0:00:44 > 0:00:47Welcome to a new series of the Antiques Roadshow.
0:00:47 > 0:00:50We've got some spectacular locations for you this season,
0:00:50 > 0:00:54including moated manor houses, an Art Deco landmark,
0:00:54 > 0:00:58and a World Heritage site that's a bit of a secret.
0:00:59 > 0:01:01Oh, and some very excited visitors, too.
0:01:01 > 0:01:0460 to ?80,000.
0:01:04 > 0:01:05CROWD GASP
0:01:08 > 0:01:10Oh!
0:01:10 > 0:01:12I'm speechless...
0:01:12 > 0:01:14That's amazing!
0:01:14 > 0:01:19Oh, wow.
0:01:19 > 0:01:22?20,000. CROWD GASP
0:01:22 > 0:01:25Oh, my word. OK, that woke the baby.
0:01:25 > 0:01:26LAUGHTER
0:01:28 > 0:01:30For our first programme in the series,
0:01:30 > 0:01:32we've come to this glorious building.
0:01:32 > 0:01:36Are you thinking it's one of our great cathedrals?
0:01:36 > 0:01:38No, it's a humble parish church,
0:01:38 > 0:01:41though admittedly one of the largest in the country.
0:01:41 > 0:01:44Welcome to Tewkesbury Abbey in Gloucestershire.
0:01:45 > 0:01:50This church was once a Benedictine monastery, founded in 1087.
0:01:50 > 0:01:52During the following centuries,
0:01:52 > 0:01:55some of the richest medieval families became its patrons.
0:01:55 > 0:01:58Being powerful movers and shakers in the royal court,
0:01:58 > 0:02:01they had plenty of money to lavish on the building,
0:02:01 > 0:02:03and they did just that.
0:02:03 > 0:02:07They created beautiful chapels where prayers could be said for their loved ones.
0:02:07 > 0:02:09A spectacular vaulted ceiling.
0:02:09 > 0:02:14And this 14th century window, which features some of their ancestors.
0:02:15 > 0:02:17Despite these powerful patrons,
0:02:17 > 0:02:21nothing could save the abbey from Henry VIII.
0:02:21 > 0:02:24In 1540, it was one of hundreds of religious communities that were
0:02:24 > 0:02:28threatened by the King's desire to seize power from Rome
0:02:28 > 0:02:30and become head of the Church of England.
0:02:30 > 0:02:33Tewkesbury Abbey was disbanded that same year.
0:02:33 > 0:02:36Its valuables, silver vessels and plate,
0:02:36 > 0:02:39were seized and placed in royal coffers.
0:02:39 > 0:02:42Although it was too late to save the monastery, the people of Tewkesbury,
0:02:42 > 0:02:46driven no doubt by a huge sense of injustice at it all,
0:02:46 > 0:02:49decided they would not lose their abbey as well.
0:02:52 > 0:02:57So they rallied together and petitioned the Crown to be able to buy the building.
0:02:57 > 0:03:00The value was the metal in the bells and the lead on the roof.
0:03:00 > 0:03:04In the 16th century, that came to ?483.
0:03:04 > 0:03:08Within two years, the full amount had been raised and the people had saved the church.
0:03:12 > 0:03:15That commitment by the townspeople is still evident today,
0:03:15 > 0:03:19as the abbey hosts the Antiques Roadshow on the adjacent Pageant Meadow.
0:03:19 > 0:03:23The abbey's volunteers are here, along with the Mothers' Union and the WI,
0:03:23 > 0:03:27who are staffing the tea tent and making the whole day run smoothly.
0:03:27 > 0:03:29Local students are helping out, too.
0:03:29 > 0:03:31It's a real team effort.
0:03:32 > 0:03:36Our visitors are already gathering at our rather magnificent new reception.
0:03:36 > 0:03:40I wonder which of the thousands of people who have come along today
0:03:40 > 0:03:42will have that special object.
0:03:42 > 0:03:43Someone, I guarantee,
0:03:43 > 0:03:47will be in for a big surprise in our new series of the Antiques Roadshow.
0:03:48 > 0:03:52Two utterly gorgeous bangles on this beautiful sunny day,
0:03:52 > 0:03:56two lovely ladies. You're related?
0:03:56 > 0:04:00Yes, we're sisters. We're sisters. Fabulous, who's the elder? I'm the eldest. You're the eldest.
0:04:00 > 0:04:02You should never ask that, you should never ask that.
0:04:02 > 0:04:04But I'm the eldest. Do you get on?
0:04:04 > 0:04:06Yes. Oh good. That's brilliant.
0:04:06 > 0:04:08Hopefully still will at the end.
0:04:08 > 0:04:11Hopefully so, although we might have some jealousy.
0:04:11 > 0:04:14And how did you come to get these bangles?
0:04:14 > 0:04:18Basically, we inherited it through our great-great-grandparents.
0:04:18 > 0:04:23I actually got given my bangle on my 21st birthday from my grandparents.
0:04:23 > 0:04:25And you? Yeah, similar.
0:04:25 > 0:04:30So, I inherited my bangle from my grandparents.
0:04:30 > 0:04:34Lovely. If we start with the pearl and diamond one first.
0:04:34 > 0:04:38Date-wise, we're looking at the end of the 19th century.
0:04:38 > 0:04:40So 1880, 1890s.
0:04:40 > 0:04:421890s probably more to the level.
0:04:42 > 0:04:45We've got a whole range of beautiful diamonds
0:04:45 > 0:04:47forming the cluster in the centre,
0:04:47 > 0:04:51and then beautiful little half pearls down the shoulders.
0:04:51 > 0:04:53They're natural half pearls from this period.
0:04:53 > 0:04:56We're not looking at cultured pearls during this time.
0:04:56 > 0:04:58And what I think is absolutely gorgeous is the fact
0:04:58 > 0:05:00that you've got the engraving,
0:05:00 > 0:05:04and the detailing round and down the side of the bangle.
0:05:04 > 0:05:06You can just see that. It's absolutely adorable.
0:05:06 > 0:05:09This is one thing that the Victorians loved to do,
0:05:09 > 0:05:14the attention to detail was extraordinary amongst their pieces of jewellery.
0:05:14 > 0:05:17We have two sets of stones, diamonds and pearls,
0:05:17 > 0:05:22which are of course associated with eternal love.
0:05:22 > 0:05:25All in all, a perfectly romantic bangle.
0:05:25 > 0:05:30Glorious. Now we turn to this one here, the sapphire and diamond bangle.
0:05:30 > 0:05:33Again, in many ways, a similar date.
0:05:33 > 0:05:38From, of course, the fact that we've got this openwork framework to the bangle itself.
0:05:38 > 0:05:42But the way that the sapphires and the diamonds have been set
0:05:42 > 0:05:44is slightly different.
0:05:44 > 0:05:47They've got silver mounts around the diamonds,
0:05:47 > 0:05:50and they've got, of course, the claws, which are collet,
0:05:50 > 0:05:54which is a full circle around the stone, and claw set as well.
0:05:54 > 0:05:59So this setting, in comparison to the other, is slightly earlier,
0:05:59 > 0:06:01probably about 20 years earlier.
0:06:01 > 0:06:05So potentially, we might have a piece of jewellery that never started off
0:06:05 > 0:06:08as a bangle. It wouldn't surprise me if that had come from
0:06:08 > 0:06:10perhaps a necklace or something like that,
0:06:10 > 0:06:14and been broken down to make it more wearable, bring it up-to-date,
0:06:14 > 0:06:17fashion-wise. We're all obsessed with being in fashion all the time,
0:06:17 > 0:06:22aren't we? Yeah. I think that that is quite potentially what has happened.
0:06:22 > 0:06:25What we don't want to cause is, well,
0:06:25 > 0:06:27battle of the bangles or sister envy.
0:06:27 > 0:06:33But naturally, we're possibly on that line at the moment.
0:06:33 > 0:06:37The diamond and pearl one, exquisite, it's beautiful,
0:06:37 > 0:06:39it's simplistic in design.
0:06:39 > 0:06:41It just ticks all the right boxes, doesn't it?
0:06:41 > 0:06:49At auction, somebody is going to pay in the region of ?1,500 to ?2,000 for it. Nice.
0:06:49 > 0:06:51Very nice, I'm quite surprised.
0:06:51 > 0:06:52Yes. Lovely.
0:06:52 > 0:06:55Wonderful. Sapphire and diamond bangle?
0:06:55 > 0:06:57It's a big look, isn't it?
0:06:57 > 0:07:00You know, it's glorious, as I've said, the sapphires are lovely.
0:07:00 > 0:07:04Perhaps not the finest of quality, but still exceptional.
0:07:04 > 0:07:08And at auction, despite the fact that it's potentially been broken down
0:07:08 > 0:07:10from something else, and has been turned into a bangle,
0:07:10 > 0:07:13which in many ways is very wearable, people are still wearing them today,
0:07:13 > 0:07:19collecting them. I'd expect a bangle like this to be making in the region
0:07:19 > 0:07:22of ?6,000 to ?8,000.
0:07:22 > 0:07:25Wow! Laura!
0:07:25 > 0:07:26Oh, my God!
0:07:26 > 0:07:29Whoa! Wow.
0:07:29 > 0:07:33Jealousy of the bangles, now. That is a surprise.
0:07:33 > 0:07:38Well, it has the potential to fly, on the right day, so...
0:07:38 > 0:07:41look after it. Yes.
0:07:41 > 0:07:43But the main thing is, enjoy wearing it.
0:07:43 > 0:07:45Yeah. Thank you.
0:07:45 > 0:07:48Crazy! Absolutely crazy!
