris in 1927,
0:54:16 > 0:54:18and we don't know this ghost.
0:54:18 > 0:54:22This may be the only evidence we can ever hope to claw her back.
0:54:22 > 0:54:24It's platinum, and it's set with
0:54:24 > 0:54:27all manner of different cuts of diamonds,
0:54:27 > 0:54:30mainly brilliants, and square-cut diamonds here.
0:54:30 > 0:54:35I think we can safely give this the label which is often misused,
0:54:35 > 0:54:36of being Art Deco.
0:54:36 > 0:54:42- Yeah.- That implies it's made between 1927 and the early 1930s.
0:54:42 > 0:54:46The reason we can see this - and you almost have to trust me for this -
0:54:46 > 0:54:48is there are little references,
0:54:48 > 0:54:49not only to geometry,
0:54:49 > 0:54:52but also to Chinese works of art.
0:54:52 > 0:54:55And they lie here with these circular discs.
0:54:55 > 0:54:57This is a progression of design
0:54:57 > 0:55:01that we see in the greatest jewellery houses of the world.
0:55:01 > 0:55:04And I think this is of sufficient quality
0:55:04 > 0:55:07to attribute it to such a jewellery house.
0:55:07 > 0:55:11It's combined with very rich, intrinsic value.
0:55:11 > 0:55:15We have six, considerably large, brilliant diamonds in here.
0:55:15 > 0:55:19And this is rather like a sort of collision
0:55:19 > 0:55:21of art and intrinsic value.
0:55:21 > 0:55:24There's almost an atomic explosion as they crash together
0:55:24 > 0:55:26because this is what everybody wants.
0:55:26 > 0:55:29It's of a scale that everybody wants.
0:55:29 > 0:55:33It's enviable, and with all of that comes huge excitement.
0:55:33 > 0:55:36I don't know about you, but I'm nearly fainting.
0:55:36 > 0:55:37- Yes.- Yes, you are.
0:55:37 > 0:55:40I had a chance to look at it earlier
0:55:40 > 0:55:42and I combed it all over for a signature
0:55:42 > 0:55:45over a number of Parisian jewellers.
0:55:45 > 0:55:49So, I might have liked it if it said Cartier, Van Cleef & Arpels,
0:55:49 > 0:55:53or particularly Boucheron, who I sense actually made this jewel.
0:55:53 > 0:55:56I did look very hard for these engraved signatures,
0:55:56 > 0:55:58I didn't find them. What I did find
0:55:58 > 0:56:02was that it had little guarantee marks for platinum on the side,
0:56:02 > 0:56:05a little wolf's head, and then a maker's mark,
0:56:05 > 0:56:08not a retailer's mark, which, in a lozenge mark,
0:56:08 > 0:56:10which actually rather rubbed.
0:56:10 > 0:56:12Unfortunately, I can't make any sense of that.
0:56:12 > 0:56:16So, we've slightly lost height in not being able to pin its provenance
0:56:16 > 0:56:20down to a specific, Art Deco, Parisian jeweller,
0:56:20 > 0:56:23but we can see it's of the finest possible quality.
0:56:23 > 0:56:26I'm sure that if you wanted to buy it,
0:56:26 > 0:56:29in any distinguished jewellery shop, anywhere in the world,
0:56:29 > 0:56:32you would have to pay £150,000.
0:56:32 > 0:56:34GASPS
0:56:34 > 0:56:36Oh, my God!
0:56:38 > 0:56:40That's amazing.
0:56:44 > 0:56:46Thank you.
0:56:46 > 0:56:49Oh, darling! We're both going to cry.
0:56:49 > 0:56:51That's unbelievable.
0:56:51 > 0:56:54I could buy a Bentley now.
0:56:54 > 0:56:55Could.
0:56:55 > 0:56:57- Thank you.- No - thank you.
0:56:57 > 0:56:59Set me off now, you silly old thing.
0:56:59 > 0:57:01Ah!
0:57:07 > 0:57:09That was a really emotional moment, wasn't it?
0:57:09 > 0:57:13That lady clearly wasn't expecting that valuation at all.
0:57:13 > 0:57:15Such beautiful diamonds.
0:57:15 > 0:57:17So, we love to see you on the Antiques Roadshow.
0:57:17 > 0:57:21From all of us here at Senate House in London, until next time, bye-bye.