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'Britain is stuffed with places famous for their antiques | 0:00:02 | 0:00:05 | |
'and each object has a story to tell.' | 0:00:05 | 0:00:08 | |
Hello! | 0:00:08 | 0:00:10 | |
'I'm Tim Wonnacott and as the crowds gather | 0:00:10 | 0:00:13 | |
'for their favourite outdoor events around the country, | 0:00:13 | 0:00:16 | |
'I'll be pitching up with my silver trailer to meet the locals | 0:00:16 | 0:00:20 | |
'with their precious antiques and collectibles.' | 0:00:20 | 0:00:23 | |
I'm feeling inspired myself. Thank you very much. | 0:00:23 | 0:00:26 | |
'Their stories will reveal why the places we visit | 0:00:27 | 0:00:30 | |
'deserve to be on the Great Antiques Map Of Britain.' | 0:00:30 | 0:00:33 | |
Today I've come to the Bakewell Food Festival, | 0:00:36 | 0:00:39 | |
in the heart of the glorious Derbyshire Peaks. | 0:00:39 | 0:00:42 | |
'It's brimming with people | 0:00:44 | 0:00:46 | |
'who've brought along their fascinating objects.' | 0:00:46 | 0:00:48 | |
The provenance that these have hung in the state drawing room | 0:00:48 | 0:00:52 | |
at Chatsworth from the 1850s is all very important. | 0:00:52 | 0:00:55 | |
'Which give a fantastic insight | 0:00:55 | 0:00:57 | |
'into the area's unique antiques heritage.' | 0:00:57 | 0:01:01 | |
-So it's a brilliant Derbyshire success story, in a way. -It is. | 0:01:01 | 0:01:04 | |
'And, of course, they want to know | 0:01:04 | 0:01:06 | |
'what their precious treasures might be worth.' | 0:01:06 | 0:01:08 | |
£600 and £900. | 0:01:08 | 0:01:09 | |
£50 each. | 0:01:09 | 0:01:11 | |
£7,500. | 0:01:11 | 0:01:13 | |
'And what do you think this unusual little creature could fetch? | 0:01:13 | 0:01:16 | |
'Find out later on.' | 0:01:16 | 0:01:19 | |
-You'd never sell it, would you? -Oh, no! | 0:01:19 | 0:01:21 | |
-Oh, no! -Never. No. | 0:01:21 | 0:01:22 | |
THEY LAUGH | 0:01:22 | 0:01:23 | |
I'm in the heart of Derbyshire | 0:01:30 | 0:01:33 | |
surrounded by the most glorious rolling countryside | 0:01:33 | 0:01:37 | |
that is the Dales. | 0:01:37 | 0:01:40 | |
With the occasional glimmering glimpse | 0:01:40 | 0:01:43 | |
of the River Wye peeping out. | 0:01:43 | 0:01:46 | |
History has made its mark here. | 0:01:49 | 0:01:51 | |
The area is steeped in agriculture. | 0:01:51 | 0:01:54 | |
Sheep and cattle still penned in by countless dry stone walls. | 0:01:54 | 0:01:58 | |
The cotton mills evoke the impact locally | 0:01:58 | 0:02:01 | |
of the Industrial Revolution. | 0:02:01 | 0:02:03 | |
Quarrying and mining, with the business in precious minerals, | 0:02:04 | 0:02:08 | |
though much reduced, continuing to this day. | 0:02:08 | 0:02:11 | |
I'm crossing the River Wye one last time, | 0:02:11 | 0:02:14 | |
over one of the oldest bridges in the country, | 0:02:14 | 0:02:16 | |
dating back to the year 1200, | 0:02:16 | 0:02:19 | |
heading for the capital of the Peak District. | 0:02:19 | 0:02:21 | |
When you think of Bakewell, | 0:02:23 | 0:02:25 | |
you might associate the place with one of these - | 0:02:25 | 0:02:29 | |
a Bakewell tart. | 0:02:29 | 0:02:30 | |
Well, you'd be wrong because the food purist would tell you | 0:02:30 | 0:02:34 | |
that actually the Bakewell pudding is the proper fodder in these parts | 0:02:34 | 0:02:40 | |
and it's the pudding that put Bakewell on the food map. | 0:02:40 | 0:02:43 | |
And at the Bakewell Food Festival... | 0:02:49 | 0:02:52 | |
-PHOTOGRAPHER: C'mon! -Look happy! | 0:02:52 | 0:02:55 | |
It's this famous food heritage which connects us | 0:02:55 | 0:02:58 | |
to some unique collectibles once owned by Ann Greaves, who, | 0:02:58 | 0:03:02 | |
it's claimed, created the Bakewell pud. | 0:03:02 | 0:03:05 | |
They've been brought along by her great-great-great-grandson, Paul. | 0:03:05 | 0:03:10 | |
It's been passed down through the generations from 1800. | 0:03:10 | 0:03:12 | |
I hope he can give me some sort of background as to how they were made | 0:03:12 | 0:03:16 | |
and that to our family they are very, very important | 0:03:16 | 0:03:19 | |
and they're priceless. | 0:03:19 | 0:03:21 | |
Now, Paul, on the face of it, | 0:03:21 | 0:03:23 | |
these look like tatty, tin cookery dishes | 0:03:23 | 0:03:28 | |
but they're pretty special to you, aren't they? | 0:03:28 | 0:03:30 | |
They're special because they were used | 0:03:30 | 0:03:33 | |
by my great-great-great-grandmother, | 0:03:33 | 0:03:36 | |
who was Mrs Ann Greaves who was the landlady of the Rutland Arms, | 0:03:36 | 0:03:41 | |