0:07:48 > 0:07:52So, are you claiming that this box in front of me
0:07:52 > 0:07:56came from William Shakespeare's house,
0:07:56 > 0:07:58Anne Hathaway's cottage? His wife's house, yes.
0:07:58 > 0:08:03That's what this chest claims to be, yes.
0:08:03 > 0:08:06The term which we often hear, what can't speak, can't lie.
0:08:06 > 0:08:09So inside, there's a little label,
0:08:09 > 0:08:11and when was this label put in?
0:08:11 > 0:08:15I don't know. It was probably put in in the early 1900s by the family
0:08:15 > 0:08:19who acquired it from Anne Hathaway's cottage.
0:08:19 > 0:08:21And do you actually believe it's from the cottage?
0:08:21 > 0:08:24Yes, I do. And one of the main reasons I believe that
0:08:24 > 0:08:26is because of this date on the lid.
0:08:26 > 0:08:28Because that date, 1697,
0:08:28 > 0:08:34is when Anne Hathaway's cottage was redeveloped by John Hathaway,
0:08:34 > 0:08:36her grandson. Oh, right.
0:08:36 > 0:08:38And that date is on the chimney of the house,
0:08:38 > 0:08:40and on the baking oven in the house.
0:08:42 > 0:08:44So who's this? Edward Ounsworth?
0:08:44 > 0:08:49I don't know. He may have had some direct involvement in the refurbishment
0:08:49 > 0:08:53of the house, but I've not been able to prove that.
0:08:53 > 0:08:57Now, there's various issues which I find quite fascinating.
0:08:57 > 0:08:59The calligraphy, is it right?
0:08:59 > 0:09:02I don't know. You tell me, I don't know.
0:09:02 > 0:09:04I'm slightly having problems with that.
0:09:04 > 0:09:09Because, just going back to the piece itself, it's oak,
0:09:09 > 0:09:13it is a 17th century box, it's beautifully hand-carved in the front.
0:09:13 > 0:09:15You've got this...
0:09:15 > 0:09:18typical 17th-century feature, which we call chipping,
0:09:18 > 0:09:20and it's at the sides.
0:09:20 > 0:09:22But the rest of the box is relatively plain.
0:09:22 > 0:09:28Yes. Now, when I have seen boxes, coffers,
0:09:28 > 0:09:30pieces of this period...
0:09:30 > 0:09:34dated, it's just very simple dating,
0:09:34 > 0:09:38but then the initials of the cabinet maker or the owner.
0:09:38 > 0:09:43Right. But to see the whole name is really
0:09:43 > 0:09:49pushing it. If we can prove that this belonged to the house,
0:09:49 > 0:09:53this is worth many, many, many thousands.
0:09:53 > 0:09:56And so desirable.
0:09:56 > 0:10:02Yes. But if it isn't, and it's just that tenuous link,
0:10:02 > 0:10:05which it possibly could have,
0:10:05 > 0:10:09but it is still a period box, it's worth
0:10:09 > 0:10:11?200 or ?300.
0:10:11 > 0:10:13Thank you.
0:10:14 > 0:10:17It's amazing, here we are at the Pageant Meadow,
0:10:17 > 0:10:21in front of Tewkesbury Abbey, on a bright, sunny morning,
0:10:21 > 0:10:24and you put this script in front of me.
0:10:24 > 0:10:29Dog-eared with this sticky tape all up the back, which I absolutely hate.
0:10:29 > 0:10:32But then I see the sign here, the note,
0:10:32 > 0:10:35"The Third Man, the draft script."
0:10:35 > 0:10:40This was the film that Carol Reed made in 1949. Tell me about it.
0:10:40 > 0:10:43My mother was the secretary to the film director
0:10:43 > 0:10:45Carol Reed, as he was then.
0:10:45 > 0:10:49And when we were going through her effects, we found this.
0:10:49 > 0:10:52I knew, growing up, that she'd been part of the filming process.
0:10:52 > 0:10:54Yes. And been his secretary.
0:10:54 > 0:10:56But I never realised she had this in her possession.
0:10:56 > 0:11:02So she actually went out to Vienna with Carol Reed, and Orson Welles?
0:11:02 > 0:11:04She did indeed. And Joseph...
0:11:04 > 0:11:07Joseph Cotton. Joseph Cotton, who was the other man, yes.
0:11:07 > 0:11:09Who was the star, at the time.
0:11:09 > 0:11:13Yes, and to film this. Yes. So she must have wonderful memories.
0:11:13 > 0:11:14Tell me how this came about,
0:11:14 > 0:11:18because this was originally a novella by Graham Greene, wasn't it?
0:11:18 > 0:11:22It was, that's right. And she was a temp secretary at the time.
0:11:22 > 0:11:26Yes. And Carol Reed, who was well-known for being quite grumpy,
0:11:26 > 0:11:30was presented with this novella to read, and he said, "I haven't time to read this."
0:11:30 > 0:11:32So he tossed it to my mother and said,
0:11:32 > 0:11:34"Could you read this and do me a precis?"
0:11:34 > 0:11:36And that's how the script came about.
0:11:36 > 0:11:39So she is in fact responsible for The Third Man?
0:11:39 > 0:11:42You could say that. His most famous film.
0:11:42 > 0:11:46Absolutely. His film noir, set just after the war in Vienna.
0:11:46 > 0:11:50And here is a picture of her - a lovely picture of her, I have to say,
0:11:50 > 0:11:52beautifully made up and all the rest of it.
0:11:52 > 0:11:55Beautifully posed with the rest of the crew.
0:11:55 > 0:11:57She was there for the whole period of filming.
0:11:57 > 0:11:59So right from the time they flew first out to Vienna,
0:11:59 > 0:12:02to go round and look for locations.
0:12:02 > 0:12:05They went to the cafes, they investigated the sewers.
0:12:05 > 0:12:09All the iconic... Images that we know so well.
0:12:09 > 0:12:10Yes. Fantastic.
0:12:10 > 0:12:12And so she has wonderful stories.
0:12:12 > 0:12:17I see you've got here also, a letter to "darling", who is?
0:12:17 > 0:12:20That was my father. Your father. They weren't married at the time,
0:12:20 > 0:12:24they were courting, I think you would say. They were courting, is the word, yes.
0:12:24 > 0:12:26He was over in Britain, and she was in Vienna. A lovely long letter.
0:12:26 > 0:12:28But this great quote, here.
0:12:28 > 0:12:31"The great Orson Welles has arrived now.
0:12:31 > 0:12:33"Everybody loathes him."
0:12:33 > 0:12:35Not very tactful there!
0:12:35 > 0:12:37"The first day he was called, he arrived on set,
0:12:37 > 0:12:39"which happened to be in the sewer.
0:12:39 > 0:12:44"Everybody was ready and had taken ages to line up the shot for him.
0:12:44 > 0:12:47"Carol was to arrive in two minutes."
0:12:47 > 0:12:51Anyway, it goes on to say that he wouldn't wait for those two minutes
0:12:51 > 0:12:54and stormed out of the sewer and refused to go back.
0:12:54 > 0:12:56That's right.
0:12:56 > 0:13:00He was very short-tempered and didn't stay long on the sets.
0:13:00 > 0:13:02How can you put a value on this?
0:13:02 > 0:13:06I have no idea. I'm going to put a value on it of ?5,000.
0:13:08 > 0:13:10Wow. Now...
0:13:10 > 0:13:11that's good news.
0:13:11 > 0:13:14The other news, I suppose, which is not particularly bad news,
0:13:14 > 0:13:19but had Orson Welles signed it, had Carol Reed signed it,
0:13:19 > 0:13:20had the rest of the cast signed it,
0:13:20 > 0:13:24I think you could talk about three times that.
0:13:24 > 0:13:27Yes. But, here it is, it's your mother's,
0:13:27 > 0:13:31the woman who actually found The Third Man and gave it to Carol Reed.
0:13:31 > 0:13:33Yes. It's her copy.
0:13:33 > 0:13:36It's got to be worth all of that.
0:13:36 > 0:13:39The wonderful zither music fits in so well
0:13:39 > 0:13:43to give that horrible itchy atmosphere.
0:13:43 > 0:13:46MUSIC: The Third Man Theme by Anton Karas
0:14:01 > 0:14:04Well, we have two owners, two vases,
0:14:04 > 0:14:07but you're both united by one element.
0:14:07 > 0:14:09And of course, that is the designer.
0:14:09 > 0:14:12The great Emile Galle.
0:14:12 > 0:14:15But tell me, whose is whose? Whose is this one? It's mine.
0:14:15 > 0:14:17And tell me the story - where did this come from in your life?
0:14:17 > 0:14:19A family heirloom.
0:14:19 > 0:14:22It's been in the family for about 50 years.
0:14:22 > 0:14:27And that was a gift to my parents by some of their very good friends.
0:14:27 > 0:14:28OK.
0:14:28 > 0:14:31And yours? I'm here on behalf of a friend.
0:14:31 > 0:14:36OK. It was a car boot find 20 years ago, 50p.
0:14:36 > 0:14:3850p? 50p.
0:14:38 > 0:14:39He's very camera-shy,
0:14:39 > 0:14:43so he's asked me to come on and hopefully find out a bit more about it.
0:14:43 > 0:14:46He thinks it's special, but how special?
0:14:46 > 0:14:51His career, really, is run through the latter part of the 19th century,
0:14:51 > 0:14:56and in 1889, he wins the Grand Prix at the Paris Exhibition.
0:14:56 > 0:15:01And that marks the moment where he's at his international peak of fame,
0:15:01 > 0:15:04and he's at the forefront of the Art Nouveau movement,
0:15:04 > 0:15:07and respected by so many people around him.
