0:00:44 > 0:00:47We've travelled the length and breadth of Britain in this series
0:00:47 > 0:00:48of the Antiques Roadshow.
0:00:48 > 0:00:51From a Scottish mill town to a Cornish retreat
0:00:51 > 0:00:54close to our most southerly point in the land.
0:00:54 > 0:00:58And now we're coming to the end of our series.
0:00:58 > 0:01:00Tonight we've something special in store.
0:01:00 > 0:01:03So many great items turn up to the Roadshow that we don't have time to
0:01:03 > 0:01:07show you them all, so tonight's our chance. Keep watching for unscreened
0:01:07 > 0:01:11footage of dazzling jewellery, rare ceramics,
0:01:11 > 0:01:13tantalising family legends -
0:01:13 > 0:01:17even royal relics. It's all to come.
0:01:19 > 0:01:22Tonight's locations are as diverse as the finds.
0:01:22 > 0:01:25We're stopping off at Holker Hall & Gardens in Cumbria -
0:01:25 > 0:01:29home to the Cavendish family for three centuries -
0:01:29 > 0:01:33and Audley End, a Jacobean stately home in Essex.
0:01:33 > 0:01:36But for our first helping let's visit a property that dates back
0:01:36 > 0:01:39more than 500 years -
0:01:39 > 0:01:42Ightham Mote near Sevenoaks in Kent.
0:01:45 > 0:01:48Nothing on the bottom. A very simple Chinese-looking cup.
0:01:48 > 0:01:52- What do you know about it? - Well, not a lot,
0:01:52 > 0:01:55other than that we found it in my mother-in-law's house when we were
0:01:55 > 0:01:57clearing it. My husband and I were clearing it out.
0:01:57 > 0:01:59And I just thought how pretty it was.
0:01:59 > 0:02:02So, it didn't go to a saleroom or anything. I thought,
0:02:02 > 0:02:05- "No, I'll keep this."- You just wanted to hang onto it.- Yeah.
0:02:05 > 0:02:08Yeah, I don't know anything about it, really.
0:02:08 > 0:02:11It looks Chinese in the sort of blue-and-white design.
0:02:11 > 0:02:14But this was made at Worcester.
0:02:14 > 0:02:16- Oh.- That's exciting to me
0:02:16 > 0:02:19because I know the shape and design quite well.
0:02:19 > 0:02:23But I've only ever seen one of these before - in many, many years.
0:02:23 > 0:02:28- So I'm quite excited.- Oh!- I just love the simple shape of it.
0:02:28 > 0:02:30- Yes.- A little spreading shape.
0:02:30 > 0:02:33- Yep.- What excites me is that this is right at the beginning of the
0:02:33 > 0:02:37Worcester factory, when they started out to make copies of
0:02:37 > 0:02:41Chinese porcelain. And they painted it in the blue, in the Chinese way.
0:02:41 > 0:02:45Here, what I like is the texture of the blue painting.
0:02:45 > 0:02:48- It's a bit smudgy and blobby.- Yes.
0:02:48 > 0:02:52- But it's in little tones of blue. - Is that flow blue or not?
0:02:52 > 0:02:54- It's the same idea. - Yeah.- It blurred a bit.
0:02:54 > 0:02:58They couldn't control it very well. That's a sign of trying to get it
0:02:58 > 0:03:01right but they didn't really know how to.
0:03:01 > 0:03:07That goes back to 1751 or '52, right when the factory started up.
0:03:07 > 0:03:09Oh, wow.
0:03:09 > 0:03:13- So, it's the middle of the 18th century.- How lovely.
0:03:13 > 0:03:16- Wow.- And not only old, it's actually pretty rare.
0:03:16 > 0:03:21- Oh!- So, I'm excited. - Oh, so am I!
0:03:21 > 0:03:22But it's got that chip.
0:03:22 > 0:03:26- It's got another chip there. - Yeah.- But I don't mind that.
0:03:26 > 0:03:28No, I don't mind it, either.
0:03:28 > 0:03:31Especially as I've seen only one before.
0:03:31 > 0:03:33So, it's quite valuable.
0:03:33 > 0:03:36- Is it?- £2,000.
0:03:36 > 0:03:39Oh! Wow.
0:03:39 > 0:03:43Oh, wow. That's marvellous. Thank you very much.
0:03:46 > 0:03:48This is really nice. What made you bring this?
0:03:48 > 0:03:51Well, it was yesterday, actually.
0:03:51 > 0:03:53I was round my parents' house.
0:03:53 > 0:03:55My father's a retired bookbinder.
0:03:55 > 0:04:00And he rustled this up out of the wooden box wrapped in a newspaper
0:04:00 > 0:04:03- 40 years old.- Quite a rustle.
0:04:03 > 0:04:06- Nice.- And he used to teach
0:04:06 > 0:04:09in a convent, bookbinding, art and woodcraft.
0:04:09 > 0:04:12- Oh, yeah.- He was there for 20 years. And when he left
0:04:12 > 0:04:16they gave him this as a gift, as a parting gift.
0:04:16 > 0:04:20The nun said it was from the French persecutions.
0:04:20 > 0:04:22So I'm not sure what era that is or what...
0:04:22 > 0:04:27Well, from the date of this, which is about 1700,
0:04:27 > 0:04:29it's possibly the Huguenots.
0:04:29 > 0:04:31- Really?- This is that old, yeah.
0:04:31 > 0:04:35And it's got its original polychrome and gilding.
0:04:35 > 0:04:40And it's probably a cherub that was fixed above a carved altarpiece
0:04:40 > 0:04:45in France. And as such, being that age, in a really nice condition -
0:04:45 > 0:04:47you probably think it's distressed.
0:04:47 > 0:04:52- Well, I did glue that wing on... - You've done a very good job.
0:04:52 > 0:04:54It's got a bit of a value.
0:04:54 > 0:04:57It's got a decorative value cos it's cute.
0:04:57 > 0:05:03In auction this would make 200-250, safely.
0:05:03 > 0:05:07- Fantastic. Oh, Dad will be pleased. - They're a very nice thing.
0:05:11 > 0:05:13Fantastic engraving.
0:05:13 > 0:05:16"Tis is my delight, the French to fight."
0:05:16 > 0:05:18If you were a Napoleonic Frenchman
0:05:18 > 0:05:22- this is the last thing you want to see pointed at you.- Absolutely true.
0:05:22 > 0:05:24Brass barrelled.
0:05:24 > 0:05:27- Blunderbuss.- Yes.
0:05:27 > 0:05:30- By Appleton of London. - Jolly good.
0:05:31 > 0:05:34The lock is a military lock.
0:05:34 > 0:05:39- Yes.- This sort of thing is used for home defence.
0:05:39 > 0:05:42Coaching defence.
0:05:42 > 0:05:45You bought it. What did you like about it?
0:05:45 > 0:05:48Well, I liked the inscription, which attracted me.
0:05:48 > 0:05:53But the whole gun is small and handy and useful, especially up close.
0:05:53 > 0:05:55The exact definition of a blunderbuss.
0:05:55 > 0:05:59- Yes.- This is an 1800 sawn-off shotgun.
0:05:59 > 0:06:02- Ideal antipersonnel weapon. - Right.
0:06:02 > 0:06:06- You've got a little bit of repair work here.- Yes.
0:06:06 > 0:06:10Little bit of repair work there with very nice finials.
0:06:10 > 0:06:14- Yes.- Value...
0:06:14 > 0:06:17If that was on the market with...
0:06:17 > 0:06:21its current state, and the wonderful engraving at the end...
0:06:21 > 0:06:24- Right.- ..£2,000.
0:06:24 > 0:06:27Lovely. That's marvellous. Absolutely marvellous.
0:06:27 > 0:06:31It's a fantastic thing and I just love it to bits.
0:06:32 > 0:06:34Well, you've brought me a little purple haze this morning,
0:06:34 > 0:06:36haven't you? Tell me all about it.
0:06:36 > 0:06:40It's a little cross that was given to my mum who is now in her 90s,
0:06:40 > 0:06:43on the eve of her wedding in 1956
0:06:43 > 0:06:47by an elderly neighbour who was very, very fond of her
0:06:47 > 0:06:49- and had no-one to leave it to.- Oh!
0:06:49 > 0:06:52And this neighbour gave her the story that she had been
0:06:52 > 0:06:56a companion to a Countess von Fersen in Sweden.
0:06:56 > 0:07:01And when she left her service, the Countess gave her this cross.
0:07:01 > 0:07:05One of the Countess' ancestors, I understand,
0:07:05 > 0:07:09was a confidant and some say lover of Marie Antoinette.
0:07:09 > 0:07:13- Goodness.- And the story that was given was that...
0:07:15 > 0:07:18..on the night of the escape from Paris, she gave him this
0:07:18 > 0:07:23as a memento because she knew she was going to the guillotine.
0:07:23 > 0:07:26Obviously, I have no proof of any of this.
0:07:26 > 0:07:29Up until the time it was given to my mum.
0:07:29 > 0:07:31- So that's why I brought it here today.- Marvellous.
0:07:31 > 0:07:34Well, my late boss said beware of asking a question for fear of
0:07:34 > 0:07:36getting an answer. Because I will give you an answer.
0:07:36 > 0:07:39And the French Revolution was in 1789.
0:07:39 > 0:07:42But your cross dates from about 1889.
0:07:42 > 0:07:45- Right.- And so it is, unfortunately, a complete impossibility.
0:07:45 > 0:07:48- What a shame.- It is a shame. And I'm sorry about that.
0:07:48 > 0:07:52But these stories abound about the tragic French Queen.