which stands in the square here, from 1803-1857. | 0:03:41 | 0:03:46 | |
Right. | 0:03:46 | 0:03:47 | |
And during that period of time, | 0:03:47 | 0:03:49 | |
she made her Bakewell puddings in these pans. | 0:03:49 | 0:03:52 | |
And they've been handed down through the family, | 0:03:52 | 0:03:54 | |
through the generations ever since. | 0:03:54 | 0:03:57 | |
They've never left Bakewell. | 0:03:57 | 0:03:58 | |
And I have to say that tin wear | 0:03:58 | 0:04:01 | |
is a very interesting 18th-century collectible | 0:04:01 | 0:04:04 | |
because, basically, it's iron with a thin layer of tin | 0:04:04 | 0:04:08 | |
annealed to the surface, which gives you something that you can cook off | 0:04:08 | 0:04:13 | |
without flavouring the food. | 0:04:13 | 0:04:16 | |
And, of course, the tin doesn't rust, which is what iron would do | 0:04:16 | 0:04:19 | |
if you were putting it in the oven and then washing it up | 0:04:19 | 0:04:21 | |
and all the rest of it. | 0:04:21 | 0:04:22 | |
These little dishes do illustrate perfectly the tin maker's art | 0:04:22 | 0:04:27 | |
because the seams are all soldered... | 0:04:27 | 0:04:30 | |
..the thing has a rollover edge, so you don't cut yourself. | 0:04:31 | 0:04:34 | |
It's perfectly comfortable to the feel. | 0:04:34 | 0:04:37 | |
And what I love about your three Bakewell pudding dishes | 0:04:37 | 0:04:40 | |
is they have this gorgeous patination, don't they? | 0:04:40 | 0:04:44 | |
There's little bits of grubby food and grease | 0:04:44 | 0:04:47 | |
that has been left on these. | 0:04:47 | 0:04:48 | |
They've never been scrubbed clean with a wire brush. | 0:04:48 | 0:04:51 | |
No, no, no. | 0:04:51 | 0:04:52 | |
You've got the filth of ages on them, | 0:04:52 | 0:04:55 | |
which gives them this very special look. | 0:04:55 | 0:04:58 | |
And frankly, they're very difficult things to value. | 0:04:58 | 0:05:02 | |
They're worth a pound or two each without the provenance and history | 0:05:02 | 0:05:07 | |
attached to your family and the Bakewell pudding. | 0:05:07 | 0:05:11 | |
Yeah. | 0:05:11 | 0:05:12 | |
Now that we know that, though, | 0:05:12 | 0:05:13 | |
if you were to put them in a sale in Derbyshire, | 0:05:13 | 0:05:17 | |
with all that history and provenance, | 0:05:17 | 0:05:19 | |
I wouldn't be surprised if they didn't make £50 each. | 0:05:19 | 0:05:22 | |
And they shall be handed down through the family for generations to come. | 0:05:22 | 0:05:27 | |
This is one of the jewels in Bakewell's crown - Haddon Hall. | 0:05:33 | 0:05:38 | |
Overlooking the glorious River Wye, where fish are abundant. | 0:05:38 | 0:05:42 | |
In 1865, this estate was the first place in the world | 0:05:42 | 0:05:46 | |
to adopt a new rule for fishing - | 0:05:46 | 0:05:49 | |
dry flies only. | 0:05:49 | 0:05:51 | |
All thanks to local fishing fanatic James Ogden, who invented a fake fly | 0:05:51 | 0:05:57 | |
to replace the real thing. | 0:05:57 | 0:05:59 | |
I'm meeting up with historian Richard Ward. | 0:05:59 | 0:06:01 | |
This man, Ogden, he twigged that to tempt a fish, | 0:06:03 | 0:06:08 | |
-a decent insect... -Yes. -..preferably dry... -Yes. | 0:06:08 | 0:06:12 | |
..presented just over its nose, expertly cast | 0:06:12 | 0:06:16 | |
is the way to catch a fish, right? | 0:06:16 | 0:06:19 | |
Many thousands of anglers had seen that when they cast their flies, | 0:06:19 | 0:06:22 | |
sometimes that very first instant that it's on the water | 0:06:22 | 0:06:25 | |
when it was dry and still floating in those days was their best chance. | 0:06:25 | 0:06:29 | |
Ogden thought, "Why not make flies to float, anyway?" | 0:06:29 | 0:06:32 | |
-Right. -Rather than just the first few minutes. | 0:06:32 | 0:06:34 | |
So the first few minutes, naturally they sink. | 0:06:34 | 0:06:37 | |
Ogden came up with a revolution. | 0:06:37 | 0:06:39 | |
He did, he started tying them deliberately to float. | 0:06:39 | 0:06:42 | |
And something special happened here | 0:06:42 | 0:06:45 | |
on the 5th and 6th of June, didn't it? | 0:06:45 | 0:06:47 | |
It did, yes. | 0:06:47 | 0:06:49 | |
He'd been invited to come and fish and prove | 0:06:49 | 0:06:52 | |
that his artificial floating flies would catch fish | 0:06:52 | 0:06:56 | |
during the mayfly time. | 0:06:56 | 0:06:58 | |
Now, everybody that fished for mayflies on here during mayfly time | 0:06:58 | 0:07:02 | |
used live mayflies and he came along with his artificial flies. | 0:07:02 | 0:07:06 | |