0:15:07 > 0:15:09But actually, what you've got here are two very,
0:15:09 > 0:15:11very dramatically different things.
0:15:11 > 0:15:16You know, you've got this exquisite little jewel of a vase down here,
0:15:16 > 0:15:19which is beautiful, with these pulled threads and these wonderful,
0:15:19 > 0:15:21they're almost like cyclamen.
0:15:21 > 0:15:24And this is in a technique that we call intercalaire.
0:15:24 > 0:15:29Which is a cameo process, layering over, picking up more colour,
0:15:29 > 0:15:32carving away, colour coming through the body.
0:15:32 > 0:15:35And it's so beautifully manufactured and carved.
0:15:35 > 0:15:39And we've got that fabulous scrolling Galle signature at the side.
0:15:39 > 0:15:43So a fabulous little piece, a little gem.
0:15:43 > 0:15:48But then here on this side, you've got something that is just monumental.
0:15:48 > 0:15:52Which was something else that Galle and the firm did - they did grand,
0:15:52 > 0:15:56they did big. And this is just on a scale that is so fabulous.
0:15:57 > 0:16:00So in terms of dates, this little one here,
0:16:00 > 0:16:02we're looking at a date of around 1900.
0:16:02 > 0:16:04So during Galle's lifetime.
0:16:04 > 0:16:06He passed away in 1904.
0:16:06 > 0:16:10This one, the big monumental vase, well, we're looking later,
0:16:10 > 0:16:11post his death.
0:16:11 > 0:16:14Around, between 1910 and 1920.
0:16:14 > 0:16:18But even after his death, the factory continued to make these beautiful,
0:16:18 > 0:16:23exquisite, great examples of the pieces that were coming from his mind.
0:16:23 > 0:16:25And, whilst it is after his death,
0:16:25 > 0:16:29it does still clearly have his signature down here on the body.
0:16:30 > 0:16:33So the question is, we have two vases.
0:16:33 > 0:16:35One small, gemlike, jewel-like.
0:16:35 > 0:16:38One monumental.
0:16:38 > 0:16:40One is worth more than the other.
0:16:41 > 0:16:45Who's got the most valuable? Which do you think? You have.
0:16:45 > 0:16:46HE LAUGHS
0:16:48 > 0:16:52Small is best, I think. Small is best. Debatable!
0:16:52 > 0:16:53THEY LAUGH
0:16:53 > 0:16:55And you say? I agree. A quick show of hands,
0:16:55 > 0:16:58who in the crowd thinks that the great big fellow here,
0:16:58 > 0:17:00the monumental vase, is the most valuable?
0:17:00 > 0:17:02Show of hands?
0:17:02 > 0:17:05OK. Who thinks that the little one?
0:17:05 > 0:17:09OK. You guys have been doing your research.
0:17:09 > 0:17:11LAUGHTER
0:17:11 > 0:17:14Because...this vase,
0:17:14 > 0:17:17it's big, it's showy, it's later,
0:17:17 > 0:17:21it's after Galle's death, but it's still a stunning thing.
0:17:21 > 0:17:25?3,000.
0:17:25 > 0:17:30This one, small, jewel-like, exquisite, complex.
0:17:30 > 0:17:35Sadly, it does have a tiny little bit of damage on one of the corners.
0:17:35 > 0:17:37But take that into consideration.
0:17:37 > 0:17:40That's ?3,000.
0:17:40 > 0:17:43?6,000.
0:17:43 > 0:17:44That's not bad for an inheritance!
0:17:46 > 0:17:47But do you know what,
0:17:47 > 0:17:50that's some travelling distance from 50p at a car-boot sale!
0:17:50 > 0:17:51Yeah!
0:17:56 > 0:17:59You may have heard toy specialists on the Roadshow saying
0:17:59 > 0:18:02that if a toy is in its original box, that's a real big plus.
0:18:02 > 0:18:06Oh, yes. Well, here we have some silver in its original box,
0:18:06 > 0:18:07which is also a really big plus.
0:18:07 > 0:18:10Amazing. If we open it up,
0:18:10 > 0:18:15it's full of a glorious set of cannon-handled knives.
0:18:15 > 0:18:18Yes, they're beautiful. How did you come by it?
0:18:18 > 0:18:21Well, actually I've always been interested in old cutlery and suchlike,
0:18:21 > 0:18:23mainly spoons to begin with.
0:18:23 > 0:18:27And I saw this in an auction in Australia, because that's where I live.
0:18:27 > 0:18:29And when I purchased them,
0:18:29 > 0:18:33they were actually from a chap who was liquidated in Australia,
0:18:33 > 0:18:37who was a billionaire, and I knew he'd have very, very interesting items, antiques.
0:18:37 > 0:18:39So yes, that's why I bought it.
0:18:39 > 0:18:42So you bought them off a billionaire? Absolutely.
0:18:42 > 0:18:44Well, actually, he was a pauper at that time.
0:18:44 > 0:18:48He was once a billionaire. So you brought them all the way over, they've been in England,
0:18:48 > 0:18:50they've gone all the way back to Australia? That's right.
0:18:50 > 0:18:54And you've brought them all the way back. I have indeed. And they're not light. No, they're not.
0:18:54 > 0:18:58Did you pay extra baggage allowance? I had to go business class, so I thought, "Crikey,
0:18:58 > 0:19:01"if my knives are coming, we'd better go business class!"
0:19:01 > 0:19:04With knives that good, you'd better go upmarket! Well, I'm hoping to go back first class.
0:19:04 > 0:19:07OK. So the question is... They'd better be worth a lot!
0:19:07 > 0:19:10The question is, do these knives cover your upgrade on the ticket
0:19:10 > 0:19:13and your extra baggage allowance? We'll give it a go. I hope so.
0:19:13 > 0:19:15I don't know what your ticket cost.
0:19:15 > 0:19:19There are 12 knives with the Prince of Wales cipher on.
0:19:19 > 0:19:21There are six with just a family crest,
0:19:21 > 0:19:23who didn't probably belong to the Prince of Wales.
0:19:23 > 0:19:26And then there are three with initials on them.
0:19:26 > 0:19:31So there are three different services, dating to about 1700 to 1710,
0:19:31 > 0:19:33same as the box, all been together.
0:19:33 > 0:19:36Not all of the knives have been in the box all its life, but some of them have.
0:19:36 > 0:19:38And as you've already noticed,
0:19:38 > 0:19:41the knives are engraved with the crest,
0:19:41 > 0:19:44the ostrich feathers of the Prince of Wales.
0:19:44 > 0:19:48That's right. Which must have been George II as Prince of Wales.
0:19:48 > 0:19:50The fact that they are 12 is quite good news,
0:19:50 > 0:19:52because it means somebody can use them.
0:19:52 > 0:19:55OK. So, the value.
0:19:55 > 0:19:56If we put it all together,
0:19:56 > 0:20:00and bearing in mind you've got the box which is gorgeous, and original,
0:20:00 > 0:20:02and anyone would love it.
0:20:02 > 0:20:03They would keep their knives in it.
0:20:03 > 0:20:07I think you're looking at spending, if you went out to buy them,
0:20:07 > 0:20:10about ?4,000, ?4,500.
0:20:10 > 0:20:12Well, that's not too bad.
0:20:12 > 0:20:14My family were hoping to retire on it!
0:20:15 > 0:20:17No, that's absolutely brilliant.
0:20:17 > 0:20:21So the porcelain figure is protected by its own glass dome.
0:20:21 > 0:20:24Has it always been like this, for as long as you've known it?
0:20:24 > 0:20:26It's always been in a glass dome.
0:20:26 > 0:20:28I've hardly ever touched the glass dome, or dusting it.
0:20:28 > 0:20:31It probably frightens you, I guess?
0:20:31 > 0:20:34That's right, yes.
0:20:34 > 0:20:35So how long have you had it?
0:20:35 > 0:20:38I've had it over 35 years, now.
0:20:38 > 0:20:41It belonged to an elderly uncle, and it was passed,
0:20:41 > 0:20:43given to me all these years ago.
0:20:43 > 0:20:46I'm going to be very brave and lift this glass off it.
0:20:46 > 0:20:49Yes, yes. It looks amazing, condition-wise.
0:20:49 > 0:20:53It is. It's actually really quite an old piece.
0:20:53 > 0:20:57That was made in, what, 1780s?
0:20:57 > 0:21:00So back in the 18th century. As long ago as that?
0:21:00 > 0:21:03Yes. Let's have a look and see.
0:21:03 > 0:21:06You've got a group of four cupids going around there,
0:21:06 > 0:21:08and they are holding different things.
0:21:08 > 0:21:13This one... He's got a little bird cage and is holding the bird.
0:21:13 > 0:21:17Oh, right. All symbolic, I think that's something to do with matrimony,
0:21:17 > 0:21:20and I think his idea of getting trapped into marriage by placing the bird
0:21:20 > 0:21:23inside its cage, in some way.
0:21:23 > 0:21:26They all had different allegorical meanings.
0:21:26 > 0:21:27Yes. And it was produced...
0:21:27 > 0:21:30And it was made at the Derby factory.
0:21:31 > 0:21:34When porcelain has no glaze, we call it biscuit.
0:21:34 > 0:21:37Derby were the great makers of biscuit porcelain.
0:21:37 > 0:21:41Because without glaze, it gets very grubby, it gets very dirty.
0:21:41 > 0:21:43Yes. But it shows the modelling so well.
0:21:43 > 0:21:45So the detail, when you look at...
0:21:45 > 0:21:46The detail is amazing.
0:21:46 > 0:21:49It's incredible, isn't it? The little fingers, they are holding that...
0:21:49 > 0:21:51It is a hunting horn, isn't it?