0:07:52 > 0:07:55But I'm sorry, this simply can't be it. But, anyway, we're going to
0:07:55 > 0:07:57enjoy it for what it is. And it's made of... I think you know,
0:07:57 > 0:08:00- tell me what it's made of. - I think it's garnet diamonds.
0:08:00 > 0:08:01Yes. It is. Absolutely.
0:08:01 > 0:08:05Almandine garnets. And another irony is, it's almost certainly English.
0:08:05 > 0:08:08- It's a style that one recognises. - Oh, right.- And you might say, well,
0:08:08 > 0:08:11how on Earth does this old boy on the Antiques Roadshow
0:08:11 > 0:08:14know all this? But it's no more complicated than walking with you
0:08:14 > 0:08:17up a street in London and you telling me that's a Victorian house
0:08:17 > 0:08:20or that's an 18th-century house from 1789.
0:08:20 > 0:08:23And jewellery is like that. It has a sort of signature element to it.
0:08:23 > 0:08:27So this is an age where religious devotion was absolutely everywhere.
0:08:27 > 0:08:30And purple stones stand for devotion.
0:08:30 > 0:08:32And diamonds, forever devotion.
0:08:32 > 0:08:36Right. So forever devotion to Christ. And so it does have
0:08:36 > 0:08:39an emblematic meaning but it's not the one you thought it was, is it?
0:08:39 > 0:08:43- No, no.- I know, I'm disappointed, too.
0:08:43 > 0:08:46- What a shame.- I would have loved it to have been. It simply can't be.
0:08:46 > 0:08:49But we'll just look at it as it is. Everybody would want to own it.
0:08:49 > 0:08:53And so I'm going to say it's worth £700.
0:08:53 > 0:08:57Oh, right, well, that's a nice surprise. Thank you very much.
0:09:00 > 0:09:04Do you know, when I saw this it took me straight back to my childhood.
0:09:04 > 0:09:06Blake's 7, Space: 1999.
0:09:06 > 0:09:10All the classic shows. Are you a space nut?
0:09:10 > 0:09:14Yeah, I really enjoy space and television sci-fi,
0:09:14 > 0:09:18- all that type of stuff. Yep. - And why this?
0:09:18 > 0:09:23I was working for a book publishers and I was sent out to Moscow
0:09:23 > 0:09:26to photograph various spaceships.
0:09:26 > 0:09:32And one of the things was this probe which is Luna 16.
0:09:32 > 0:09:37And I was going past the market in Moscow and I saw this model there.
0:09:37 > 0:09:41I knew exactly what it was. So I paid 35 US dollars.
0:09:41 > 0:09:44- OK. And did you think that was a lot?- I thought it was an incredible
0:09:44 > 0:09:47- bargain because I thought it was a beautiful model.- Exactly.
0:09:47 > 0:09:49That's the thing. It's just pretty.
0:09:49 > 0:09:54Cast in aluminium on this lovely Perspex stand. Nicely engraved.
0:09:54 > 0:09:57- Have you found out what this engraving is?- Yes.
0:09:57 > 0:10:01This was to one of the people who was very high up in the politburo.
0:10:01 > 0:10:04His name was Viktor Vasilyevich Grishin.
0:10:04 > 0:10:06And he was one of the guys who was
0:10:06 > 0:10:09responsible for the making of machines. So he was partly
0:10:09 > 0:10:12responsible for making a lot of the Soyuz spaceships
0:10:12 > 0:10:14and the various different probes that went to the moon.
0:10:14 > 0:10:17What happened was, the Russians couldn't actually afford to send
0:10:17 > 0:10:20a man to the moon but they desperately wanted to actually get
0:10:20 > 0:10:24some rock samples so this is why they sent up this particular probe.
0:10:24 > 0:10:27All of that, again, adds to it,
0:10:27 > 0:10:31because a lot of these were for people high up in any organisation,
0:10:31 > 0:10:34suppliers of parts and instruments.
0:10:34 > 0:10:35They were presented like this.
0:10:35 > 0:10:39The higher up it gets up that food chain, the more exciting it becomes.
0:10:39 > 0:10:41Which is good for this.
0:10:41 > 0:10:45And I think that easily in auction at the moment, £2,000-£3,000.
0:10:45 > 0:10:48Wow. OK. Thank you very much.
0:10:48 > 0:10:51- It's so cool, it's a pleasure. - Thank you. Thank you.
0:10:52 > 0:10:56With that space-age find, let's leave Ightham Mote for now
0:10:56 > 0:10:59and travel more than 300 miles north.
0:10:59 > 0:11:03At Holker Hall in Cumbria, the deer park and vibrant formal gardens
0:11:03 > 0:11:06made the perfect setting for our experts and visitors.
0:11:11 > 0:11:13From glorious Technicolor
0:11:13 > 0:11:17to very severe and austere black and white here.
0:11:17 > 0:11:20Both of them different kinds of print.
0:11:20 > 0:11:21- Yep.- And both of them, I think,
0:11:21 > 0:11:25dating from just after the First World War.
0:11:25 > 0:11:26Does that fit with your family?
0:11:26 > 0:11:29It does fit with what I know about them, yes.
0:11:29 > 0:11:31I had this amazing granny who lived in South Africa,
0:11:31 > 0:11:35- married to quite a well-off lawyer. - Yeah.- And was self taught in art.
0:11:35 > 0:11:37And my knowledge is,
0:11:37 > 0:11:40she had a wonderful friend who was an artist called Teddy Wolfe,
0:11:40 > 0:11:44- Edward Wolfe.- The still-life and nude-painter.- They went to Paris.
0:11:44 > 0:11:48And I think they were there for at least six months, if not longer.
0:11:48 > 0:11:51- In about the '20s, the 1920s. - What a great time to be there.
0:11:51 > 0:11:53- And she bought.- She bought, she collected?- She collected.
0:11:53 > 0:11:55And, I mean, for instance,
0:11:55 > 0:11:59when she sold the house when my grandfather died in South Africa,
0:11:59 > 0:12:03distributed among the family were things like a Chagall painting.
0:12:03 > 0:12:05- Oh, goodness.- A Vlaminck painting. - Oh, my goodness.
0:12:05 > 0:12:07And these two came to my mother.
0:12:07 > 0:12:10- So you didn't get the paintings, you got the prints?- Well...
0:12:10 > 0:12:12- She also got the Vlaminck, but she sold that.- OK, all right.
0:12:12 > 0:12:15But we've got those two. And I've always loved that one.
0:12:15 > 0:12:20This one by Picasso. This is a very early print, isn't it?
0:12:20 > 0:12:23It was done when he was doing his Saltimbanques,
0:12:23 > 0:12:25which is French for acrobat, I think...
0:12:25 > 0:12:27series of circus performers...
0:12:27 > 0:12:31is a drypoint, which is when, instead of an etching, on a
0:12:31 > 0:12:34copperplate you just make the marks directly on with a sharp point.
0:12:34 > 0:12:36And it throws up a burr,
0:12:36 > 0:12:40and that burr around the line that you've scratched in the copper
0:12:40 > 0:12:44also holds ink. And, of course, you could imagine that if you're
0:12:44 > 0:12:47squashing a piece of paper on that copper that's been inked,
0:12:47 > 0:12:49and you take a pull from it,
0:12:49 > 0:12:52it often squashes that burr very quickly.
0:12:52 > 0:12:57And so, you see this, the way the line is slightly fuzzy down here,
0:12:57 > 0:13:00and this sort of shading around the horse's head?
0:13:00 > 0:13:02Well, that goes very quickly.
0:13:02 > 0:13:04So that suggests that is quite an early one, then?
0:13:04 > 0:13:07- I think it is quite an early one. - Oh.- Is my point.
0:13:07 > 0:13:11Yeah, exactly. Because you can still see that sort of quite strong line.
0:13:11 > 0:13:14- It hasn't gone ghostly yet.- It's a wonderful delicate line, that's what
0:13:14 > 0:13:16- I've always loved about it. - Yeah, it's a very pretty thing.
0:13:16 > 0:13:19And early Picasso is really interesting, I think.
0:13:19 > 0:13:23Anyway, moving from him to this one. This, of course, is a Gauguin.
0:13:23 > 0:13:27Paul Gauguin is in Tahiti towards the end of his life, isn't he?
0:13:27 > 0:13:31He was very interested in making woodcuts...
0:13:31 > 0:13:34As opposed to this, where the ink lies in the mark that you've made,
0:13:34 > 0:13:37this, the ink lies on the ridges you've left.
0:13:37 > 0:13:40So he's cutting away and the ink goes on top of what's left.
0:13:40 > 0:13:43And he's done it on four wood blocks because, of course,
0:13:43 > 0:13:46the trees aren't big enough to make a print this big.
0:13:46 > 0:13:49- You have to join them all together. - Yeah.- And he shows a group of
0:13:49 > 0:13:51Tahitians all sitting round a fire.
0:13:51 > 0:13:55And I'm afraid I don't know what that means, "Mahna No Varua Ino."
0:13:55 > 0:13:58- I think it means "The Devil Speaks." - The devil speaks.- The devil speaks.
0:13:58 > 0:14:01- Crikey, that's rather occult, isn't it?- Isn't it?- You know,
0:14:01 > 0:14:04- this fireside light, it's very primitive, isn't it?- Yeah.
0:14:04 > 0:14:05This is what he wanted to do,
0:14:05 > 0:14:08get back to a sort of truth with primitivism. Now, with prints...
0:14:08 > 0:14:09This is a very complicated area.
0:14:09 > 0:14:12It all depends on whether it's the first printing during the artist's
0:14:12 > 0:14:15lifetime or the second edition by Ambroise Vollard,
0:14:15 > 0:14:18who was dealer to both Picasso and Gauguin.