People laughed at him, said it wasn't going to work | 0:07:06 | 0:07:08 | |
and he demonstrated that it did work very effectively. | 0:07:08 | 0:07:12 | |
And he...it caused a revolution cos the very next day, | 0:07:12 | 0:07:16 | |
the Duke's steward made a rule that only a single artificial floating fly | 0:07:16 | 0:07:22 | |
was to be used on this water. | 0:07:22 | 0:07:24 | |
-And do you celebrate that still? -I do, with this rod. | 0:07:24 | 0:07:27 | |
I go out and fish with it on the 5th of June every year | 0:07:27 | 0:07:31 | |
with a James Ogden rod and James Ogden reel | 0:07:31 | 0:07:34 | |
and catch some fish just to remember James Ogden. | 0:07:34 | 0:07:38 | |
And what is special about Ogden's rod? | 0:07:38 | 0:07:40 | |
-He found out he could cast a long distance with a short rod. -Right. | 0:07:40 | 0:07:45 | |
And so, he made this rod, called it Multum In Parvo, | 0:07:45 | 0:07:48 | |
meaning much in little, and he was right. | 0:07:48 | 0:07:51 | |
Ogden devoted his life to fishing, making an international | 0:07:57 | 0:08:01 | |
business selling his rods, tackle and dry flies. | 0:08:01 | 0:08:04 | |
Richard's agreed to demonstrate Ogden's dry-fly method just for me. | 0:08:07 | 0:08:11 | |
-Right, Tim. -Oh, my gosh. I don't believe it. | 0:08:18 | 0:08:22 | |
Look at that, a 150-year-old piece of fishing equipment | 0:08:25 | 0:08:29 | |
and he's caught a fish, how marvellous is that? | 0:08:29 | 0:08:32 | |
Now, Richard, you let the thing go | 0:08:32 | 0:08:34 | |
and release it back into the river, right? | 0:08:34 | 0:08:36 | |
Absolutely. | 0:08:36 | 0:08:37 | |
A rather intriguing Ogden rod has been brought in for valuation | 0:08:44 | 0:08:48 | |
by Peter. | 0:08:48 | 0:08:49 | |
I run a fishing tackle shop here in Bakewell. | 0:08:49 | 0:08:52 | |
I've been working here since 1989. | 0:08:52 | 0:08:55 | |
A few years ago, a chap wandered in and he wanted a more modern rod | 0:08:55 | 0:08:59 | |
to go fishing with and we did a swap. | 0:08:59 | 0:09:02 | |
It doesn't look much. It's a bit battered, it's a bit knocked about. | 0:09:02 | 0:09:07 | |
But I think it's a rod which performed an important part | 0:09:07 | 0:09:11 | |
in the history of modern dry-fly fishing. | 0:09:11 | 0:09:14 | |
So we've got that spiky bit with his name on down at the bottom... | 0:09:14 | 0:09:17 | |
-Yes. -..which you jam into the ground. -That's right. | 0:09:17 | 0:09:20 | |
You've then got a section here into which you'd fit your reel. | 0:09:20 | 0:09:23 | |
-Reel, yes. -The handle is in a bit of split cane, isn't it? | 0:09:23 | 0:09:27 | |
A bit of rattan. | 0:09:27 | 0:09:29 | |
-Yes quite unusual, that. -Quite unusual. | 0:09:29 | 0:09:31 | |
And then, it's a two-section rod, do you know what the material is | 0:09:31 | 0:09:35 | |
that was used actually for the rod itself? | 0:09:35 | 0:09:38 | |
I'm not sure. I think it was something called lancewood. | 0:09:38 | 0:09:41 | |
But they fit snugly don't they, like that? That's beautifully made. | 0:09:41 | 0:09:45 | |
-But to keep them together, you put a bit more string. -Yes. | 0:09:45 | 0:09:48 | |
A bit of whipping around that | 0:09:48 | 0:09:50 | |
and then you've got yourself a short fly rod. | 0:09:50 | 0:09:53 | |
Dry-fly rod. | 0:09:53 | 0:09:54 | |
Is there any special historical significance | 0:09:54 | 0:09:58 | |
to this particular rod, do you think? | 0:09:58 | 0:10:01 | |
-Well, it was certainly made prior to 1871... -Right. | 0:10:01 | 0:10:05 | |
..because in 1871, he brought out a completely new range of rods | 0:10:05 | 0:10:09 | |
made out of split cane, which made his name and his fortune. | 0:10:09 | 0:10:14 | |
This pioneered, this predates that date. | 0:10:14 | 0:10:17 | |
You don't think that this rod could actually have been used in 1865 | 0:10:17 | 0:10:22 | |
-when he started the whole process off, do you? -We believe so. | 0:10:22 | 0:10:25 | |
Well, wouldn't that be fantastic? | 0:10:26 | 0:10:28 | |
'So how much would this rod fetch at auction, | 0:10:28 | 0:10:32 | |
'especially if it really was used by Ogden himself? | 0:10:32 | 0:10:35 | |
'Are you hooked? | 0:10:35 | 0:10:37 | |
'Well, you'll have to wait and see.' | 0:10:37 | 0:10:39 | |
Bakewell people clearly love a party. | 0:10:42 | 0:10:45 | |
Apart from this food festival, the other great annual celebration | 0:10:45 | 0:10:49 | |
around here is the Bakewell Agricultural Show, | 0:10:49 | 0:10:52 | |
which has been going for nearly 200 years. | 0:10:52 | 0:10:55 | |