0:21:51 > 0:21:54Yes. I mean, every little finger is separately depicted,
0:21:54 > 0:21:57and his little wings, and his chubby face blowing the horn,
0:21:57 > 0:21:59and his dog down there.
0:21:59 > 0:22:01I mean, the finish is remarkable,
0:22:01 > 0:22:04and every little leaf is made separately and joined on.
0:22:04 > 0:22:10Is it really? And, so, without the glaze that covers most porcelain,
0:22:10 > 0:22:12the modelling is superb.
0:22:12 > 0:22:13But it means it's so fragile.
0:22:13 > 0:22:16Yes. These leaves drop off at the merest touch.
0:22:17 > 0:22:19So usually there's a whole catalogue of damage.
0:22:19 > 0:22:24But, there, on its little stand, it is as perfect as it left the kiln,
0:22:24 > 0:22:251780s. 1780s.
0:22:26 > 0:22:31Amazing. So a treat for me to see how biscuit porcelain should have
0:22:31 > 0:22:35looked, and because it's so clean and perfect, I suppose,
0:22:35 > 0:22:37a fair bit of money, too.
0:22:37 > 0:22:40It's worth... ?1,000?
0:22:40 > 0:22:41Wow.
0:22:43 > 0:22:45Really?
0:22:45 > 0:22:47I've had it on display all these years.
0:22:48 > 0:22:49Thank goodness the dome.
0:22:49 > 0:22:50Yes. Yes.
0:22:52 > 0:22:53Thank you very much.
0:22:59 > 0:23:00Now, I gather you run a guesthouse,
0:23:00 > 0:23:03so these birds are your companions there?
0:23:04 > 0:23:07No, my guests are my companions there, more than these.
0:23:07 > 0:23:10But my guests love seeing them hanging,
0:23:10 > 0:23:13and we often have discussions about them.
0:23:13 > 0:23:15And they like to know the history of them.
0:23:15 > 0:23:17They play a huge part in my life,
0:23:17 > 0:23:20having been inherited from my mother.
0:23:21 > 0:23:24And have always been with me, as long as I can remember.
0:23:26 > 0:23:28Just very, very special to me.
0:23:28 > 0:23:33So these startlingly pretty objects by a Dublin-based artist,
0:23:33 > 0:23:38Samuel Dixon, are undoubtedly inspired by
0:23:38 > 0:23:41ornithology that's happening at the period.
0:23:41 > 0:23:44And it was an age where birds, exotic birds,
0:23:44 > 0:23:48were beginning to flock to England in the form of illustrations.
0:23:48 > 0:23:53There was the father of ornithology, George Edwards, who in the 1740s,
0:23:53 > 0:23:58produced these volumes called A Natural History of Uncommon Birds.
0:23:58 > 0:24:02And it allowed people, for the first time, to see some of these exquisite,
0:24:02 > 0:24:04colourful creatures,
0:24:04 > 0:24:08which he himself had observed when he was travelling through Europe.
0:24:08 > 0:24:12So what happened was, as a result of these images in his books,
0:24:12 > 0:24:16they flew to things like porcelain,
0:24:16 > 0:24:19other bits of decoration around at the period.
0:24:19 > 0:24:20You get them in paintings,
0:24:20 > 0:24:25and you get them in works on paper like this, which you've got.
0:24:25 > 0:24:28Now, how much do you know about the technique by which these are done?
0:24:28 > 0:24:30Terribly little.
0:24:30 > 0:24:33My mother had a term for it, I can't now remember what it was.
0:24:35 > 0:24:38Tell me. Let me relieve you, because it's called relievo basso.
0:24:38 > 0:24:40That's right, yes, yes.
0:24:40 > 0:24:43So the particular artist who did these
0:24:43 > 0:24:45impressed the paper from behind
0:24:45 > 0:24:49with copper plates, producing these light relief images.
0:24:49 > 0:24:53The sort of bulging birds were then, without colour at that point,
0:24:53 > 0:24:55handed on to the artists around him,
0:24:55 > 0:24:58and there were some very distinguished artists, to colour.
0:24:58 > 0:25:03So it was a process partly of print, partly of watercolour painting,
0:25:03 > 0:25:05or in this case gouache.
0:25:05 > 0:25:09A thick substitute for watercolour which is much better for bright colours.
0:25:09 > 0:25:12The point is, that to an 18th-century eye,
0:25:12 > 0:25:16these would all have been undoubtedly exotic.
0:25:16 > 0:25:18And, of course, a wonderful opportunity
0:25:18 > 0:25:21to introduce great colours into a dimly-lit interior.
0:25:21 > 0:25:25And the japanned frames around them just finished them off,
0:25:25 > 0:25:28they turn them into deliciously rich-looking objects.
0:25:28 > 0:25:31And if we turn this one round, and this is a great added extra,
0:25:31 > 0:25:36because you don't often get that with a work of art, a full label...
0:25:37 > 0:25:40..describing what he's up to.
0:25:40 > 0:25:43So there you have Samuel Dixon,
0:25:43 > 0:25:46it's a dedication made out to Lady Castlecomer.
0:25:46 > 0:25:50So, to have the labels on the back of these is just an added extra.
0:25:50 > 0:25:54Yes. I would say, with some confidence,
0:25:54 > 0:26:00that the larger ones with three or more birds would be worth
0:26:00 > 0:26:04perhaps ?3,000 to ?4,000 each, because of the labels.
0:26:04 > 0:26:10The pair over there in the corner, probably ?5,000.
0:26:10 > 0:26:14So you're looking at a collection of around about ?20,000.
0:26:14 > 0:26:17And what a nice thing to have in the guesthouse.
0:26:17 > 0:26:19Indeed. I mean, just lovely.
0:26:19 > 0:26:22Thank you very much indeed. Pleasure.
0:26:26 > 0:26:28So, you brought me in the most wonderful piece of jewellery,
0:26:28 > 0:26:31because you're a jewellery enthusiast.
0:26:31 > 0:26:33But you have it in the family, don't you? Yes, I do, yes.
0:26:33 > 0:26:36This is a family piece from... going back generations.
0:26:36 > 0:26:38And tell me about the generations.
0:26:38 > 0:26:41Well, it belonged to my great-grandmother, Katharine Helen Trefusis.
0:26:41 > 0:26:45And it was given to her by Queen Ena, who's Queen Eugenie.
0:26:45 > 0:26:47Yes. Of Spain, yes.
0:26:47 > 0:26:50And the wife of Alfonso XIII.
0:26:50 > 0:26:52Who had a bit of a crush, probably, on my great-grandmother.
0:26:52 > 0:26:56Queen Ena was very, very good about it. She didn't take it terribly seriously.
0:26:56 > 0:26:58It was all just light-hearted stuff.
0:26:58 > 0:27:02Well, thanks to the wondrous mother who's recorded the provenance
0:27:02 > 0:27:05of this beautiful jewel meticulously in the lid of the box,
0:27:05 > 0:27:08we know that it was given by Queen Ena of Spain
0:27:08 > 0:27:15to Katherine Trefusis when she married the Honourable Arthur Crichton on June the 13th 1906.
0:27:15 > 0:27:18Magic stuff. This is exactly the period from which it comes.
0:27:18 > 0:27:22Queen Ena was Queen Victoria's granddaughter, but also Queen of Spain,
0:27:22 > 0:27:26and it's perfectly natural for her to go to a Spanish jeweller to supply her with a gift.
0:27:26 > 0:27:28And if we look underneath here...
0:27:28 > 0:27:30I was going to say, who made it?
0:27:30 > 0:27:34Well, just, just I think is legible at the top, it says Ansorena,
0:27:34 > 0:27:38who were the royal jewellers to the King and Queen of Spain.
0:27:38 > 0:27:42Made massive tiaras and court jewels for her.
0:27:42 > 0:27:45And the thing about this is that it's breathtaking quality.
0:27:45 > 0:27:47I absolutely love it.
0:27:47 > 0:27:50I love wearing it. Cos it's not overstated.
0:27:50 > 0:27:54I can almost wear it with a pair of jeans, as much as a really beautiful dress.
0:27:54 > 0:27:57The emblematic function of it is wonderful.
0:27:57 > 0:27:59Because it's rubies and diamonds,
0:27:59 > 0:28:01which are traditionally associated with Venus.
0:28:01 > 0:28:04And of course it's a four-leaf clover.
0:28:04 > 0:28:06Gosh, it has amazing symbolism.
0:28:06 > 0:28:09It does. And so it's luck in love.
0:28:09 > 0:28:12Which would be perfectly right for a wedding gift.
0:28:12 > 0:28:17That's just such an amazing meaning behind it, and it really makes sense.
0:28:17 > 0:28:18It does. It really does.
0:28:18 > 0:28:21My goodness, what a surprise it would have been to be given that under any
0:28:21 > 0:28:25circumstances, but to be given it by a Queen consort of Spain would be
0:28:25 > 0:28:29pretty exciting stuff, and not many people could lay claim to that.
0:28:29 > 0:28:31I love the way they've swapped the colours round,
0:28:31 > 0:28:34so they've got the ruby round the diamonds and vice versa. Exactly.
0:28:34 > 0:28:37It's such a great design. And it has a universal appeal,
0:28:37 > 0:28:39which you've already brilliantly articulated for us.
0:28:39 > 0:28:43It's lovely. And with all of that comes the valuation.
0:28:43 > 0:28:46But no, it is highly desirable,
0:28:46 > 0:28:51and I think anybody would be very pleased to give, well, ?20,000 for it.
0:28:53 > 0:28:56Oh, OK, maybe not an everyday jewel with jeans!