0:14:18 > 0:14:20And he's the man who published these.
0:14:20 > 0:14:21Now, these are not, either of them,
0:14:21 > 0:14:25from the very first edition of these prints, so don't get too excited.
0:14:25 > 0:14:27No, I'm not. I'm not.
0:14:27 > 0:14:31OK. But this Picasso is from very early on in the second edition.
0:14:31 > 0:14:34So the plate is still very fresh. And what it translates to in crude
0:14:34 > 0:14:39market terms is probably about £2,000 or £3,000.
0:14:39 > 0:14:41- Which is rather nice, isn't it?- Mm!
0:14:41 > 0:14:47Now, the Gauguin is nonetheless fresh for being a bit later.
0:14:47 > 0:14:51In the second edition. So these must have all been published round about
0:14:51 > 0:14:55the time your grandmother was in Paris, so that makes perfect sense.
0:14:55 > 0:14:57The value on this one is a bit more.
0:14:57 > 0:14:59Not a huge amount more. £3,000-£4,000.
0:14:59 > 0:15:02- OK.- But it's amazing, the difference it makes,
0:15:02 > 0:15:04just to be in the second or first edition.
0:15:04 > 0:15:07Cos if this was in the first edition, we're talking a huge...
0:15:07 > 0:15:08- You can add a nought.- Yeah.
0:15:08 > 0:15:11Well, which means I would keep it in a vault rather than have it
0:15:11 > 0:15:14on the wall, and I'd rather have it on the wall. I love that one.
0:15:18 > 0:15:20What a gorgeous casket.
0:15:20 > 0:15:22It's rather nice, isn't it?
0:15:22 > 0:15:25Very much Arts and Crafts in feel.
0:15:25 > 0:15:30You've got all this planishing giving this wonderful surface.
0:15:30 > 0:15:35What I particularly love... the enamel at the front there,
0:15:35 > 0:15:39with the two children dancing. Absolutely super.
0:15:39 > 0:15:43It's got the whole feel of the Arts and Crafts.
0:15:43 > 0:15:47- What do you know about it? - It was my grandmother's.
0:15:47 > 0:15:52I can always remember it being on the fireplace, on the mantle shelf.
0:15:52 > 0:15:56She said she wanted her ashes putting in it when she passed away.
0:15:56 > 0:15:59- We didn't do that. - Should I open it or...?
0:15:59 > 0:16:01No, please, please don't!
0:16:01 > 0:16:04No, we didn't do that.
0:16:04 > 0:16:08- She loved it.- We've got a lovely set of marks there for Chester
0:16:08 > 0:16:11in 1919.
0:16:11 > 0:16:15- In that case, I think it was perhaps a wedding present.- Ah...
0:16:15 > 0:16:18Right. That would make perfect sense.
0:16:18 > 0:16:22- Yes.- I mean, that's a very joyous object to have as a wedding present.
0:16:22 > 0:16:25Now, the maker's quite intriguing.
0:16:25 > 0:16:27He's John Gatecliff.
0:16:27 > 0:16:29And he was working in Otley.
0:16:29 > 0:16:32Interestingly, he didn't register as a silversmith.
0:16:32 > 0:16:36- He registered as an artist. - From what my grandmother said,
0:16:36 > 0:16:38he was the lecturer at the local art college.
0:16:38 > 0:16:42All adds up. All adds up very nicely.
0:16:42 > 0:16:48So what is a rather super Arts and Crafts-style casket by,
0:16:48 > 0:16:51one has to say, an unknown,
0:16:51 > 0:16:54from the point of view of silver, going to be worth?
0:16:54 > 0:16:56But it's such a gorgeous piece.
0:16:56 > 0:17:01And I think, I could easily see that at auction at about £2,000.
0:17:01 > 0:17:03Oh.
0:17:03 > 0:17:06- Very nice.- It is very nice.
0:17:06 > 0:17:09Yes. But I shan't be selling it.
0:17:09 > 0:17:11Quite right, too.
0:17:14 > 0:17:17One of the most moving moments this year, for me,
0:17:17 > 0:17:19was when a gentleman called Bill
0:17:19 > 0:17:22brought along a family archive relating to his late father.
0:17:23 > 0:17:27You only first looked at this three days ago?
0:17:27 > 0:17:29- Correct.- And it belonged to your father?
0:17:29 > 0:17:33Yes. We think my grandparents probably
0:17:33 > 0:17:37put all his artefacts into there
0:17:37 > 0:17:40many, many years ago.
0:17:40 > 0:17:44And I had never wanted to actually open the box
0:17:44 > 0:17:47cos I knew it contained a history from the First World War.
0:17:47 > 0:17:50Cos your father was a soldier in the First World War?
0:17:50 > 0:17:54He was Second Lieutenant in the Royal Field Artillery.
0:17:54 > 0:17:56And he fought at the Somme?
0:17:56 > 0:17:58Well, we only found that out...
0:17:58 > 0:18:01He never spoke about it at all.
0:18:01 > 0:18:03So you only found out that he was...
0:18:03 > 0:18:06He was in the Second Battle of the Somme, yes.
0:18:06 > 0:18:09Three days ago when you opened this case?
0:18:09 > 0:18:13- Correct.- What else did you find out? - That he'd been a prisoner of war.
0:18:13 > 0:18:18His trench was overrun after he was wounded.
0:18:18 > 0:18:22And he was transported to a prisoner-of-war camp
0:18:22 > 0:18:24in Quedlinburg in Germany.
0:18:24 > 0:18:27And this picture, is this your father here?
0:18:27 > 0:18:30This is my father in the local paper.
0:18:30 > 0:18:32And look, "Young Officer Missing".
0:18:32 > 0:18:37- How old was he? - He would be just 18, I think.
0:18:37 > 0:18:40"Second Lieutenant JB Bennett."
0:18:40 > 0:18:44There's other things in here it looks like you haven't opened yet.
0:18:44 > 0:18:46- No, the letters... - What are these?
0:18:46 > 0:18:51- These are letters from your father? - Yes.- Which you have never opened?
0:18:51 > 0:18:54- Have never opened. I never have. - Why not?
0:18:56 > 0:18:59- Sorry...- It's OK.
0:19:00 > 0:19:04I felt I was intruding onto his space.
0:19:04 > 0:19:10It was only when we decided to open them that I could go into there...
0:19:10 > 0:19:12I haven't opened the letters.
0:19:12 > 0:19:14But you're welcome to open them.
0:19:14 > 0:19:17- Are you sure?- Well, I think it will bring a catharsis,
0:19:17 > 0:19:20- to be honest with you.- It's obviously hugely emotional for you.
0:19:20 > 0:19:23- It is.- Of course. He's your dad.
0:19:23 > 0:19:24Absolutely.
0:19:29 > 0:19:33- There you go.- So this is just short of 100 years old.
0:19:33 > 0:19:36- Yes.- Do you want me to open them? - Yes, please.- Are you sure?
0:19:36 > 0:19:39Yeah, I'm positive. Yeah.
0:19:44 > 0:19:47- Let's open one of them, shall we? - Yes.- Passed by the censor.
0:19:47 > 0:19:51Right. And that was towards the end of '17.
0:19:51 > 0:19:53- On active service.- Yep.
0:19:57 > 0:20:01"Dear father and mother, I haven't had a letter yet of any sort.
0:20:01 > 0:20:03"Still, I expect one will be up soon.
0:20:03 > 0:20:06"Please send me some writing paper and bootlaces,
0:20:06 > 0:20:08"and matches if possible.
0:20:08 > 0:20:12"I saw a Fritz plane brought down. It was a fine sight.
0:20:12 > 0:20:15"He dropped about a quarter of a mile away and blew up,
0:20:15 > 0:20:17"as he had a load of bombs on board.
0:20:17 > 0:20:20"Tell me how long it takes for this letter to get to you.
0:20:20 > 0:20:25"Have you discovered where I am yet? Will stop now. Love, Barry."
0:20:25 > 0:20:28Young, young man, writing to his parents.
0:20:28 > 0:20:30- Absolutely.- So, this...
0:20:32 > 0:20:34These are Barry's letters from Germany.
0:20:34 > 0:20:38- So this will have been after he'd been taken prisoner.- Yes.
0:20:42 > 0:20:45There we are. That was his number.
0:20:45 > 0:20:49- Prisoner of war 1052.- Yeah.
0:20:49 > 0:20:53"We are well treated and get plenty of food,
0:20:53 > 0:20:56"although it is quite a different type
0:20:56 > 0:20:58"to what we're used to in England.
0:20:58 > 0:21:00"We have no permanent address as yet.
0:21:00 > 0:21:02"But I have hopes of being settled in a few days more.
0:21:02 > 0:21:07"The last time my leg was dressed it was done by an English doctor.
0:21:07 > 0:21:11"The doctor said he thought it might be possible to get an exchange."
0:21:11 > 0:21:13Exchange prisoners of war, I suppose.
0:21:13 > 0:21:17I think that's what it means. "Heaps of love, Barry."
0:21:19 > 0:21:23The fact that he was wounded in the Somme at such a young age
0:21:23 > 0:21:27is probably what saved him. And what made it possible for you to be here.
0:21:27 > 0:21:30- Absolutely. - You've got some reading to do now.
0:21:30 > 0:21:32There's a whole other pack here for you to start.
0:21:32 > 0:21:34So, good luck with that.
0:21:34 > 0:21:38I feel hugely privileged, actually, that you have let us do this,
0:21:38 > 0:21:42- for the first time, today. - I appreciate... Sorry.
0:21:42 > 0:21:45- I appreciate it.- I know, it's emotional, isn't it?