It's a chance for Derbyshire's farmers to shout about what they do, | 0:10:55 | 0:10:59 | |
and if they're lucky, they might pick up a prize or two - | 0:10:59 | 0:11:02 | |
like this particularly impressive antique silver trophy | 0:11:02 | 0:11:06 | |
which has been brought along by Janet. | 0:11:06 | 0:11:08 | |
Dad managed Bakewell Show, and I've brought one of our silver trophies, | 0:11:11 | 0:11:14 | |
which is presented to the best shire colt or filly in the show. | 0:11:14 | 0:11:17 | |
And in 1932, King George V won it outright. | 0:11:17 | 0:11:22 | |
Well, this is rather a splendid object, isn't it? | 0:11:22 | 0:11:24 | |
Absolutely beautiful. | 0:11:24 | 0:11:25 | |
The trophy says on it, "Bakewell Farmers' Club, | 0:11:25 | 0:11:29 | |
"the Bakewell Champion Challenge Cup valued at 20 guineas" | 0:11:29 | 0:11:33 | |
and it's awarded to "The champion shire colt or filly foal | 0:11:33 | 0:11:38 | |
-"exhibited at the show." -That's right. | 0:11:38 | 0:11:40 | |
When this cup was first presented, it was valued at 20 guineas, | 0:11:40 | 0:11:45 | |
so the prize that they did keep was 20 guineas. | 0:11:45 | 0:11:48 | |
But this is particularly special, because on the reverse, | 0:11:48 | 0:11:52 | |
we've got an inscription for 1932, when apparently King George V... | 0:11:52 | 0:11:58 | |
-That's right. -..won this cup not once, not twice but three times. | 0:11:58 | 0:12:02 | |
And the rules are that if you win it three times, you get given the cup. | 0:12:02 | 0:12:06 | |
You can keep it, yes. | 0:12:06 | 0:12:08 | |
Instead of keeping it, he generously re-presented it to the society. | 0:12:08 | 0:12:12 | |
-He did indeed. -So that they've got it in perpetuity. | 0:12:12 | 0:12:15 | |
And I had no idea that George V was a breeder of shire horses. | 0:12:15 | 0:12:20 | |
What we all forget is how important shire horses were for centuries... | 0:12:20 | 0:12:26 | |
-In those days, yes. -Exactly. | 0:12:26 | 0:12:27 | |
There were apparently some 20,000 shire horses still being used | 0:12:27 | 0:12:33 | |
by delivery firms in the 1920s. | 0:12:33 | 0:12:37 | |
The decoration is vaguely Victorian, | 0:12:37 | 0:12:39 | |
in looking at these swags of flowers, | 0:12:39 | 0:12:42 | |
on a trophy that's neoclassical in design | 0:12:42 | 0:12:46 | |
with these two scrolling handles | 0:12:46 | 0:12:47 | |
and could be a piece of Adam silver dating from the 1770s. | 0:12:47 | 0:12:51 | |
In fact, it's hallmarked "Sheffield 1909", which is slightly odd. | 0:12:51 | 0:12:56 | |
And I just wonder whether it had been made as a presentation | 0:12:56 | 0:13:00 | |
trophy for some other purpose before the Farmers' Club took it over | 0:13:00 | 0:13:05 | |
and used it as their shire trophy. | 0:13:05 | 0:13:08 | |
But it's got this great mixture of elements in it, | 0:13:08 | 0:13:11 | |
which is slightly strange but very attractive. | 0:13:11 | 0:13:14 | |
Yeah, "But what..." - I hear you cry - | 0:13:14 | 0:13:17 | |
"..could a great lump of silver like this be worth?" | 0:13:17 | 0:13:20 | |
All will be revealed later. | 0:13:20 | 0:13:22 | |
Derbyshire oozes picturesque charm | 0:13:29 | 0:13:32 | |
but underneath this lush countryside lies buried treasure. | 0:13:32 | 0:13:36 | |
Well, sort of. | 0:13:36 | 0:13:37 | |
This area is mineral rich, | 0:13:38 | 0:13:40 | |
and people have been mining its hidden depths for centuries. | 0:13:40 | 0:13:44 | |
Crikey Moses, this is like some journey to the centre of the Earth. | 0:13:45 | 0:13:50 | |
Jules Verne, eat your heart out. | 0:13:51 | 0:13:53 | |
HE CHUCKLES | 0:13:53 | 0:13:55 | |
Down the road from Bakewell is Castleton - | 0:13:55 | 0:13:58 | |
the only place on the planet to find blue john. | 0:13:58 | 0:14:02 | |
And there are just two working mines left. | 0:14:02 | 0:14:04 | |
Here we are in the Treak Cliff mine. | 0:14:05 | 0:14:09 | |
And here, squashed between the limestone rocks, | 0:14:09 | 0:14:13 | |
is a vein of blue john. | 0:14:13 | 0:14:16 | |
But if you look within that mass carefully, | 0:14:16 | 0:14:19 | |
you can see all the crystals. | 0:14:19 | 0:14:20 | |
Once that's mined and removed and then cut, then polished, | 0:14:20 | 0:14:25 | |
you get that glorious substance that just typifies | 0:14:25 | 0:14:30 | |
Derbyshire and its mines. | 0:14:30 | 0:14:33 | |
I'm off to see some lovely bits of antique blue john | 0:14:34 | 0:14:38 | |
with retired miner Peter Harrison. | 0:14:38 | 0:14:40 | |