0:28:56 > 0:29:00Well, you must continue with the jeans, you must!
0:29:00 > 0:29:04I love it! A pair of heels, jeans, it just tops them off.
0:29:04 > 0:29:05Fantastic.
0:29:18 > 0:29:20We've a new challenge for you this series.
0:29:20 > 0:29:22It's a challenge for me and for you at home.
0:29:22 > 0:29:24It's called The Enigma.
0:29:24 > 0:29:27Now, we travel to some glorious locations all around the country,
0:29:27 > 0:29:30and there are many local museums that we come across
0:29:30 > 0:29:33that are stuffed with all sorts of curios and unusual items.
0:29:33 > 0:29:35Our experts have been around some of them,
0:29:35 > 0:29:38delving into their collections to find some mystery objects.
0:29:38 > 0:29:41The question is, what are they?
0:29:41 > 0:29:44Now, John Foster, we were talking last night, admittedly over a beer,
0:29:44 > 0:29:47about the item you brought along today.
0:29:47 > 0:29:48And you're so competitive.
0:29:48 > 0:29:51You have bet me I will not guess what this is.
0:29:51 > 0:29:54Well, I remember the last time we played a game and I still haven't
0:29:54 > 0:29:58forgotten that you actually got it right. Ah. I don't think there's much chance today,
0:29:58 > 0:30:02from what you were saying last night. Well, I'm out for revenge. So, shall we go through the clues?
0:30:02 > 0:30:04OK. So, what could this be?
0:30:04 > 0:30:08OK. Well, clue A is it's from the ancient game of Tewkesbury Five.
0:30:08 > 0:30:11Now this has being played on site
0:30:11 > 0:30:14and around this area for over 300 years.
0:30:14 > 0:30:17This was a game played mostly by choirboys
0:30:17 > 0:30:21and it's a cross between squash and handball and fives.
0:30:21 > 0:30:25And because it's played by young children, they were getting damaged hands,
0:30:25 > 0:30:28and someone came up with the bright idea of making a hand protector.
0:30:28 > 0:30:31And basically, this would have had a leather cover.
0:30:31 > 0:30:33At certain points you could catch the ball during the game.
0:30:33 > 0:30:36A hand protector to protect the hand,
0:30:36 > 0:30:39and you would have a little sleeve which sat in there, and a finger guard.
0:30:39 > 0:30:42Basically the forerunner for the baseball glove.
0:30:42 > 0:30:44You know, as you know it in America.
0:30:44 > 0:30:46OK. It's local, so that's a possibility.
0:30:46 > 0:30:48Local. And it folds,
0:30:48 > 0:30:50so when you're in the catching point, it goes in the back pocket.
0:30:52 > 0:30:54OK. Mm-hm.
0:30:54 > 0:30:56So what else could it be? B -
0:30:56 > 0:31:00it's a 19th-century anaesthetic mask.
0:31:00 > 0:31:01Now, during the 19th century,
0:31:01 > 0:31:04obviously that was the beginning of anaesthetics.
0:31:04 > 0:31:08So what they would do is they would put material on the back and pour over
0:31:08 > 0:31:11the ether and then place it over the patient's mouth to knock them out
0:31:11 > 0:31:13to do the operation. Quite simple.
0:31:14 > 0:31:17OK. I think that's rather intriguing, actually.
0:31:17 > 0:31:19Particularly because of the shape of it.
0:31:19 > 0:31:21What's your final, final offer?
0:31:22 > 0:31:28Is it an 18th-century light cover for a cargo ship?
0:31:28 > 0:31:32Now, this actually is more interesting than it sounds.
0:31:32 > 0:31:34They're called mood lights.
0:31:34 > 0:31:39When ships were going into a certain point, like Shanghai was red,
0:31:39 > 0:31:43New York was blue, London was, like, white.
0:31:43 > 0:31:44But then it could be green,
0:31:44 > 0:31:48which showed which sort of ship was coming in - cargo, naval, passenger.
0:31:48 > 0:31:52So this would slip over something that was attached to the...
0:31:52 > 0:31:55Over the bulkhead light. Right. Literally... I mean...
0:31:55 > 0:31:58The beauty... Oh, not going to say too much.
0:31:59 > 0:32:02Oh. Did we get a clue there, ladies and gentlemen?
0:32:02 > 0:32:05I wonder. So, help me out, folks.
0:32:05 > 0:32:07What do you think it could be?
0:32:07 > 0:32:09Any takers for the Tewkesbury fives?
0:32:09 > 0:32:12Oh, yes. Tewkesbury fives.
0:32:12 > 0:32:14Gas mask? Anaesthetic mask?
0:32:14 > 0:32:16It looks very surgical, as if the GP would have it in his bag,
0:32:16 > 0:32:19folded flat and then when he gets to a patient he could use it...
0:32:19 > 0:32:20Yes. ..in the professional way.
0:32:20 > 0:32:24The only thing is, the way it is,
0:32:24 > 0:32:26this is convex.
0:32:26 > 0:32:29It would need to be concave to go round someone's face,
0:32:29 > 0:32:31wouldn't it, if you think about it.
0:32:31 > 0:32:32Possibly. I don't know.
0:32:32 > 0:32:35And then the light. The ship's light.
0:32:36 > 0:32:38Show of hands. Ship's light.
0:32:38 > 0:32:40No?
0:32:40 > 0:32:41Oh, John.
0:32:41 > 0:32:43This is very difficult.
0:32:43 > 0:32:46It doesn't look to me like any of those things.
0:32:46 > 0:32:48That's the tricky part.
0:32:49 > 0:32:51I'm going to guess the anaesthetic gas mask.
0:32:51 > 0:32:53Yeah? Yes. Good call.
0:32:53 > 0:32:55OK.
0:32:55 > 0:32:59Come on. Shall I put you out of your misery? Dr Foster, is that an anaesthetic gas mask?
0:32:59 > 0:33:01Yes. Oh!
0:33:04 > 0:33:08Oh! OK, you definitely owe me a beer.
0:33:08 > 0:33:09Ah! So tell us more about it, then.
0:33:09 > 0:33:11Well, this actually comes from the collection
0:33:11 > 0:33:15of the George Marshall Medical Museum and they're quite simple.
0:33:15 > 0:33:18Basically, you would have a layer of material over the top,
0:33:18 > 0:33:22you would pour the ether onto the material and that would burn the face,
0:33:22 > 0:33:25so this little ring here would stop that and then the material would then
0:33:25 > 0:33:27soak up any excess.
0:33:27 > 0:33:28Really simple design.
0:33:29 > 0:33:32Great thing to see, and I look forward to that beer later, John.
0:33:32 > 0:33:34Yeah, whatever.
0:33:35 > 0:33:39This is a utility knife multitool.
0:33:39 > 0:33:44This one has been around for quite a few years.
0:33:44 > 0:33:46I wondered if you knew exactly what it was.
0:33:46 > 0:33:52I've done a bit of research and it's described as an SOE escape life.
0:33:52 > 0:33:56Absolutely. SOE - Special Operations Executive -
0:33:56 > 0:34:03was set up in July 1940 and Winston Churchill very famously told his
0:34:03 > 0:34:06operatives to go and set Europe ablaze, and they did that.
0:34:06 > 0:34:11They were known as the Department of Ungentlemanly Warfare.
0:34:11 > 0:34:14They were there for espionage, for assassination, for reconnaissance,
0:34:14 > 0:34:17for raiding, for disruption, for lowering enemy morale.
0:34:18 > 0:34:20You name it, they did it.
0:34:20 > 0:34:23You obviously know a bit about this fantastic knife.
0:34:23 > 0:34:26Where did you get that from? We take tools from the public,
0:34:26 > 0:34:30refurbish them and send them to the very poorest in Africa.
0:34:30 > 0:34:33And one of our volunteers, or two of our volunteers,
0:34:33 > 0:34:38were called out to clear out a shed, and Carol, our volunteer's wife,
0:34:38 > 0:34:42noticed there was a skip so she refused to give up and ended up
0:34:42 > 0:34:44upside down in the skip... Fantastic.
0:34:44 > 0:34:46..pulled it out up the bottom.
0:34:46 > 0:34:48It was completely covered in gloop,
0:34:48 > 0:34:54and two days later it emerged from a bath of white spirit and we realised
0:34:54 > 0:34:57it was something a little bit different.
0:34:57 > 0:35:01It's modelled on what was called a military wire-cutting knife,
0:35:01 > 0:35:05which was designed in 1900, for the Boer War, I guess.
0:35:05 > 0:35:08We can see the function of the wire cutters on it.
0:35:11 > 0:35:14They're really quite strong. You'd get through some quite heavy gauge wire with that.
0:35:14 > 0:35:18It has a blade on it, and you said it was covered in gloop. There's still a bit on there.
0:35:18 > 0:35:20But I think perhaps the most important part of it is that.
0:35:20 > 0:35:22Do you know what it is?
0:35:23 > 0:35:26Somebody said it was a can opener,
0:35:26 > 0:35:28somebody else said it was called a lock breaker.
0:35:30 > 0:35:32The person who said it was the can opener is dead right
0:35:32 > 0:35:36and the person who said it was a lock breaker, well, it would do.
0:35:36 > 0:35:40But, you think about what you could use that for,
0:35:40 > 0:35:45you're walking past Colonel Von Schultz's lovely Mercedes and you go, "Pssst!
0:35:45 > 0:35:48"Ah, We have a puncture, Herr Colonel.
0:35:48 > 0:35:50"Oh, my God. I have to be in Berlin tomorrow."
0:35:50 > 0:35:53You know, you've disrupted him, you've tied his driver down,
0:35:53 > 0:35:56you've tied his mechanics down, you've tied him down.