0:21:45 > 0:21:47That cache of unopened letters
0:21:47 > 0:21:51is a poignant example of the lasting impact of World War I.
0:21:51 > 0:21:55We're planning a special episode for next year to mark the centenary of
0:21:55 > 0:21:56the end of the conflict.
0:21:56 > 0:22:00We'd like to hear from you if you have family stories about the human
0:22:00 > 0:22:05cost of the First World War and its legacy. You can e-mail us...
0:22:12 > 0:22:15These are such charming chairs. Hepplewhite style.
0:22:15 > 0:22:18That big shield back and this, almost like the feathers here,
0:22:18 > 0:22:20but there's something wonderfully naive about them,
0:22:20 > 0:22:22sort of provincial look about them,
0:22:22 > 0:22:24which draws me to them the more I look at them.
0:22:24 > 0:22:28- How many do you have altogether? - Six in total. Four more like this.
0:22:28 > 0:22:30Four side chairs and one armchair.
0:22:30 > 0:22:32- Yes.- I think it probably would have been a much longer set, originally.
0:22:32 > 0:22:38I suspect. But just look at the way this is drawn, it's so sweet.
0:22:38 > 0:22:41And there's one maker in this area that I think of immediately.
0:22:41 > 0:22:44- Can you think of who I'm thinking of?- No.- Gillows.
0:22:44 > 0:22:46- Oh!- Are they Gillows? I don't know.
0:22:46 > 0:22:50But it's got that lovely early feel about Gillows.
0:22:50 > 0:22:52What do you know about them?
0:22:52 > 0:22:56Well, they belonged to my father's mother's family.
0:22:56 > 0:22:59They were sold in 1937.
0:22:59 > 0:23:02My father knew where they were.
0:23:02 > 0:23:06And then he had the opportunity to buy them back in 1973.
0:23:06 > 0:23:12After he died in 1980, my sister bought them from the family.
0:23:12 > 0:23:17And then they were surplus to her requirements and so she sold them,
0:23:17 > 0:23:19with the agreement of the family.
0:23:19 > 0:23:23And then three and a half years ago
0:23:23 > 0:23:26- they turned up in a local auction to me.- You just found them by chance?
0:23:26 > 0:23:28- Yes.- How extraordinary.
0:23:28 > 0:23:32- I couldn't let them go.- So they were in the family prior to 1937?- Yes.
0:23:32 > 0:23:34What date do you think they were made?
0:23:34 > 0:23:37- I've no idea.- What do you think? - I don't know.
0:23:37 > 0:23:42OK. They are a really nice set, a small set.
0:23:42 > 0:23:45A short set of genuine Hepplewhite chairs.
0:23:45 > 0:23:47Of the 1780s.
0:23:47 > 0:23:50- Oh! Right.- And they are so beautiful, and so provincial,
0:23:50 > 0:23:52that I just love them.
0:23:52 > 0:23:53If I just take the seat out here,
0:23:53 > 0:23:56and very quickly, there are two things.
0:23:56 > 0:23:59Firstly, look at the way this shield here hangs.
0:24:01 > 0:24:03A copyist would never have dared do that with that gap.
0:24:03 > 0:24:06He would have had that sitting on the bottom rail there.
0:24:06 > 0:24:09- Right.- And that, to me, is a wonderful quirky thing to do.
0:24:09 > 0:24:11But if I just tip this forward,
0:24:11 > 0:24:14you can just see there the saw marks. You can see the irregular
0:24:14 > 0:24:17saw marks where somebody's been doing it by hand. If that was
0:24:17 > 0:24:20a modern chair or a 19th- or a 20th-century reproduction -
0:24:20 > 0:24:22and there are plenty of those around -
0:24:22 > 0:24:25especially this popular model, that would have been done by machine.
0:24:25 > 0:24:29This is handmade. And charming.
0:24:29 > 0:24:32There are six of them. I would have thought they would have been
0:24:32 > 0:24:35- a set of 14 originally.- Oh. - I would have thought so.
0:24:35 > 0:24:39So, they were in the family, came out of the family in '37.
0:24:39 > 0:24:40They went through the '70s and '80s,
0:24:40 > 0:24:42- buying and selling.- Yes.
0:24:42 > 0:24:45- You bought them back - how long ago, did you say that was?- In 2012.
0:24:45 > 0:24:48So, four or five years ago, something like that.
0:24:48 > 0:24:51And I'm going to have to ask you,
0:24:51 > 0:24:54the market for this sort of thing is disastrously low.
0:24:54 > 0:24:57- I know.- Nobody wants this sort of mahogany
0:24:57 > 0:24:58and nobody wants dining chairs.
0:24:58 > 0:25:04- Dare I ask you how much you paid for them?- Hammer price £260.
0:25:04 > 0:25:08- What was the estimate on them? - 70-100.
0:25:08 > 0:25:11Sorry, I have to repeat that, the estimate was £70-£100?
0:25:11 > 0:25:15- Yes.- For a set of six dining chairs? - Yes.- OK, fine.
0:25:15 > 0:25:18- And you paid 260?- I did.
0:25:18 > 0:25:20Well, if we multiply that by ten...
0:25:22 > 0:25:25..2,600, 2,500, something like that.
0:25:25 > 0:25:27- Wow.- At least.- Really?
0:25:27 > 0:25:30I think you've done very well. They are a super set of chairs.
0:25:30 > 0:25:34- But more important than anything, they're family chairs.- They are.
0:25:36 > 0:25:38I fancy myself as a bit of woodworker.
0:25:38 > 0:25:41And I've got some quite nice tools.
0:25:41 > 0:25:43But nothing like this.
0:25:43 > 0:25:46And this just takes the biscuit. What do you know about it?
0:25:46 > 0:25:49Well, my dad's always talked about the fact that we have a tool from
0:25:49 > 0:25:52the Great Exhibition and I just thought he was talking nonsense.
0:25:52 > 0:25:54But until he actually showed me it...
0:25:54 > 0:25:55And he's used it until recently.
0:25:55 > 0:26:00- And then I saw the head of Albert there.- So it's used?
0:26:00 > 0:26:02Yes, he has used it, yes.
0:26:02 > 0:26:05It was in the garage being used to cut up wood.
0:26:05 > 0:26:08Anything from the Great Exhibition has a sort of iconic status,
0:26:08 > 0:26:11- doesn't it?- Yeah. - And here is Prince Albert,
0:26:11 > 0:26:14the instigator of the Great Exhibition.
0:26:14 > 0:26:16One of the great patrons. It was his idea.
0:26:16 > 0:26:19And so these people, Russell, Horsfield & White -
0:26:19 > 0:26:21do I gather White is your family?
0:26:21 > 0:26:23Yes, that's my dad's mother's family.
0:26:23 > 0:26:26- Right.- They had a factory in Sheffield.
0:26:26 > 0:26:28And so there's a wonderful direct connection.
0:26:28 > 0:26:33But the crowning glory of the whole thing is this.
0:26:33 > 0:26:36- That's what gives it Exhibition status.- It's very heavy.
0:26:36 > 0:26:40It's going to be a cast heavy metal with the silver-plated finish.
0:26:40 > 0:26:43And this would have been the exhibition handle that would have
0:26:43 > 0:26:46fitted on this saw. Cos if we...
0:26:46 > 0:26:48I'll turn that upside down.
0:26:48 > 0:26:51And turn the saw upside-down.
0:26:51 > 0:26:54And you can see that the three screws line-up
0:26:54 > 0:26:56with these screws there.
0:26:56 > 0:26:59There's no doubt that that is the handle that this saw,
0:26:59 > 0:27:04that was at the Great Exhibition in 1851...
0:27:04 > 0:27:06- How do you value such a thing? - It's just a tool.
0:27:06 > 0:27:10It's just a tool... No, it isn't. It's a very, very special tool.
0:27:10 > 0:27:17Anybody with an interest in tools or objects from the Great Exhibition
0:27:17 > 0:27:20are both highly collected areas.
0:27:20 > 0:27:23Really highly collected and special areas of interest.
0:27:23 > 0:27:28And this saw with its handle from the Exhibition with clear lineage
0:27:28 > 0:27:32has got to be worth towards £2,000.
0:27:32 > 0:27:37- It's not for sale. It's staying with me.- It's a very special thing.
0:27:41 > 0:27:48Antique jewellery, which absolutely gets to the core of my being.
0:27:48 > 0:27:52These are fantastic pieces for you to bring to show me.
0:27:52 > 0:27:54Tell me a little bit about them.
0:27:54 > 0:27:57My family had a jewellery business in London.
0:27:57 > 0:28:0335 years ago we decided a change of life was needed and we moved up
0:28:03 > 0:28:05into the Scottish Lowlands.
0:28:05 > 0:28:11And completely changed from being jewellery-minded to animal-minded.
0:28:11 > 0:28:14- So, you swapped the sapphires for the sheep dip?- We did, yes.
0:28:14 > 0:28:17- Yes.- So now, these represent...
0:28:17 > 0:28:22- shop stock or are they personal pieces?- These are family items
0:28:22 > 0:28:26that over the years the family have kept back for themselves.
0:28:26 > 0:28:32I'm going to start off with this pad with this luscious pink necklace,
0:28:32 > 0:28:36with a drop suspended at the bottom.
0:28:36 > 0:28:39Which is actually costume jewellery.
0:28:39 > 0:28:43Today, we see hundreds and hundreds of pieces of costume jewellery.
0:28:43 > 0:28:47The difference between those and this is that this particular
0:28:47 > 0:28:50necklace was actually made in around about 1740.
0:28:50 > 0:28:52Oh, right.
0:28:52 > 0:28:56So it's 18th-century costume jewellery and that makes it a very
0:28:56 > 0:28:59different kettle of fish from the more contemporary stuff that we see.