Well, I learnt to polish blue john when I was nine years old. | 0:14:40 | 0:14:45 | |
Rubbing down something like a little specimen | 0:14:45 | 0:14:49 | |
on about three different qualities of Carborundum, | 0:14:49 | 0:14:53 | |
and then I was too young to go on the machine to polish it. | 0:14:53 | 0:14:56 | |
But you started then when you had left school. | 0:14:56 | 0:14:59 | |
Mining the stuff and making it into objects? | 0:14:59 | 0:15:02 | |
Well, yes, that started in 1945. | 0:15:02 | 0:15:06 | |
But what really interests me | 0:15:06 | 0:15:08 | |
is blue john as a collectible, | 0:15:08 | 0:15:10 | |
because it is the Holy Grail of collectibles, really, isn't it? | 0:15:10 | 0:15:15 | |
It is, it really is. | 0:15:15 | 0:15:16 | |
What a lot of people don't realise is that, down the blue john mines, | 0:15:16 | 0:15:20 | |
there are a great variety of veins. | 0:15:20 | 0:15:24 | |
As far as this gorgeous goblet on the end is concerned, | 0:15:24 | 0:15:28 | |
this handsome fellow has been turned out of | 0:15:28 | 0:15:31 | |
a solid block of blue john, | 0:15:31 | 0:15:34 | |
-which is the bowl bit. -Yes. | 0:15:34 | 0:15:36 | |
And then, the stem has been turned out of another block | 0:15:36 | 0:15:39 | |
-and then the foot out of another. -Yes. | 0:15:39 | 0:15:41 | |
So, they're effectively three pieces of blue john. | 0:15:41 | 0:15:44 | |
Now, next door, Pete, | 0:15:44 | 0:15:46 | |
we've got a really substantial-sized piece of blue john, | 0:15:46 | 0:15:50 | |
-but the colouring is very different, isn't it? -Yes. | 0:15:50 | 0:15:52 | |
This one is unadulterated blue john, | 0:15:52 | 0:15:55 | |
there is no iron in it, no nothing. | 0:15:55 | 0:15:56 | |
It's all blue john. | 0:15:56 | 0:15:58 | |
This one has iron in it, | 0:15:58 | 0:16:00 | |
which makes all the yellow colours. | 0:16:00 | 0:16:02 | |
This would be about 1790 to 1830. | 0:16:02 | 0:16:08 | |
The rings that make up this vase are stuck together | 0:16:08 | 0:16:12 | |
when they're quite thick, | 0:16:12 | 0:16:14 | |
and then it involves turning the outside into a nice shape | 0:16:14 | 0:16:19 | |
and then grinding out the inside | 0:16:19 | 0:16:21 | |
and that takes a long time. | 0:16:21 | 0:16:23 | |
Another mineral unique to the Peaks is Ashford Black Marble, | 0:16:24 | 0:16:28 | |
and Pat has brought along some of her collection. | 0:16:28 | 0:16:31 | |
I've lived in Bakewell for over 40 years, | 0:16:33 | 0:16:35 | |
I've brought some examples of Ashford Black Marble. | 0:16:35 | 0:16:39 | |
Well, they would've been Victorian, mid-Victorian | 0:16:39 | 0:16:42 | |
or probably, early 20th century, | 0:16:42 | 0:16:45 | |
but I've no more idea than that. | 0:16:45 | 0:16:47 | |
We have these different coloured stones, | 0:16:47 | 0:16:51 | |
which are set into the so-called black marble. | 0:16:51 | 0:16:55 | |
Cutting each of those different coloured stones | 0:16:55 | 0:16:58 | |
-is a skill in itself. -Yes. | 0:16:58 | 0:17:01 | |
And then you have to cut out the black marble to make a recess | 0:17:01 | 0:17:06 | |
and plant the coloured stone into it. | 0:17:06 | 0:17:07 | |
Then the hole has to be polished over. | 0:17:07 | 0:17:09 | |
-So it's a brilliant Derbyshire success story, in a way. -It is. | 0:17:09 | 0:17:12 | |
But, if we take this little object, | 0:17:12 | 0:17:15 | |
which, I guess, is a desk seal. | 0:17:15 | 0:17:18 | |
Once upon a time, that flat plate at the bottom | 0:17:18 | 0:17:21 | |
would have been engraved with somebody's crest | 0:17:21 | 0:17:24 | |
or, possibly, initials, | 0:17:24 | 0:17:26 | |
and for the sealing-wax process, before you seal up an envelope, | 0:17:26 | 0:17:30 | |
it would have been used for that purpose. | 0:17:30 | 0:17:31 | |
And if you were a tourist | 0:17:31 | 0:17:34 | |
visiting Derbyshire in the 19th century, | 0:17:34 | 0:17:37 | |
you'd very much like to go home | 0:17:37 | 0:17:39 | |
-with a little pressie for your relations, wouldn't you? -Yes. | 0:17:39 | 0:17:43 | |
And here, on the paperweight, | 0:17:43 | 0:17:44 | |
when you look at the stone used in the leafage, | 0:17:44 | 0:17:48 | |
-that's lovely, isn't it? -Yes. | 0:17:48 | 0:17:49 | |
It's got some variegation in it, and then a central, sort of, spine. | 0:17:49 | 0:17:54 | |
Delightful. | 0:17:54 | 0:17:55 | |
I would've thought the best piece that you've got is this seal, | 0:17:55 | 0:17:59 | |
that would be my favourite anyway. | 0:17:59 | 0:18:01 | |