0:35:56 > 0:35:58Have you had a think about what this might be worth?
0:36:00 > 0:36:04No. I've had some wildly inaccurate estimates.
0:36:04 > 0:36:07I've got no idea, really. As it stands, they are a rare thing.
0:36:07 > 0:36:12And if you had to go and bid for that at a public auction
0:36:12 > 0:36:15you would pay at least ?500,
0:36:15 > 0:36:19and if you got two of three people fighting amongst themselves, 750,
0:36:19 > 0:36:21and probably on a really good day, 1,000.
0:36:21 > 0:36:23That's great. I think it's fantastic.
0:36:23 > 0:36:25It's just really so nice.
0:36:25 > 0:36:27I'm very enthusiastic about it.
0:36:27 > 0:36:29Thank you for that. Thank you for bringing it.
0:36:29 > 0:36:32A pleasure. And keep skip-diving. Oh, yes.
0:36:35 > 0:36:37A wonderful photograph of the Abbey,
0:36:37 > 0:36:40which we are looking at here in this beautiful photograph.
0:36:40 > 0:36:43Part of the great auction that was held on this ground
0:36:43 > 0:36:45in aid of the Abbey.
0:36:45 > 0:36:48In aid of the Abbey bells in 1962.
0:36:48 > 0:36:51When this photograph was taken, there weren't any bells there.
0:36:51 > 0:36:53They were all off at Loughborough being recast.
0:36:53 > 0:36:55In aid of the bells.
0:36:55 > 0:36:59And the treasure sale raised money in aid of the bells... And of course one of the participants here
0:36:59 > 0:37:01was Arthur Negus himself.
0:37:01 > 0:37:04There he is. The great founder of this whole affair.
0:37:04 > 0:37:05It's wonderful, isn't it, really.
0:37:05 > 0:37:09He was of course the sales clerk of the auctioneers, wasn't he?
0:37:09 > 0:37:11Absolutely. He raised the money for the...
0:37:11 > 0:37:15Raised the money, got the people to give the antiques and works of art to the sale.
0:37:15 > 0:37:17And it grossed nearly ?3,000
0:37:17 > 0:37:20and I think the bells cost around ?7,000.
0:37:20 > 0:37:22He was a great, great man.
0:37:22 > 0:37:26We'll never forget him, I'm sure, on the Antiques Roadshow.
0:37:26 > 0:37:28These pieces are yours, are they?
0:37:28 > 0:37:30No, these came from the vicarage,
0:37:30 > 0:37:35and I remember as a young lad going into the Abbey house and screaming
0:37:35 > 0:37:39blue murder and the vicar would pick that up and it would go "cuckoo" and I would stop screaming.
0:37:39 > 0:37:42So it actually goes "cuckoo"? It actually goes "cuckoo".
0:37:42 > 0:37:46Oh, let's have a demonstration. Let's see if we can have a go. We can have a demonstration.
0:37:46 > 0:37:48CUCKOO, CUCKOO, CUCKOO
0:37:48 > 0:37:50It must be June. He's coming back soon. Perfect.
0:37:50 > 0:37:53Yes, wonderful. Welcome back, cuckoo.
0:37:53 > 0:37:58They are, of course, both of them and the chest of drawers, it's slipware.
0:37:58 > 0:38:03Slipware is a very traditional English method of decorating of the clay.
0:38:03 > 0:38:07You pour, or trail, slip - different coloured clay -
0:38:07 > 0:38:09to make the decoration, and then you fire it.
0:38:09 > 0:38:14And it's a wonderful method and these were made, probably up in Yorkshire,
0:38:14 > 0:38:17most likely in Halifax, something like that.
0:38:17 > 0:38:19They are very collectable nowadays.
0:38:19 > 0:38:22I suppose the cuckoo is a pair.
0:38:22 > 0:38:23Yes. Two cuckoos.
0:38:23 > 0:38:28Going to be worth ?1,000 or 1,200 as two.
0:38:28 > 0:38:31And the chest of drawers going to be a little more,
0:38:31 > 0:38:34I suppose about ?600-800.
0:38:34 > 0:38:38Right. But they're beautiful things. They're lovely things. Lovely, wonderful things.
0:38:38 > 0:38:40Thank you very much.
0:39:02 > 0:39:04Here we are outside Tewkesbury Abbey.
0:39:04 > 0:39:06On a beautiful summer's day.
0:39:06 > 0:39:08I understand from the locals here
0:39:08 > 0:39:10that it floods, and floods quite deeply.
0:39:10 > 0:39:14It can do. So it's very apt you've brought along this...
0:39:14 > 0:39:16I have to say, not very beautiful,
0:39:16 > 0:39:19pine seaman's chest. Yes. It belonged to my great-grandfather.
0:39:19 > 0:39:24And it was with him from... Well, he was born in 1834,
0:39:24 > 0:39:28he died in 1918 and this was his chest through his entire merchant career.
0:39:28 > 0:39:32The box came to me when I was very young and it served as my toy box
0:39:32 > 0:39:36for a while and then more recently had camping equipment stored in it.
0:39:36 > 0:39:38I thought great-grandad would have liked that.
0:39:38 > 0:39:41And then most recently we just use it for keeping photographs in.
0:39:41 > 0:39:45I like these sea chests because they are very plain and ordinary-looking.
0:39:45 > 0:39:49They are made by probably the ship's carpenter for everybody who came on board ship.
0:39:49 > 0:39:52Because it's really important that you had a change of dry clothing
0:39:52 > 0:39:55and you needed a big lock on it to ensure that nobody would
0:39:55 > 0:39:59pinch your kit, but it was not a beautiful work of art.
0:39:59 > 0:40:01So what's happening inside here?
0:40:01 > 0:40:04There would have been a divider coming down here
0:40:04 > 0:40:05so that when you came off watch
0:40:05 > 0:40:09and maybe your clothes were soaking wet, you could keep them away from the dry ones.
0:40:09 > 0:40:12And the little compartment on the right-hand side,
0:40:12 > 0:40:14really to keep your personal possessions.
0:40:14 > 0:40:16It had everything you wanted.
0:40:16 > 0:40:18What about this decoration? I mean, I have to say,
0:40:18 > 0:40:22when you told me it was decorated on the inside I thought, "Oh, yes.
0:40:22 > 0:40:25"Another seaman's chest that's has been later decorated."
0:40:25 > 0:40:27But this is absolutely period.
0:40:27 > 0:40:29Yeah. Now, he started what?
0:40:29 > 0:40:31On coastal vessels or...?
0:40:31 > 0:40:35I'm not entirely sure but I know that fairly quickly he was into proper
0:40:35 > 0:40:38merchant seamen stuff and going overseas.
0:40:38 > 0:40:40What does this say?
0:40:40 > 0:40:43I mean, it says "It shines for all."
0:40:43 > 0:40:48And here we have the American flags, the trophies of war,
0:40:48 > 0:40:52this sort of odd shield which is half American flag, half Union Jack,
0:40:52 > 0:40:55and then the white ensigns and the jacks over there.
0:40:55 > 0:40:59And this must be around the time of the Civil War in the 1860s, that sort of period.
0:40:59 > 0:41:00Now, in order to have this emblem
0:41:00 > 0:41:03it sort of implies he had a strong connection with America.
0:41:03 > 0:41:06And what sort of ships did he captain?
0:41:06 > 0:41:10For the greater part of his high career, he was on fast clippers, as far as I'm aware.
0:41:10 > 0:41:13So it's not impossible to believe he was trading across the Atlantic.
0:41:13 > 0:41:16I'm sure he was. That's where the big money could be made.
0:41:16 > 0:41:18Your fastest trip on a clipper ship,
0:41:18 > 0:41:21and they were the racing cars of their day.
0:41:21 > 0:41:23They raced across the Channel. The first one there got a bonus.
0:41:23 > 0:41:26So it's a lovely memory to have of him, though.
0:41:26 > 0:41:31Yes, it is and it's lovely to have this connection with that sort of immediate past.
0:41:31 > 0:41:34Now, this is something I term as British folk art.
0:41:34 > 0:41:38And it's not highly regarded here in the UK.
0:41:38 > 0:41:41In America, they treat it with great reverence.
0:41:41 > 0:41:43It appeals to me a lot.
0:41:43 > 0:41:46I think that at auction today you'd be talking about, with the history,
0:41:46 > 0:41:49between 2,500 and ?3,500.
0:41:49 > 0:41:51Wow. Yeah. Amazing.
0:41:51 > 0:41:52Amazing.
0:41:56 > 0:42:00What we have here is a book printed in Launceston in 1848.
0:42:00 > 0:42:03But this is not Launceston, Cornwall, is it?
0:42:03 > 0:42:05This is Laun-ceston, Tasmania.
0:42:05 > 0:42:07What's the Tasmanian connection here?
0:42:07 > 0:42:11I was born in Tasmania and my father,
0:42:11 > 0:42:16in the '50s, was just going to the police station to, I don't know,
0:42:16 > 0:42:19renew his driving licence or something mundane.
0:42:19 > 0:42:24They were throwing a load of books out and Dad saw this and just asked them, could he take it.
0:42:24 > 0:42:26And they said, "Yeah, just help yourself."
0:42:26 > 0:42:29Really? So he just retrieved it from the rubbish bin.
0:42:29 > 0:42:31Ah. Yeah.
0:42:31 > 0:42:35Well, er, and how came he to Tasmania?
0:42:35 > 0:42:40Erm, well, my father's British but my mother's Australian
0:42:40 > 0:42:43and effectively we've done
0:42:43 > 0:42:47some digging into our ancestry and found out one of our ancestors was
0:42:47 > 0:42:49on the First Fleet.