0:28:59 > 0:29:01It's very rare.
0:29:01 > 0:29:03You can see that they almost have
0:29:03 > 0:29:06this sort of lustrous quality to them. They're sort of pinky blue
0:29:06 > 0:29:09in colour. When you look at the backs of the mount, if I just
0:29:09 > 0:29:11turn that upside down,
0:29:11 > 0:29:15can you see it's actually pretty ordinary-looking? It's base metal.
0:29:15 > 0:29:18You can see the metal content coming through there.
0:29:18 > 0:29:21But the age of it is significant.
0:29:21 > 0:29:26That's the first one. Second one, this piece, in my opinion,
0:29:26 > 0:29:30was made in around about 1670-1700.
0:29:30 > 0:29:32What it is,
0:29:32 > 0:29:35it's a slide and in the centre
0:29:35 > 0:29:38you have a crystal.
0:29:38 > 0:29:44Underneath the crystal is a woven panel of hair with two tiny little
0:29:44 > 0:29:48figures and a gold thread monogram.
0:29:48 > 0:29:53The mount is in gold and it has what's called a pie-crust setting.
0:29:53 > 0:29:55Almost like a little pie crust that you make going round the edge.
0:29:55 > 0:30:02And then surrounding the centre is a hoop, if you like, of real pearls.
0:30:02 > 0:30:05But it's when you turn it over and look at the back of it that the
0:30:05 > 0:30:07whole thing explodes.
0:30:07 > 0:30:10The back is enamelled scrolls
0:30:10 > 0:30:15in white, pink and black and that's how I can date it.
0:30:15 > 0:30:18Let's move forward in time.
0:30:18 > 0:30:21And this time let's go to this pad here.
0:30:21 > 0:30:23This is a tiny little locket,
0:30:23 > 0:30:29probably made in around 1870 by Carlo Giuliano.
0:30:29 > 0:30:32He was the great Goldsmith of the 19th century.
0:30:32 > 0:30:35He did revivalist jewels. He produced enamels.
0:30:35 > 0:30:37He was a fantastic craftsman.
0:30:37 > 0:30:40This is only a modest little circular pendant with diamonds,
0:30:40 > 0:30:43but it is by Giuliano, and, excuse me,
0:30:43 > 0:30:46the original Giuliano fitted case.
0:30:46 > 0:30:49That is terribly, terribly important and terribly rare.
0:30:49 > 0:30:52Surrounding that, to finish up with,
0:30:52 > 0:30:58we have this luscious fabulous moonstone necklace.
0:30:58 > 0:31:00Typical late 19th-century design.
0:31:00 > 0:31:04And you can see that the stones are like little sweets
0:31:04 > 0:31:07in the way that they are just so rich in their colour.
0:31:07 > 0:31:09Individually set in gold.
0:31:09 > 0:31:12In closed collet settings
0:31:12 > 0:31:15that enclose each of the stones beautifully.
0:31:15 > 0:31:18This is a great necklace.
0:31:18 > 0:31:22So, 35-40 years, just kept it there, lying in a drawer.
0:31:22 > 0:31:25Well, a padded drawer.
0:31:25 > 0:31:28OK. Shall we start with that?
0:31:28 > 0:31:35The costume necklace, base metal and glass, costume jewellery - £2,500.
0:31:35 > 0:31:37- That's a good start.- Mm-hm.
0:31:37 > 0:31:40- I'm going to leave that one.... - LAUGHTER
0:31:40 > 0:31:45The little Giuliano pendant is a teeny bit damaged.
0:31:45 > 0:31:46There's a few flakes off it,
0:31:46 > 0:31:49so let's be careful, let's not go crazy.
0:31:49 > 0:31:53- And let's say £1,500 for that. - Right.- Probably would make more.
0:31:53 > 0:31:56- But let's be careful with it. - Right.
0:31:56 > 0:31:59This one, the moonstone necklace,
0:31:59 > 0:32:02let us say £4,000-£5,000.
0:32:04 > 0:32:06Right, OK, yep.
0:32:06 > 0:32:08Now, this thing here is eclectic, it's rare,
0:32:08 > 0:32:11it's incredibly difficult to price.
0:32:11 > 0:32:17Because that, for me, is one of the best of those slides that I've seen.
0:32:17 > 0:32:19So it's got to be worth £4,000, hasn't it?
0:32:19 > 0:32:22Really. So, let's do a quick tot up for you.
0:32:22 > 0:32:27- £12,000-£15,000, I suppose. - Thank you very much.
0:32:27 > 0:32:30- Are you happy with that?- Ecstatic.
0:32:30 > 0:32:33- Yes, ecstatic.- Yes, worth more than you thought they'd be worth?
0:32:33 > 0:32:34Absolutely, yeah.
0:32:36 > 0:32:39We're looking at a butterfly, quite crudely made.
0:32:39 > 0:32:44And it says, "In memory of summer, 1945.
0:32:44 > 0:32:47"Made of the rubbish of the ruins of Berlin."
0:32:47 > 0:32:50Well, how have you got it?
0:32:50 > 0:32:52- What's the story? - It was my grandad's.
0:32:52 > 0:32:55He was over in Berlin towards the end of the war.
0:32:55 > 0:32:58And he brought it home with him.
0:32:58 > 0:33:00And is that all you know?
0:33:00 > 0:33:02That's all I know. He was a very private man.
0:33:02 > 0:33:05He really never spoke about the war or anything.
0:33:05 > 0:33:09And when I asked him about it, he said, "We don't talk about that."
0:33:09 > 0:33:11- Really?- And that was as much as he would say.
0:33:11 > 0:33:13- But it was always on the wall? - Always on the wall.
0:33:13 > 0:33:16I remember it from being a little girl. Always there. Same place.
0:33:16 > 0:33:20- Yeah.- And he's gone?- He has, yes, sadly.- So the story's gone with him?
0:33:20 > 0:33:24- Absolutely, yeah, which is sad. - We have to assume he bought it.
0:33:24 > 0:33:27- Yes.- And you don't even know what he was doing in Berlin in the summer
0:33:27 > 0:33:31- of '45.- Not really, no. - I mean, the war ended in May.
0:33:32 > 0:33:34I think what it takes us back to
0:33:34 > 0:33:38is that period of total chaos, total destruction.
0:33:38 > 0:33:41A vast city utterly destroyed.
0:33:41 > 0:33:44By us and by the Americans and by the Russians. And people
0:33:44 > 0:33:48trying - those who'd survived - trying to get back on their feet.
0:33:48 > 0:33:50- Yeah.- To me, it's all on the back.
0:33:50 > 0:33:53As you say, there's this long text.
0:33:53 > 0:33:55I'm only going to read a bit of it.
0:33:55 > 0:33:58"When the battle of Berlin was over, they met again,
0:33:58 > 0:34:02"just a small group of friends: some painters and designers,
0:34:02 > 0:34:07"and a woman well acquainted with all kind of fancy-work.
0:34:07 > 0:34:11"They looked around and none of them said a word. What could they say,
0:34:11 > 0:34:14"what did they feel facing the dead under blooming lilacs
0:34:14 > 0:34:17"and the smouldering ruins of their beloved town?
0:34:17 > 0:34:19"With the churches burnt out
0:34:19 > 0:34:22"and their old windows beautifully coloured gone to pieces,
0:34:22 > 0:34:25"the bridges fallen down into the river,
0:34:25 > 0:34:28"the rails bent and the trees burst, and with mountains of rubbish
0:34:28 > 0:34:31"barring the streets once full of life."
0:34:31 > 0:34:33You know, you can see it, can't you?
0:34:33 > 0:34:35- It's very emotive. - I think it's extraordinary.
0:34:35 > 0:34:39And this is a chap called Kurt Panzer, strangely.
0:34:39 > 0:34:44And he obviously got together a group of friends and they began to
0:34:44 > 0:34:50make things. The butterfly's made from crushed brick, broken tiles,
0:34:50 > 0:34:53bits of glass. And, obviously, they did a sequence of these.
0:34:53 > 0:34:56And I can imagine British or American soldiers
0:34:56 > 0:35:00walking down the street and seeing them, and thinking,
0:35:00 > 0:35:02"Yes, we've got to bring this city back to life."
0:35:02 > 0:35:04- Yeah.- Do you think that's the story?
0:35:04 > 0:35:08- Yeah, that's what I like to think, yeah.- And was he a sensitive man?
0:35:08 > 0:35:09Oh, very, yeah.
0:35:09 > 0:35:14- So he'd have felt that he had to make a contribution?- Oh, definitely.
0:35:14 > 0:35:17It wasn't just about making things to bring the city back to life.
0:35:17 > 0:35:20It was about earning a living. Presumably they sold these.
0:35:20 > 0:35:23- I hope you'll always treasure it. - Oh, absolutely, absolutely.
0:35:23 > 0:35:27What's it worth? £10, £20, who cares?
0:35:27 > 0:35:30- Yeah.- But the story is amazing.
0:35:30 > 0:35:32- Yeah, thank you.- Thank you.
0:35:32 > 0:35:36How fascinating that something so unassuming should tell a story
0:35:36 > 0:35:40of the aftermath of the Second World War.
0:35:40 > 0:35:43It's not just the valuable finds we remember.
0:35:43 > 0:35:47Now, let's stop off at the magnificent Audley End in Essex
0:35:47 > 0:35:51where Bunny Campione had a colourful start to her day.
0:35:52 > 0:35:55So, here we have a collection of bead bags.
0:35:55 > 0:36:00Now, bead bags were really made in the early 19th century
0:36:00 > 0:36:05for the sort of woman who was going to a soiree, an evening do.