And I can see that selling in an auction | 0:18:01 | 0:18:05 | |
for between, I don't know, £100-£150... | 0:18:05 | 0:18:08 | |
-Good gracious. -..something like that. | 0:18:08 | 0:18:10 | |
And, with a little bit of damage on that paperweight, | 0:18:10 | 0:18:12 | |
I guess it might be worth perhaps as much as £100-£150. | 0:18:12 | 0:18:16 | |
-You don't want to sell them, do you? -No. | 0:18:16 | 0:18:18 | |
My husband had a collection of minerals, | 0:18:18 | 0:18:20 | |
which was started in the mid-19th century, | 0:18:20 | 0:18:23 | |
which I still have, of Derbyshire minerals, | 0:18:23 | 0:18:26 | |
so it's all part of a total collection. | 0:18:26 | 0:18:29 | |
Chatsworth sits in regal splendour just a few miles outside Bakewell. | 0:18:36 | 0:18:41 | |
It has jaw-dropping interiors | 0:18:41 | 0:18:43 | |
with collections of just about everything that you can think of. | 0:18:43 | 0:18:47 | |
But sometimes, like anybody else, they need a clear-out | 0:18:47 | 0:18:51 | |
and in 2010, Jane was there to buy these wall brackets. | 0:18:51 | 0:18:55 | |
They're absolutely gorgeous. | 0:18:57 | 0:18:59 | |
I fell headlong in love with them | 0:18:59 | 0:19:01 | |
when I saw them at the Chatsworth Attic Sale. | 0:19:01 | 0:19:04 | |
My late husband and I bought them and they're just marvellous. | 0:19:04 | 0:19:08 | |
They're so intriguing, interesting | 0:19:08 | 0:19:11 | |
and it's part of the history of the land, really, isn't it? | 0:19:11 | 0:19:15 | |
The Chatsworth Attic Sale | 0:19:15 | 0:19:17 | |
-was quite an event here in Derbyshire. -It was, it was wonderful. | 0:19:17 | 0:19:20 | |
Yeah. I was actually behind Jerry Hall. | 0:19:20 | 0:19:23 | |
She was bidding in front of me. That was so exciting. | 0:19:23 | 0:19:26 | |
-What? On the same lot? -No, no, no. Sadly, no. | 0:19:26 | 0:19:29 | |
Something far more expensive. | 0:19:29 | 0:19:31 | |
I mean, outbidding Jerry Hall | 0:19:31 | 0:19:32 | |
-would be quite an accolade, wouldn't it? -It would. | 0:19:32 | 0:19:35 | |
The Chatsworth Attic Sale was such a big deal, it made national news. | 0:19:36 | 0:19:41 | |
We have grandfather clocks, we have artworks, we have vases. | 0:19:42 | 0:19:46 | |
This is one of about five tables. | 0:19:46 | 0:19:49 | |
I think we can get about 24 to dinner here. | 0:19:49 | 0:19:52 | |
All of this stuff has been sitting around | 0:19:52 | 0:19:56 | |
not doing a great deal for a long time. | 0:19:56 | 0:19:58 | |
'The auction lasted three days and 20,000 objects were sold.' | 0:19:58 | 0:20:02 | |
We've got an angel who is crouching | 0:20:06 | 0:20:09 | |
-with her hands crossed across her chest. -Yes. | 0:20:09 | 0:20:13 | |
She's in a devotional pose, really. | 0:20:13 | 0:20:17 | |
But the thing has a practical purpose, | 0:20:17 | 0:20:19 | |
because the outstretched angel's wings and this platform | 0:20:19 | 0:20:24 | |
go to make a flat surface, | 0:20:24 | 0:20:27 | |
so that when that's placed against a wall, | 0:20:27 | 0:20:29 | |
-of course, you can use them practically as brackets. -Yes. | 0:20:29 | 0:20:33 | |
Where do you have them at home? | 0:20:33 | 0:20:34 | |
They're in my office at home on the wall | 0:20:34 | 0:20:37 | |
and they have candles or flower arrangements. | 0:20:37 | 0:20:40 | |
Well, there you are. | 0:20:40 | 0:20:41 | |
-So you're using them for their proper purpose. -Absolutely. | 0:20:41 | 0:20:43 | |
On the back, there's the original maker's label, | 0:20:43 | 0:20:47 | |
which is really fascinating for me. | 0:20:47 | 0:20:50 | |
It says "Susse", but as you can see from the label, | 0:20:50 | 0:20:53 | |
-it says that they dealt in patented paper products. -Yes. | 0:20:53 | 0:20:59 | |
So they were well familiar with producing moulds | 0:20:59 | 0:21:03 | |
for paper and plaster-related objects | 0:21:03 | 0:21:05 | |
and these brackets are made of plaster | 0:21:05 | 0:21:08 | |
that's then being covered in a bronzed effect | 0:21:08 | 0:21:11 | |
-to make them look like metal. -Yes. | 0:21:11 | 0:21:13 | |
And what I think is amazing is that in the state drawing room, | 0:21:13 | 0:21:17 | |
the Duke of Devonshire would have used fake-metalwork-looking brackets | 0:21:17 | 0:21:23 | |
in his state drawing room, | 0:21:23 | 0:21:25 | |
-kind of says something, doesn't it? -It does, rather. | 0:21:25 | 0:21:27 | |
-I mean, it's interesting. -Yes. | 0:21:27 | 0:21:29 | |
'So how much would you have to pay for something | 0:21:29 | 0:21:31 | |