0:42:49 > 0:42:54And one of 50-odd woman who was actually a convict on the First Fleet
0:42:54 > 0:42:57and taken to Botany Bay. Really?
0:42:57 > 0:43:01Yeah. And that was in 18...? 1788. 1788. Yeah.
0:43:01 > 0:43:05Extraordinary. And, suitably enough for the family of a convict,
0:43:05 > 0:43:09it's an analysis of the criminal laws of Van Diemen's Land,
0:43:09 > 0:43:13which was what they called Tasmania at that point.
0:43:13 > 0:43:17And a very early printed book, really, for Tasmania.
0:43:17 > 0:43:22It essentially lists all of the various crimes that one could commit there
0:43:22 > 0:43:24and what would happen if you did.
0:43:24 > 0:43:31Looking through it we see what would happen if you committed, say, arson,
0:43:31 > 0:43:34to one of the King's ships or stores.
0:43:34 > 0:43:37Wilfully and maliciously setting it on fire,
0:43:37 > 0:43:39you got the death penalty.
0:43:39 > 0:43:42And the same happened with aiders and abettors.
0:43:42 > 0:43:44And you go on. You see,
0:43:44 > 0:43:47what happens if you are running a bawdy house or a gaming house
0:43:47 > 0:43:49or some other disorderly house?
0:43:49 > 0:43:52A fine or imprisonment or both.
0:43:52 > 0:43:55I think it was a harsh world for these people.
0:43:55 > 0:43:56Yeah, I think so.
0:43:56 > 0:44:01In this sort of condition at auction one might expect it to make...
0:44:02 > 0:44:03..?300 to ?500.
0:44:06 > 0:44:09Excellent. I'm not going to sell it, though.
0:44:11 > 0:44:13Very sensible. That's what they all say
0:44:13 > 0:44:18but it's got a connection to the family history so, yeah.
0:44:18 > 0:44:21Very good. Thank you for bringing it. Thank you very much. Thank you.
0:44:22 > 0:44:26Fergus, word is going round the Roadshow that you've found something seriously exciting.
0:44:26 > 0:44:29Something quite, quite, quite extraordinary.
0:44:29 > 0:44:33The dream item for me. I couldn't imagine anything better.
0:44:33 > 0:44:38What is it? This guy, he's turned up, and in this box are three
0:44:38 > 0:44:40doll's house dolls.
0:44:40 > 0:44:45Look at those. Now, those are seriously early and important.
0:44:45 > 0:44:49By which you mean how early? Well, they're 1730s, 1720.
0:44:49 > 0:44:52I don't know. I need to see them more carefully.
0:44:52 > 0:44:56But they are extraordinarily rare and significant.
0:44:56 > 0:44:58But then what does he say? He says,
0:44:58 > 0:45:02"I've got the whole house at home with all the furniture and more dolls."
0:45:02 > 0:45:05The doll's house? The doll's house that they come from.
0:45:05 > 0:45:07Which, if it's early 18th century...
0:45:08 > 0:45:11..it's of national importance, seriously.
0:45:11 > 0:45:14National importance and potentially extraordinarily valuable.
0:45:14 > 0:45:15So are you going to go and see it?
0:45:15 > 0:45:20Well, the day's running on, so I'm going to jump in a car.
0:45:20 > 0:45:22He's 15 minutes away,
0:45:22 > 0:45:25and we're going to go and see what we can do about it.
0:45:25 > 0:45:27Make sure you report back. Don't worry.
0:45:27 > 0:45:30It's really, you know, my fingers are tingling.
0:45:33 > 0:45:35You brought along what I have to say
0:45:35 > 0:45:39is not the most possessing model boat in the world,
0:45:39 > 0:45:42but it's got a very nice story attached to it.
0:45:42 > 0:45:45Perhaps you'd like to tell us about it.
0:45:45 > 0:45:47Back in 1946, I was three years old
0:45:47 > 0:45:50and with the other boys in the street
0:45:50 > 0:45:53and my brother, we used to play in the road.
0:45:53 > 0:45:55No traffic on the road then, of course.
0:45:55 > 0:45:58And the prisoners of war
0:45:58 > 0:46:01were in the camp on one side of the village and they used to go to work
0:46:01 > 0:46:04at the market gardens on the other side of the village.
0:46:04 > 0:46:07As they went through, all the children used to wave
0:46:07 > 0:46:09and cheer to them and
0:46:09 > 0:46:13the prisoners of war made toys for the children.
0:46:13 > 0:46:17And if you were lucky and you followed behind,
0:46:17 > 0:46:20they threw them out the back of the lorries as you ran along
0:46:20 > 0:46:23and the one morning, even though I was the youngest one,
0:46:23 > 0:46:26I managed to catch this boat and took it home.
0:46:26 > 0:46:30It went in my toy box and, as you see, it's been well played with for the years.
0:46:30 > 0:46:33And then later on in life, probably in my 50s, I think it was,
0:46:33 > 0:46:36my mum said to me, "I'm having a tidy up.
0:46:36 > 0:46:40"You must have your boat back." She gave me the boat and I've never known
0:46:40 > 0:46:42but there was a letter that came with it.
0:46:42 > 0:46:44Really? So this is the letter here.
0:46:44 > 0:46:47Fantastic. Are you going to read it out to us? OK.
0:46:47 > 0:46:51"Dear boys and girls, we are very pleased to see you all every day.
0:46:51 > 0:46:53"Many thanks for your kindness.
0:46:53 > 0:46:56"We will never forget the good children in England,
0:46:56 > 0:46:59"but all of you are our best friends.
0:46:59 > 0:47:03"We like to remember very often to the little boys and girls who standing
0:47:03 > 0:47:07"morning and in the evening to wait for the POW.
0:47:07 > 0:47:11"We can't see our children but we are very glad to see all of you.
0:47:11 > 0:47:13"Your German POW friends."
0:47:13 > 0:47:17I mean, that really makes the boat.
0:47:17 > 0:47:19I've got to put a value on it.
0:47:19 > 0:47:22I really can't. I didn't really expect it, to be honest.
0:47:22 > 0:47:25I mean, I think that and the letter, I mean,
0:47:25 > 0:47:29at auction perhaps ?30 or ?40.
0:47:29 > 0:47:32But you are never going to sell something like that. I mean, it's fantastic.
0:47:32 > 0:47:36That's right. It's really nice. And thank you so much for bringing it in. I think that's really great.
0:47:36 > 0:47:37Thanks a lot. Pleasure.
0:47:41 > 0:47:43This is the most beautifully tactile object,
0:47:43 > 0:47:46and as soon as I saw it, I absolutely fell in love with it and particularly
0:47:46 > 0:47:50because I have a great affinity for this particular type of object.
0:47:50 > 0:47:51I need to know how you acquired it.
0:47:51 > 0:47:55I need to find it little bit of history behind it.
0:47:55 > 0:47:59Tell me where you got it from. My parents had it before I was born. I was brought up with it.
0:47:59 > 0:48:02So I don't know where they got it from.
0:48:02 > 0:48:05I inherited it eventually and we would keep bananas in it.
0:48:05 > 0:48:06That's what the idea was.
0:48:06 > 0:48:09It's the perfect shape for bananas, isn't it?
0:48:09 > 0:48:11It really is.
0:48:11 > 0:48:15But, yeah. To be frank, actually, it was never made for bananas, quite obviously.
0:48:15 > 0:48:18It comes from the north-west coast of Canada and, in fact,
0:48:18 > 0:48:20it's what's known as a grease bowl.
0:48:21 > 0:48:26And it comes from an indigenous group of people called the Haida.
0:48:26 > 0:48:30And it is just so remarkably stylish.
0:48:30 > 0:48:34Just look at it. This compartmental carving is quite beautiful
0:48:34 > 0:48:38and have you ever kind of wondered what the creature is?
0:48:40 > 0:48:42I believe, is it a seal?
0:48:42 > 0:48:45It is a seal. Yes. I mean, they are just known as seal bowls, basically.
0:48:45 > 0:48:49And you can see that remarkably stylised seal's head there
0:48:49 > 0:48:52coming off to a pair of flippers at the back there.
0:48:52 > 0:48:57And, actually, what this really denotes is a new-born seal, a pup.
0:48:57 > 0:49:00It's done in such a beautifully stylish way.
0:49:00 > 0:49:03Now, I think this is probably cedar.
0:49:03 > 0:49:06I was going to wonder what wood it was. I think it's cedar.
0:49:06 > 0:49:08It's actually quite light.
0:49:08 > 0:49:12This one, though, I think is probably early 20th century.
0:49:12 > 0:49:18I still believe it's such a gorgeous object that it's worth 3,000 to ?5,000.
0:49:18 > 0:49:20Really?
0:49:20 > 0:49:23My word. That's more than I was expecting.
0:49:23 > 0:49:26?3,000 to ?5,000? It's a stunning, stunning thing.
0:49:26 > 0:49:27And, to be honest with you,
0:49:27 > 0:49:30I don't think you'll ever know its true price unless it's sold.
0:49:30 > 0:49:31Right.
0:49:31 > 0:49:35Well, thanks very much. That's very interesting. I didn't expect it to be that much.
0:49:35 > 0:49:38My favourite item today. Thank you. Well, thank you, Marc. Thank you.
0:49:40 > 0:49:43This is what I call a gem of a picture.
0:49:43 > 0:49:45It's got everything I like.
0:49:45 > 0:49:49It's a study, it's very freely painted
0:49:49 > 0:49:53and I see down here it's got "With kind regards, Frank Dicksee."
0:49:53 > 0:49:55Yes. And that's Sir Frank Dicksee.