0:36:05 > 0:36:08She'd have it on her wrist, hanging there.
0:36:08 > 0:36:11And she would be asked to dance.
0:36:11 > 0:36:13She'd have her little dance card.
0:36:13 > 0:36:16"Lionel or George, at eight o'clock. Nine o'clock."
0:36:16 > 0:36:19And she might even have some scent, you know,
0:36:19 > 0:36:22a little bottle. And... before her dance.
0:36:22 > 0:36:24So she'd be dressed to the nines.
0:36:24 > 0:36:27Just imagine how romantic that is.
0:36:27 > 0:36:30And what a wonderful collection.
0:36:30 > 0:36:33Tell me, did you buy them or inherit them?
0:36:33 > 0:36:36My great-grandmother started the collection,
0:36:36 > 0:36:40she actually died at 29 in 1895.
0:36:40 > 0:36:43So then her daughter, my grandmother, carried them on.
0:36:43 > 0:36:46And I've got a book with both their handwritings in.
0:36:46 > 0:36:50And have you got a particular one that is very precious to you?
0:36:50 > 0:36:53Well, I used that one for my wedding 40 years ago.
0:36:53 > 0:36:57- Goodness me.- So that's quite special.- That is very special.
0:36:57 > 0:37:00And I've taken them to quite a few nice dos.
0:37:00 > 0:37:03But I don't put smelling salts and hankies
0:37:03 > 0:37:06which were sort of dropped so some beau would pick them up.
0:37:06 > 0:37:09Well, they are stunning.
0:37:09 > 0:37:11And what's so lovely about them is they're all different,
0:37:11 > 0:37:13with these wonderful colours.
0:37:13 > 0:37:19And very often you can tell the date or certainly within 50 years by the
0:37:19 > 0:37:21different colours that they used.
0:37:21 > 0:37:25- Ah.- Probably your earliest one is this one.
0:37:25 > 0:37:31This comes from an etching or a print of 1820.
0:37:31 > 0:37:34Now, it could have been done later than 1820.
0:37:34 > 0:37:37It's poetic licence, if you like.
0:37:37 > 0:37:40They liked the print and therefore maybe in the late 19th century
0:37:40 > 0:37:42they would have made this.
0:37:42 > 0:37:45It would have taken a very, very long time to make these.
0:37:45 > 0:37:49It's intricate. You have to thread this fine, fine, probably silk,
0:37:49 > 0:37:52through a tiny, tiny bead.
0:37:52 > 0:37:55I mean, you just have to look. This is your biggest one.
0:37:55 > 0:37:59Which, I mean, just look at the work in that. It's just mind-boggling.
0:37:59 > 0:38:03- 1918.- And that's 1918.
0:38:03 > 0:38:05Which, thank you, that's what we need.
0:38:05 > 0:38:08We need people to tell us when they made it.
0:38:08 > 0:38:09And I think most of them are German.
0:38:09 > 0:38:13- Is that possible?- I would imagine they're all Central European,
0:38:13 > 0:38:16- probably German.- Yes, yes. - They came from Frankfurt.
0:38:16 > 0:38:18- Did they?- My great-grandparents
0:38:18 > 0:38:22and then my grandparents came over in 1937. And my father
0:38:22 > 0:38:25carried on the collection a little bit and I've carried it on.
0:38:25 > 0:38:28- You've got lots more at home, you say?- About the same amount again.
0:38:28 > 0:38:32Gosh. So, um...
0:38:32 > 0:38:33value.
0:38:33 > 0:38:39The large one, I think we're talking about possibly 300, 300-400.
0:38:39 > 0:38:43The little tiny one which is for a finger rather than a wrist,
0:38:43 > 0:38:45something like £40-£60.
0:38:45 > 0:38:51- Right.- We're talking about somewhere in the region of £4,000-£5,000 here.
0:38:51 > 0:38:53Gosh.
0:38:53 > 0:38:55Got the same again at home?
0:38:55 > 0:38:58Similar. I brought the best.
0:38:58 > 0:39:00I brought the favourites.
0:39:00 > 0:39:04- OK. So, we're talking about 6,000 plus, yes?- I have two daughters.
0:39:04 > 0:39:08- They'll be delighted.- There's going to be a fight, isn't there?
0:39:10 > 0:39:12When I saw these earlier, I thought,
0:39:12 > 0:39:16nice, late-Victorian brass, sconce.
0:39:16 > 0:39:19But then you tell me there's a bit more of an interesting story.
0:39:19 > 0:39:22There is, yes. We bought them at an auction in Saffron Walden
0:39:22 > 0:39:24about 10-12 years ago.
0:39:24 > 0:39:29My partner Lorna did some research on them and we believe they may have
0:39:29 > 0:39:32- come from King's College Chapel. - In Cambridge?
0:39:32 > 0:39:35That's correct. From the high altar,
0:39:35 > 0:39:37whenever they did the refurbishment in the '60s.
0:39:37 > 0:39:38Sure. What were they catalogued as?
0:39:38 > 0:39:41They weren't even catalogued in the sale. They were sitting in a box
0:39:41 > 0:39:44under one of the tables in the auction house, and Lorna actually
0:39:44 > 0:39:48asked them, were they're going to put them in the sale?
0:39:48 > 0:39:50And they said they'll put them in at the end,
0:39:50 > 0:39:53so we waited until the end of the sale and bought them for £50.
0:39:53 > 0:39:55OK. I actually remember that sale,
0:39:55 > 0:39:59because within the antiques world it caused this huge debate, really,
0:39:59 > 0:40:01as to whether public buildings
0:40:01 > 0:40:04and colleges and universities should sell off items which they've had,
0:40:04 > 0:40:08- which were designed for the building.- Yes.- And, provenance
0:40:08 > 0:40:10with these is everything.
0:40:10 > 0:40:13Now, an architect called Sir George Gilbert Scott had a lot to do with
0:40:13 > 0:40:16King's College Chapel in Cambridge.
0:40:16 > 0:40:19He is most noted for the Albert Memorial in Kensington Park,
0:40:19 > 0:40:22for the Midland Grand Hotel in London.
0:40:22 > 0:40:24I mean, like, serious...
0:40:24 > 0:40:28One of our best and most sought-after and revered architects.
0:40:28 > 0:40:32- Yes.- And when his items come up for sale, they make a lot of money.
0:40:32 > 0:40:34- OK.- But they're not by him!
0:40:34 > 0:40:36LAUGHTER
0:40:36 > 0:40:39They're actually by his son, I think.
0:40:39 > 0:40:43- OK.- George Gilbert Scott Jr.
0:40:43 > 0:40:48- OK.- And he did a lot of the metalwork and light fittings
0:40:48 > 0:40:51and fixtures for the chapel, for his father.
0:40:51 > 0:40:55Actually, it's a family of architects. I mean, between them
0:40:55 > 0:40:59they designed the red telephone box and colleges and churches
0:40:59 > 0:41:02all over the place. And so you've got a set of eight of these,
0:41:02 > 0:41:08and I think that for the set at auction, conservatively -
0:41:08 > 0:41:10and provenance is everything with these,
0:41:10 > 0:41:12so you must keep all of that -
0:41:12 > 0:41:14£2,000-£2,500.
0:41:14 > 0:41:16Wow, lovely!
0:41:21 > 0:41:23This is wonderful.
0:41:23 > 0:41:25"Liberty Bodice" it says.
0:41:25 > 0:41:29And this is obviously a chest of drawers that would have been used
0:41:29 > 0:41:32in a haberdashery shop for displaying liberty bodices.
0:41:32 > 0:41:35Now, who remembers the liberty bodice?
0:41:35 > 0:41:38- Before my time!- I'm too young! - Exactly!
0:41:38 > 0:41:41Let's remind ourselves, actually, what it looked like.
0:41:41 > 0:41:44Because here on the glass front of the drawer
0:41:44 > 0:41:47there is a picture of a little girl
0:41:47 > 0:41:49standing on tiptoe,
0:41:49 > 0:41:52looking very happy in her liberty bodice.
0:41:52 > 0:41:56Now, were your family in the haberdashery business?
0:41:56 > 0:41:59- No, not at all! No, not at all. - Oh, so what's the story here?
0:41:59 > 0:42:01I just fell in love with it.
0:42:01 > 0:42:05I saw it, I fell in love with it, I did walk away from it!
0:42:05 > 0:42:07And then it haunted me for days,
0:42:07 > 0:42:11and I went back, heart beating, and yeah,
0:42:11 > 0:42:14I went in and it was still for sale. So I thought, it's definitely mine!
0:42:14 > 0:42:16Haunt me no longer!
0:42:16 > 0:42:20- It was meant to be!- Yeah, I just love it.- Paid a fortune?
0:42:20 > 0:42:23No, no. £170, actually.
0:42:23 > 0:42:26- Pretty good. Pretty good, I'd say. - Yeah.
0:42:26 > 0:42:29So, let's have a look at it, because here it is,
0:42:29 > 0:42:35this sort of remnant from a previous age of shop fittings.
0:42:35 > 0:42:40You know, there is such a lot of interest in industrial,
0:42:40 > 0:42:42commercial things. It's not a work of art,
0:42:42 > 0:42:46it was never meant to be beautiful and adorn some great country house.
0:42:46 > 0:42:48This is a working piece of equipment.
0:42:48 > 0:42:50I could see... I don't know when you bought it,
0:42:50 > 0:42:54I could see it easily fetching £250.
0:42:54 > 0:42:58I mean, I think it's just great, but, you know,
0:42:58 > 0:43:03the real thing for me is what it might smell like.
0:43:03 > 0:43:04LAUGHTER
0:43:04 > 0:43:06Sorry!
0:43:06 > 0:43:08Call me quirky! But...