'that might have once hung in his Lordship's state drawing room? | 0:21:31 | 0:21:36 | |
'Ha, ha! You'll have to wait to find out.' | 0:21:36 | 0:21:38 | |
The Industrial Revolution hit the Peak District with a vengeance. | 0:21:43 | 0:21:47 | |
In the once small community of Belper, | 0:21:47 | 0:21:49 | |
an early pioneer was one Jedediah Strutt, | 0:21:49 | 0:21:53 | |
who built his first mill here in 1786. | 0:21:53 | 0:21:56 | |
When it burnt down, it was replaced by this one in 1804. | 0:21:56 | 0:22:01 | |
Local historian Mary Smedley explains the origins. | 0:22:01 | 0:22:06 | |
The mills were built as cotton-spinning mills | 0:22:06 | 0:22:09 | |
and all they ever did was produce cotton thread, | 0:22:09 | 0:22:13 | |
there was never a further end product. | 0:22:13 | 0:22:15 | |
It was then sold to the customers to be woven into cloth. | 0:22:15 | 0:22:19 | |
He wanted to harness the power of the River Derwent, | 0:22:20 | 0:22:24 | |
and I don't know how he did it, | 0:22:24 | 0:22:25 | |
but however he did it, it was a wonderful job | 0:22:25 | 0:22:28 | |
because, today, it's still providing power | 0:22:28 | 0:22:32 | |
in the form of hydro-electricity. | 0:22:32 | 0:22:35 | |
But it's Jedediah's great grandson who's connected to our next object, | 0:22:35 | 0:22:40 | |
which is owned by Neil. | 0:22:40 | 0:22:42 | |
I've brought my very large oil painting of one of the Belper mills, | 0:22:43 | 0:22:47 | |
possibly done about 1850. | 0:22:47 | 0:22:50 | |
It's the earliest known large oil painting of the early mills | 0:22:50 | 0:22:54 | |
and an added bonus, I noticed, when I bought it rather cheaply, | 0:22:54 | 0:22:59 | |
is that it belonged to George Herbert Strutt, | 0:22:59 | 0:23:03 | |
who was one of the mill-owning family, | 0:23:03 | 0:23:06 | |
a descendant of Jedediah Strutt. | 0:23:06 | 0:23:08 | |
So there's lots of interesting things about it. | 0:23:08 | 0:23:10 | |
What I like to do often with a painting of this type | 0:23:11 | 0:23:14 | |
is to spin it round | 0:23:14 | 0:23:16 | |
and see what information we can glean from the reverse. | 0:23:16 | 0:23:20 | |
So, you can see it's an oil on canvas | 0:23:20 | 0:23:23 | |
but, intriguingly, we've got this exhibition label. | 0:23:23 | 0:23:25 | |
This exhibition in Derby in 1870 | 0:23:25 | 0:23:29 | |
does at least pinpoint the fact that the Strutt family, | 0:23:29 | 0:23:34 | |
the original builders of this mill, | 0:23:34 | 0:23:37 | |
owned the picture in 1870 | 0:23:37 | 0:23:40 | |
-and clearly lent it for the exhibition. -Yes. | 0:23:40 | 0:23:44 | |
Because, if you're going to drill down | 0:23:44 | 0:23:45 | |
to the likely value of a painting like this, | 0:23:45 | 0:23:48 | |
it makes a tremendous difference | 0:23:48 | 0:23:50 | |
if you can attach a hand of a possible artist to the scene. | 0:23:50 | 0:23:56 | |
Could be by a man called Niemann, | 0:23:56 | 0:23:59 | |
-who painted scenes of this type. -Yes. | 0:23:59 | 0:24:02 | |
And, if that was substantiated, | 0:24:02 | 0:24:04 | |
probably, this picture in an auction, properly attributed, | 0:24:04 | 0:24:09 | |
-would bring between, say, £600-£900 at auction. -Yeah. | 0:24:09 | 0:24:13 | |
-Well done, thank you very much for bringing it. -OK. | 0:24:13 | 0:24:15 | |
-Very nice to see you. -It was a pleasure. -Great. | 0:24:15 | 0:24:17 | |
In Victorian times, | 0:24:28 | 0:24:29 | |
Peak District towns like Bakewell, Matlock and Buxton | 0:24:29 | 0:24:33 | |
were a big hit with tourists and the market positively boomed | 0:24:33 | 0:24:37 | |
for locally-made souvenirs and novelties, | 0:24:37 | 0:24:39 | |
like Annie's curiosity. | 0:24:39 | 0:24:41 | |
I've brought something which I bought when I lived in Norfolk | 0:24:41 | 0:24:45 | |
and I was very homesick for Derbyshire when I lived in Norfolk. | 0:24:45 | 0:24:48 | |
And so, this says "From Matlock" on it, | 0:24:48 | 0:24:50 | |
so that's why I bought it | 0:24:50 | 0:24:52 | |
cos it was a connection with home. | 0:24:52 | 0:24:54 | |
So I've had it about 30 years now, | 0:24:54 | 0:24:56 | |
but I'm not quite sure what it is. | 0:24:56 | 0:24:58 | |
This thing is what's called a peep egg... | 0:24:59 | 0:25:03 | |
-Oh! -..because it's vaguely in an egg form. | 0:25:03 | 0:25:06 | |
-Well, I've never heard of one of those. -No. | 0:25:06 | 0:25:08 | |
So thank you for telling me. | 0:25:08 | 0:25:09 | |
-Well, you own one, actually. -I own one. | 0:25:09 | 0:25:12 | |
And the idea is that because the alabaster is light sensitive, | 0:25:12 | 0:25:19 | |