0:49:56 > 0:49:59And this is a study for a famous picture.
0:50:00 > 0:50:04Do you know the painting? Yes, it's called The Two Crowns.
0:50:04 > 0:50:07And I know the painting is a big oil.
0:50:07 > 0:50:10It is. Now, how come you have this?
0:50:11 > 0:50:15Because she is my grandmother.
0:50:15 > 0:50:17Really?
0:50:17 > 0:50:23And she was a good friend of Sir Frank Dicksee.
0:50:23 > 0:50:25Indeed, we're told he...
0:50:27 > 0:50:28..wished to marry her.
0:50:28 > 0:50:32He made a proposal of marriage and she turned him down.
0:50:32 > 0:50:36And I think that was about
0:50:36 > 0:50:381895, something like that.
0:50:38 > 0:50:40Well, I can see why he wanted to propose to her.
0:50:40 > 0:50:43What a beautiful woman or beautiful lady.
0:50:43 > 0:50:46She's absolutely lovely.
0:50:46 > 0:50:49Frank Dicksee was a major late Victorian painter.
0:50:49 > 0:50:52He is on the fringes of the Pre-Raphaelites with Poynter.
0:50:52 > 0:50:56And some of his early drawings are very Pre-Raphaelite-looking.
0:50:56 > 0:50:59And this is a sort of in between period, but I just love it.
0:50:59 > 0:51:03I love the way her arm is draped over the side and she's looking out.
0:51:03 > 0:51:05It's a wonderful story.
0:51:05 > 0:51:06We have to put a price on it.
0:51:06 > 0:51:10I know this is very dear to you and I'm sure you're not going to sell it.
0:51:10 > 0:51:14If this came up for auction I am pretty confident it would make
0:51:14 > 0:51:17?8,000 to ?12,000.
0:51:17 > 0:51:19?8,000 to ?12,000?
0:51:19 > 0:51:23My word. I thought it would be worth ?100. ?100,000?
0:51:24 > 0:51:27No, just 100.
0:51:27 > 0:51:29Well, the family will be very happy with that.
0:51:31 > 0:51:34You arrived here this morning and you were clutching
0:51:34 > 0:51:38a little cardboard box with three dolls in it.
0:51:38 > 0:51:43And I was just kind of leading you off to think about filming those dolls
0:51:43 > 0:51:47when you mentioned those dolls actually lived in a house.
0:51:47 > 0:51:48And I thought to myself,
0:51:48 > 0:51:52"If those dolls live in a house as old as those dolls,
0:51:52 > 0:51:56"we're talking something quite, quite incredible."
0:51:56 > 0:52:00And can you tell me what you know about it?
0:52:00 > 0:52:05So all I know is that it's from the beginning of the 18th century, 1705, apparently.
0:52:05 > 0:52:09It's followed the female line of my mother's family since,
0:52:09 > 0:52:11I believe, somewhere around then,
0:52:11 > 0:52:15but previous to that it was built by some tradesmen on the Isle of Dogs
0:52:15 > 0:52:19in 1705 for a lady called Miss Westbrook, whose initial is E,
0:52:19 > 0:52:22which I think means Emily but it might have been something else.
0:52:22 > 0:52:25And then it was given to my mum's family and has been passed down the
0:52:25 > 0:52:27female line ever since.
0:52:27 > 0:52:31Then it becomes a bit of a problem because there is no female line.
0:52:31 > 0:52:32I am one of three boys.
0:52:32 > 0:52:35Right. So let's get this into context.
0:52:35 > 0:52:371705.
0:52:37 > 0:52:41That's right. And this house, the Westbrook baby house, as we call it,
0:52:41 > 0:52:45because early English doll's houses are referred to as baby houses,
0:52:45 > 0:52:47not doll's houses, until the early part of the 19th century.
0:52:49 > 0:52:53There is no other like it. It is totally unique.
0:52:53 > 0:52:58So it was quite unorthodox for the Roadshow because the doll's homes
0:52:58 > 0:53:00from which they came was in your house.
0:53:00 > 0:53:06So, like never before, we trailed over to your house with a cameraman
0:53:06 > 0:53:08and I looked at it.
0:53:08 > 0:53:09When I opened it...
0:53:09 > 0:53:13..those panelled rooms
0:53:13 > 0:53:14and that wonderful furniture,
0:53:14 > 0:53:20I was looking at something which was unchanged, essentially,
0:53:20 > 0:53:24for 311 years.
0:53:24 > 0:53:26Something that was made as a toy
0:53:26 > 0:53:29that could so easily have been spoiled,
0:53:29 > 0:53:31has been preserved in your family for all these years.
0:53:31 > 0:53:34That is why it's so moving.
0:53:34 > 0:53:37We brought here just the few pieces from the house
0:53:37 > 0:53:42to try and convey to people quite how important these things are.
0:53:44 > 0:53:48I must admit, that when I saw it I recognised it.
0:53:48 > 0:53:52I've heard of it because someone I know had been doing some restoration
0:53:52 > 0:53:58on it so it was something I laid in bed at night dreaming that one day I would see it.
0:53:58 > 0:54:00And here I am! The Westbrook Baby House. And here you are.
0:54:00 > 0:54:05And these pieces really confirm its importance.
0:54:05 > 0:54:08This is a thing I noticed when I first saw a picture of the house.
0:54:08 > 0:54:15It's a casket and it dates from 1705 and it's applied with shells and
0:54:15 > 0:54:17paper scraps and it's painted.
0:54:18 > 0:54:22And I guess it was probably trying to simulate a piece of stump work.
0:54:22 > 0:54:26But what is totally amazing, it's got its original stand,
0:54:26 > 0:54:31is the outside is all faded through years and years of sunlight and
0:54:31 > 0:54:33I can't resist doing this.
0:54:33 > 0:54:34Pick it up.
0:54:36 > 0:54:40Press the little button. The brightness of that colour.
0:54:40 > 0:54:44311 years and there you have that wonderful...
0:54:44 > 0:54:47I'm ashamed to say, I've never opened it. You've never opened it. Look at that.
0:54:47 > 0:54:50Embossed gold paper.
0:54:50 > 0:54:53Amazing thing. The furniture,
0:54:53 > 0:54:57I think, looking at the contents, the house was 1705,
0:54:57 > 0:55:00I think some of the contents are original to 1705
0:55:00 > 0:55:03and I think some of the contents perhaps came from the next generation.
0:55:03 > 0:55:06Was added and I think it was added up until the end of that century.
0:55:06 > 0:55:09Yes. Post-that I don't think it's been touched.
0:55:09 > 0:55:13No, absolutely. I mean, these dolls, they've got those fork hands and very distinctive faces.
0:55:13 > 0:55:18They're 18th-century but they're probably 1740 rather
0:55:18 > 0:55:22than 1705, so they could be another generation adding to it.
0:55:22 > 0:55:26And the hair, what would that be made of? The hair, I think the hair's mohair.
0:55:26 > 0:55:29It's extraordinary, when you see something that's so well preserved
0:55:29 > 0:55:34and complete when one is so used to looking at things in terrible condition,
0:55:34 > 0:55:37it's quite difficult to look at things and think,
0:55:37 > 0:55:39"That can't be real and genuine."
0:55:39 > 0:55:42But it is! It's the importance of this object.
0:55:42 > 0:55:44So...
0:55:44 > 0:55:47I've found the whole day today...
0:55:48 > 0:55:51..completely staggering and amazing.
0:55:51 > 0:55:54I have a passion for early doll's houses.
0:55:54 > 0:55:58I never, ever felt, thought that I would see such a wonderful...
0:55:58 > 0:56:02It's been great. It's been a very exciting to actually show it to somebody
0:56:02 > 0:56:04because it does sit there and you open it occasionally and point at
0:56:04 > 0:56:08something and people say, "That's great. Isn't that beautiful?"
0:56:08 > 0:56:12And then you can shut the door and then it's gone so it's lovely to see it in the light of day.
0:56:12 > 0:56:16Yeah. And it's the Antiques Roadshow and we have to come up with a value.
0:56:16 > 0:56:19Do you have to? Yeah. I'm told I must.
0:56:19 > 0:56:21For telly. Yes.
0:56:21 > 0:56:23It's an impossible task.
0:56:23 > 0:56:25Let's leave it at that. Well, no.
0:56:25 > 0:56:28I've done the work and I'm going to give you one.
0:56:28 > 0:56:30I've done the work.
0:56:30 > 0:56:34For the house with its contents we're looking at...
0:56:36 > 0:56:38..a conservative estimate...
0:56:39 > 0:56:46..of ?150,000, maybe ?200,000.
0:56:49 > 0:56:51That's pretty astonishing.
0:56:54 > 0:56:57But that doesn't matter. That doesn't matter, no.
0:56:57 > 0:57:00Well, it does a bit.
0:57:02 > 0:57:06But, you know, this is an object of national importance, really.
0:57:08 > 0:57:10Wow. What a find.
0:57:10 > 0:57:13And to find something of such rarity and antiquity for our first
0:57:13 > 0:57:16programme of the new series as well.
0:57:16 > 0:57:19I think Fergus thought all his Christmases had come at once.
0:57:19 > 0:57:22And, you know, after all these years on the Roadshow, these objects,
0:57:22 > 0:57:23they keep turning up.
0:57:23 > 0:57:26From all of us here at Tewkesbury Abbey, bye-bye.
0:57:58 > 0:58:00Unparalleled talent, unprecedented access.
0:58:00 > 0:58:04BBC Two takes a sneaky peek behind the celebrity curtain.
0:58:04 > 0:58:05One piece of advice...
0:58:05 > 0:58:08Go out there, grab it with both hands and stick it in your mouth.