0:43:10 > 0:43:16There is that fabulous, fabulous smell, which is all my...
0:43:16 > 0:43:18I remember...
0:43:18 > 0:43:20I think I've broken it, sorry!
0:43:20 > 0:43:24- It is temperamental. It's old! - It's old!
0:43:24 > 0:43:29It's all my memories of going into a really old-fashioned haberdashery
0:43:29 > 0:43:31shop in the village where I grew up.
0:43:31 > 0:43:34And, you know, it comes back straightaway.
0:43:40 > 0:43:42This is a well-loved teddy.
0:43:42 > 0:43:46- What's his story?- The story is, he was sent to me by my father.
0:43:46 > 0:43:51It was my sixth birthday, the 15th of June 1944.
0:43:51 > 0:43:56My father was in the Navy, and the little bear arrived...
0:43:56 > 0:43:59- With this little note here? - With this little note,
0:43:59 > 0:44:01wishing me a happy birthday.
0:44:01 > 0:44:03It says, "I wish I could come to your party.
0:44:03 > 0:44:06"Save Daddy a piece of cake. Much love from Daddy."
0:44:06 > 0:44:08Unfortunately, on the same day,
0:44:08 > 0:44:11the 15th of June 1944,
0:44:11 > 0:44:16his ship was torpedoed and it blew up and sunk within minutes.
0:44:16 > 0:44:19And my mother got a terrible telegram
0:44:19 > 0:44:22saying missing, presumed dead.
0:44:22 > 0:44:25So this is the last communication I have from my father.
0:44:25 > 0:44:28And this little bear has been with me ever since.
0:44:28 > 0:44:30He doesn't see the light of day very often,
0:44:30 > 0:44:33but I thought I'd bring him along today.
0:44:33 > 0:44:35- Glad you did.- Thank you.
0:44:40 > 0:44:42This is a lovely, lovely Davenport.
0:44:42 > 0:44:45Do you have any history at all about it? Do you know anything?
0:44:45 > 0:44:49The only thing I know, it came into our possession in the early '70s,
0:44:49 > 0:44:52it came from my great-uncle.
0:44:52 > 0:44:56He used to travel, and he used to travel in northern France
0:44:56 > 0:44:59and Belgium, and we think that he bought it there.
0:44:59 > 0:45:02The trouble is that, if he did,
0:45:02 > 0:45:04it must be 90 or 100 years old,
0:45:04 > 0:45:09and to me it looks more like five years old!
0:45:09 > 0:45:12But your family history proves that it's more than five years old,
0:45:12 > 0:45:13doesn't it? So that's something!
0:45:13 > 0:45:15Well, let me make you relax immediately.
0:45:15 > 0:45:18- It is a Victorian Davenport.- Right.
0:45:18 > 0:45:21- This dates to 1880, that sort of date.- Oh, really?
0:45:21 > 0:45:26The whole concept of these started in the early 19th century,
0:45:26 > 0:45:28but this one and this beautiful, beautiful satinwood,
0:45:28 > 0:45:32- this golden satinwood... - Oh, that's what it is?- Yes.
0:45:32 > 0:45:35If I just have a peep in there, look at this, this wonderful colour,
0:45:35 > 0:45:38all the little compartments and semi-secret compartments,
0:45:38 > 0:45:41and things like that. That is such a wonderful colour.
0:45:41 > 0:45:44- And, yes, it's kept its colour, hasn't it?- It has, yes.- But the lady
0:45:44 > 0:45:47of the house would probably use it in a well-to-do,
0:45:47 > 0:45:48comfortable middle-class family,
0:45:48 > 0:45:51would have used it for writing letters, almost every day,
0:45:51 > 0:45:52- or several times a day.- Yes.
0:45:52 > 0:45:55Sometimes they have drawers on the side. What's this got here?
0:45:55 > 0:45:58- Yes, it has.- Oh, lovely. Gosh, that's such...
0:45:58 > 0:45:59The quality here is amazing.
0:45:59 > 0:46:03This is by a top firm, I don't know who by. Mahogany inside.
0:46:03 > 0:46:06Oh, look, I can't resist this.
0:46:06 > 0:46:08Mahogany again. This was the fun.
0:46:08 > 0:46:11- Look at that. You know what that is? - No, I don't.
0:46:13 > 0:46:16- Cedarwood. Oh, is it?- Isn't that lovely?- Oh, that is nice, yes.
0:46:16 > 0:46:19And just to be absolutely sure, it is English, and that is...
0:46:19 > 0:46:22Virtually only England ever did that sort of beading in the corner.
0:46:22 > 0:46:26- So it's English?- English, 1880s, Victorian Davenport.
0:46:26 > 0:46:28- Right.- Of the top rank, really.
0:46:28 > 0:46:32It does look pretty new, but it's in quite good condition.
0:46:32 > 0:46:35One or two little bumps and scrapes, as you'd expect.
0:46:35 > 0:46:37Well, prices of this sort of thing are very much in the doldrums,
0:46:37 > 0:46:40- English furniture.- I know, yes. - But to go to an antiques shop,
0:46:40 > 0:46:43to try and find one as good as this, £2,000.
0:46:43 > 0:46:46Really? You surprise me, because had you asked me what I thought,
0:46:46 > 0:46:51- I would have said £200!- I should have done, I should have asked you!
0:46:53 > 0:46:57For tonight's final selection, we return to beautiful Ightham Mote,
0:46:57 > 0:47:01a place where the finds just kept coming, as Philip Mould discovered.
0:47:04 > 0:47:08This is a soulful pastel portrait of a young girl,
0:47:08 > 0:47:10heightened with a bit of pencil.
0:47:10 > 0:47:14- Where did you get it from? - From a local charity fair.
0:47:14 > 0:47:18- And how much did you pay for it? - All of £5.- £5?
0:47:18 > 0:47:20So, the label on the back says two things.
0:47:20 > 0:47:22It says the Leicester Galleries,
0:47:22 > 0:47:27that well-known organisation that hatched and looked after many major
0:47:27 > 0:47:29artists in the 20th century.
0:47:29 > 0:47:33And also, the name of the artist, a female painter, Mary Kessell.
0:47:33 > 0:47:35Yes, I think she's an important one.
0:47:35 > 0:47:37She is a war artist,
0:47:37 > 0:47:40one of two female war artists in the Second World War.
0:47:40 > 0:47:43Yeah, and she entered Belsen camp, didn't she,
0:47:43 > 0:47:46and produced some very arresting images.
0:47:46 > 0:47:50Perhaps not that far away in the tortured murmur
0:47:50 > 0:47:53that the characterisation of this is done.
0:47:53 > 0:47:55And I can't help feeling that,
0:47:55 > 0:47:57actually, we're getting two portraits
0:47:57 > 0:48:00here for the price of one. Because the more I look into it,
0:48:00 > 0:48:02and particularly with the light pouring down -
0:48:02 > 0:48:05perhaps not quite enough sunlight, but just enough -
0:48:05 > 0:48:09you can see that there is a drawing of a head behind the portrait
0:48:09 > 0:48:12- of the figure.- It's something that I didn't notice at the time
0:48:12 > 0:48:17I purchased it, and it's only by looking at the fold of what appears
0:48:17 > 0:48:21to be a kimono dress - can you see the right eye of the image
0:48:21 > 0:48:24from the background image.
0:48:24 > 0:48:28Quite often artists did use other paintings and other drawings,
0:48:28 > 0:48:31in this instance, upon which to do their own work.
0:48:31 > 0:48:34Possibly an earlier drawing, or possibly the work of another artist.
0:48:34 > 0:48:41But here, Mary has incorporated the features of the first image
0:48:41 > 0:48:46into the dress. So therefore you see the crease of the mouth is now part
0:48:46 > 0:48:50of the crease of the back of her dress, and the chin beneath
0:48:50 > 0:48:52the figure in the background.
0:48:52 > 0:48:56It's almost two faces of the same person, perhaps.
0:48:56 > 0:48:59The rather soulful one, and the rather more open one.
0:48:59 > 0:49:05It's reflective, it's thoughtful, and it's a great buy for five quid!
0:49:05 > 0:49:11- I hope so!- I mean, she is an artist who I think will go a long way.
0:49:11 > 0:49:16The more one looks into her life and reflects on what she did,
0:49:16 > 0:49:20clearly she is someone who will, I think, art-historically,
0:49:20 > 0:49:23make a lot more noise than she is now. But your £5 investment
0:49:23 > 0:49:27is definitely worth £600-£800, and perhaps -
0:49:27 > 0:49:31- who knows? - one day an awful lot more.- That's great to hear.
0:49:35 > 0:49:37I'm going to 'fess up straightaway
0:49:37 > 0:49:40that this is not my strongest subject.
0:49:40 > 0:49:43However, they are an interesting area
0:49:43 > 0:49:46and I don't think they have ever been on the Roadshow before,
0:49:46 > 0:49:50and I want you to help me by telling me how they fit with you.
0:49:50 > 0:49:55I can't tell you very much. We were clearing out my mother's house,
0:49:55 > 0:49:57and these were with a collection
0:49:57 > 0:50:00of items that belonged to my great-aunt.
0:50:00 > 0:50:03Does the name Christopher Dresser mean anything to you?
0:50:03 > 0:50:08- No.- OK. So, he was a doctor of botany, but also was a designer.
0:50:08 > 0:50:11He worked for Minton, Colebrookdale,
0:50:11 > 0:50:13numerous commercial organisations.
0:50:13 > 0:50:17This is a man who drew lines on a piece of paper and sold them
0:50:17 > 0:50:20to Minton, for instance.
0:50:20 > 0:50:22"You make my designs and I'll take a design commission."