-in other words, the light goes through the stone. -Yeah. | 0:25:19 | 0:25:22 | |
When you look through this little grubby lens, | 0:25:22 | 0:25:24 | |
it's got a little bit of dirt inside and that you can't help, | 0:25:24 | 0:25:28 | |
because inside the lens, if you look carefully, | 0:25:28 | 0:25:31 | |
you can see a little image, as you know, | 0:25:31 | 0:25:33 | |
and the first image that you see is The Crescent. | 0:25:33 | 0:25:36 | |
And that little image, as a tourist, | 0:25:36 | 0:25:39 | |
would remind you of your trip to Buxton | 0:25:39 | 0:25:41 | |
and looking at that glorious bit of Georgian architecture, | 0:25:41 | 0:25:44 | |
-which, of course, we can see today. -Yes. | 0:25:44 | 0:25:46 | |
Then you give it a little twizzle | 0:25:46 | 0:25:48 | |
and it takes you to another scene, | 0:25:48 | 0:25:50 | |
which is Ashwood Dale, | 0:25:50 | 0:25:54 | |
Dale being the Old English word for valley. | 0:25:54 | 0:25:57 | |
If you look very carefully, what I love about that image | 0:25:57 | 0:26:00 | |
is that you can just make out the railway line. | 0:26:00 | 0:26:03 | |
-Yes, the little trains. -Exactly. -Yes. | 0:26:03 | 0:26:05 | |
And then, the last spin gives us a little diorama | 0:26:05 | 0:26:09 | |
-which shows a whole lot of minerals. -Yes. | 0:26:09 | 0:26:13 | |
So it goes back to the heart of what has been going on in Derbyshire | 0:26:13 | 0:26:17 | |
-for centuries. -Yes. | 0:26:17 | 0:26:18 | |
Do you love it even more now? | 0:26:18 | 0:26:19 | |
Oh, I do. Yes. THEY LAUGH | 0:26:19 | 0:26:22 | |
So, if I was putting a value on it, | 0:26:22 | 0:26:24 | |
I think you should think about, say, between £100-£200 for it. | 0:26:24 | 0:26:29 | |
-But you'd never sell it, would you? -Oh, no! | 0:26:29 | 0:26:31 | |
-Oh, no! -Never, no! THEY LAUGH | 0:26:31 | 0:26:34 | |
And those brackets from Chatsworth? | 0:26:37 | 0:26:38 | |
Well, I reckon, with such a great story behind them, | 0:26:38 | 0:26:41 | |
they're worth about £750. | 0:26:41 | 0:26:43 | |
-So I think they're delightful. -Thank you. | 0:26:44 | 0:26:46 | |
And all the more so because they're connected with glorious Derbyshire. | 0:26:46 | 0:26:49 | |
Absolutely. | 0:26:49 | 0:26:51 | |
'As for Janet's marvellous silver trophy...' | 0:26:51 | 0:26:53 | |
I'd insure it for £7,500, pay the premium | 0:26:53 | 0:26:58 | |
and if it did go walkabout, then you'd have a sum of money to go | 0:26:58 | 0:27:02 | |
-and find another splendid trophy. -To replace it. | 0:27:02 | 0:27:04 | |
-Right, that's fine. Thank you very much. -That would be my advice. | 0:27:04 | 0:27:07 | |
'To value the Ogden fishing rod, | 0:27:07 | 0:27:09 | |
'I contacted specialist auctioneer John Stephenson.' | 0:27:09 | 0:27:13 | |
It would probably fall into the 80-120 bracket, | 0:27:13 | 0:27:18 | |
where most of the collectibles of this type of rod market is. | 0:27:18 | 0:27:22 | |
If it were to be rare in terms of fishing history, | 0:27:22 | 0:27:26 | |
what might it be worth then, John? | 0:27:26 | 0:27:28 | |
Bearing in mind this guy in effect | 0:27:28 | 0:27:31 | |
changed dry-fly fishing in the 1840s, '50s and '60s period. | 0:27:31 | 0:27:36 | |
So we would probably look more | 0:27:36 | 0:27:39 | |
in the thousands than the hundreds... | 0:27:39 | 0:27:42 | |
-Really? -..and the condition at that point wouldn't really matter either, | 0:27:42 | 0:27:45 | |
because if the provenance was solid | 0:27:45 | 0:27:48 | |
and that rod was used, | 0:27:48 | 0:27:50 | |
especially on the Haddon Estate, | 0:27:50 | 0:27:51 | |
to do that particular job, | 0:27:51 | 0:27:53 | |
it almost turned history in fishing, | 0:27:53 | 0:27:54 | |
then it would be THE collectible | 0:27:54 | 0:27:57 | |
-from that area. -OK. | 0:27:57 | 0:27:59 | |
So, yeah, with provenance, we'd be | 0:27:59 | 0:28:01 | |
in the thousands, not the tens. | 0:28:01 | 0:28:03 | |
-Are you happy? -Yeah, I'm very happy. Thank you. | 0:28:03 | 0:28:05 | |
'Wow! | 0:28:05 | 0:28:06 | |
'Just shows how important the story is to the value of an object. | 0:28:06 | 0:28:10 | |
'If this is THE rod James Ogden used, | 0:28:10 | 0:28:13 | |
'it could fish out an awful lot of money.' | 0:28:13 | 0:28:16 | |
What a great day we've had today | 0:28:21 | 0:28:23 | |
and such quirky objects here, in Bakewell. | 0:28:23 | 0:28:27 | |
You could say it's been as sweet as pie | 0:28:27 | 0:28:30 | |
-or, should I say, pudding? -HE LAUGHS | 0:28:30 | 0:28:33 |