0:50:22 > 0:50:26Absolutely the way of the world today, but that was new then.
0:50:26 > 0:50:29One of the people that commissioned Dresser to design glass
0:50:29 > 0:50:32was James Cooper and Sons of Glasgow.
0:50:32 > 0:50:34And these are the result.
0:50:34 > 0:50:37Two pieces of Clutha glass, this is the name of the range, Clutha.
0:50:37 > 0:50:41C-L-U-T-H-A.
0:50:41 > 0:50:44Made by Cooper and Sons in Glasgow
0:50:44 > 0:50:47from the 1880s into the 1890s.
0:50:47 > 0:50:49Dresser was the first designer
0:50:49 > 0:50:52of the Clutha range, then George Walton -
0:50:52 > 0:50:57another important designer of the period - designed from then on.
0:50:57 > 0:51:02I seriously have to admit I don't know enough about it to determine,
0:51:02 > 0:51:05especially unsigned pieces, Walton from Dresser.
0:51:05 > 0:51:10However, your little serendipitous find that you had never seen before
0:51:10 > 0:51:14in your life are semi-kind of magical things in their own way.
0:51:14 > 0:51:16They are not worth a fortune.
0:51:16 > 0:51:20£300-£400 each.
0:51:20 > 0:51:24- Gosh.- But now you go away armed up with a bit more info and I hope that
0:51:24 > 0:51:28- makes you a happy gal. - Thank you very much. Thank you.
0:51:29 > 0:51:32- You have a medal.- Yeah. - So who was this gentleman to you?
0:51:32 > 0:51:35That gentleman was my great-uncle,
0:51:35 > 0:51:41who was killed in the Battle of Isandlwana in 1879.
0:51:41 > 0:51:44Trooper William Fletcher,
0:51:44 > 0:51:47- of the Natal military police.- Yes.
0:51:47 > 0:51:52So, what we've got is the South African medal, 1877-79.
0:51:52 > 0:51:54Now, the Battle of Isandlwana
0:51:54 > 0:51:58is the biggest disaster in British military history.
0:51:58 > 0:52:00Up to that moment in time.
0:52:00 > 0:52:05And it stayed that way until the 1st of July 1916 on the Somme.
0:52:05 > 0:52:081,300 British soldiers
0:52:08 > 0:52:12camped at the foot of the mountain called Isandlwana, went into camp,
0:52:12 > 0:52:15they set up their campfires, they were just getting ready for the day,
0:52:15 > 0:52:19when they were attacked by a Zulu force numbering somewhere
0:52:19 > 0:52:22between 18,500 and 20,000 Zulu.
0:52:22 > 0:52:26And they killed 1,300 British soldiers, including your ancestor.
0:52:26 > 0:52:27Yeah.
0:52:27 > 0:52:30This is a very nice medal.
0:52:30 > 0:52:33They very rarely come onto the market.
0:52:33 > 0:52:36There are 1,300 of them, but most of them are in museums,
0:52:36 > 0:52:39and over the years these have become a very desirable medal
0:52:39 > 0:52:43for medal collectors. And if you were to put this...
0:52:43 > 0:52:45on the market,
0:52:45 > 0:52:50- you can expect somewhere between £10,000-£12,000 for it.- Really?
0:52:50 > 0:52:52Yeah, very, very nice,
0:52:52 > 0:52:57but it's got a very strong family connection, as you can appreciate.
0:52:58 > 0:53:01- So thank you very much. - No problem. You've made my day.
0:53:01 > 0:53:04I didn't expect to see anything from the battle of Isandlwana,
0:53:04 > 0:53:05so thanks very much for that.
0:53:09 > 0:53:11If your doll's house has a dishwasher,
0:53:11 > 0:53:14I wouldn't put those in there.
0:53:14 > 0:53:19They really are the most exquisite quality miniature pieces.
0:53:19 > 0:53:21What can you tell me about them?
0:53:21 > 0:53:26In 1968, my mother was going to go to Hampton Court Palace
0:53:26 > 0:53:30to buy Lady Ironside's doll's house, because she was a collector.
0:53:30 > 0:53:31Hampton Court Palace?
0:53:31 > 0:53:34Hampton Court Palace, to the grace-and-favour apartments.
0:53:34 > 0:53:37And she sold the doll's house eventually,
0:53:37 > 0:53:40but she kept the tea set for the dinner service that was in it,
0:53:40 > 0:53:43because she was told by Lady Ironside that
0:53:43 > 0:53:48the one in Queen Mary's doll's house was identical and they made
0:53:48 > 0:53:52Lady Ironside one because as children they'd play together,
0:53:52 > 0:53:54they knew each other.
0:53:54 > 0:53:56Wow, isn't that wonderful?
0:53:56 > 0:53:58That's a royal provenance, isn't it?
0:53:58 > 0:54:03- Yes.- But, well, Queen Mary's doll's house, which most of us know about,
0:54:03 > 0:54:05and it was completed in 1924.
0:54:05 > 0:54:08- Was it?- And it was designed by Sir Edwin Lutyens,
0:54:08 > 0:54:10- one of the greatest English architects.- I didn't know that.
0:54:10 > 0:54:14And it's a national treasure and it's on display at Windsor Castle -
0:54:14 > 0:54:17- you've seen it, I presume. - I haven't. I've never seen...
0:54:17 > 0:54:19Wow, you should go and see it and see the sister service.
0:54:19 > 0:54:22Yes, I've seen the book with it in, but that's all.
0:54:22 > 0:54:25Wow. Well, we know it's from Queen Mary's doll's house,
0:54:25 > 0:54:28because it actually has Queen Mary's cipher...
0:54:30 > 0:54:33..written on the plate in gold.
0:54:33 > 0:54:35- Is that gold?- That is 22-carat gold.
0:54:35 > 0:54:38- Is it? I didn't know that. - And on the back,
0:54:38 > 0:54:43in absolutely minute lettering, it says "Made by Minton's limited."
0:54:43 > 0:54:45I did know it was made by Minton.
0:54:45 > 0:54:49Yeah. Well, that's incredible, so exactly the same service as this...
0:54:49 > 0:54:51- So I was told.- ..is there.
0:54:51 > 0:54:54Whether this is a full set or not, I'm not sure,
0:54:54 > 0:54:57but there are 18 plates - I'm sure that's the right number.
0:54:57 > 0:55:01There is three of these sauce tureens
0:55:01 > 0:55:03with tiny individually modelled lids.
0:55:03 > 0:55:06There is only one sauce boat,
0:55:06 > 0:55:09but you've got platters, oval platters of various sizes.
0:55:09 > 0:55:13So this is a duplicate, it was made at the same time,
0:55:13 > 0:55:17and I know there are other pieces out there from other sets,
0:55:17 > 0:55:21but there can't have been more than three or four sets made.
0:55:22 > 0:55:24The quality is incredible,
0:55:24 > 0:55:28because when you are making a piece of porcelain,
0:55:28 > 0:55:31it's much more difficult to make it in small size than full-size,
0:55:31 > 0:55:35the detail and the gilding is absolutely marvellous
0:55:35 > 0:55:38and that's what you would expect from Queen Mary's doll's house.
0:55:38 > 0:55:40- Yes.- Because as you probably know,
0:55:40 > 0:55:44a large number of contemporary artists were asked to contribute
0:55:44 > 0:55:47paintings, and writers wrote miniature books for the library,
0:55:47 > 0:55:50and it was a massive effort by the nation
0:55:50 > 0:55:53to provide this wonderful house.
0:55:53 > 0:55:55So it's an important thing.
0:55:55 > 0:55:59I mean, it's incredible. If you pick this little plate up,
0:55:59 > 0:56:02do you think that could have any real value?
0:56:02 > 0:56:06Can anyone give me a suggestion about what that might be worth?
0:56:06 > 0:56:09- £100.- £100?
0:56:09 > 0:56:12£100 for that?
0:56:12 > 0:56:15Must be mad.
0:56:15 > 0:56:20Well, when I tell you that in a sale a few years ago,
0:56:20 > 0:56:22one of these little tureens -
0:56:22 > 0:56:27just one little tureen with its tiny little cover -
0:56:27 > 0:56:30made £1,200...
0:56:31 > 0:56:34- Really?- But that was a fluke.
0:56:34 > 0:56:37- What?- That was a fluke. That was a silly price.
0:56:37 > 0:56:40I'm going to ignore that £1,200. It's ridiculous, it's too high.
0:56:40 > 0:56:42It's not going to work, is it?
0:56:42 > 0:56:45I'm going to say that this service
0:56:45 > 0:56:49is worth £7,000- £10,000.
0:56:49 > 0:56:51CROWD GASP
0:56:53 > 0:56:56I'm speechless!
0:56:56 > 0:56:58Really?
0:56:58 > 0:57:01It's been in a drawer ever since my mother died.
0:57:01 > 0:57:05I can hear my mother up there going, "Woohoo!"
0:57:08 > 0:57:11Been quite a year for Fergus Gambon, hasn't it?
0:57:11 > 0:57:14Remember those remarkable early English doll's he saw at Tewkesbury?
0:57:14 > 0:57:17And these miniature treasures just keep turning up for him.
0:57:17 > 0:57:20And to think those pieces were destined for the famous
0:57:20 > 0:57:23royal doll's house at Windsor.
0:57:23 > 0:57:26That's just about it for this programme. Remember, we're back
0:57:26 > 0:57:28on the road very soon with the Antiques Roadshow and we would love
0:57:28 > 0:57:30to see you at one of our shows.
0:57:30 > 0:57:33All the details of where we'll be and how you can tell us your story
0:57:33 > 0:57:38before you come are on our website. See you soon, I hope.