- 1 week ago
Antiques Roadshow - Season 48 Episode 20 -
Unseen Treasures 2
Unseen Treasures 2
Category
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FunTranscript
00:00Every year we travel the country, giving you the chance to show our experts your cherished items.
00:06But our summer roadshows have proved so popular, we haven't been able to pack in all the pieces you brought along.
00:13So tonight we'll be showing some unseen moments from some of our most memorable venues.
00:18Coming up?
00:20When I opened that, I thought, wow, this is something I have never seen before.
00:25Well, do you know what? I wish I did know Ada, because I bet Ada had a really cracking sense of humour.
00:32It's not a bad birthday present.
00:34Not a bad birthday present.
00:36So do you think your husband might like them more if I put a more punchy value?
00:40No.
00:41He's taught me not to bring them back.
00:42Go.
00:45I'll also be paying a visit to Trenton Gardens on the outskirts of Stoke-on-Trent,
00:50a city that's celebrating its centenary in 2025.
00:53And as I'll be finding out, the history of the potteries is closely entwined with the story of these splendid gardens.
01:01They were designed in the 18th century by Capability Brown, no less, for the Duke of Sutherland.
01:06And at the time, they were considered the most impressive in the land.
01:12We love a good garden on the Antiques Roadshow, and we've seen some very memorable ones this year.
01:17Welcome to the Antiques Roadshow.
01:18We visited some stunning historical buildings in 2025,
01:41and back on a sunny day in May, we set up at Shuttleworth House in Bedfordshire,
01:47where ceramics expert Catherine Wright found a piece that recalled the glory days of one of Stoke's finest potters.
01:53Well, my spirit's really lifted today when I saw you produce this beautiful pair of vases from your bag.
02:01What can you tell me about them?
02:02I've had them seven years since my mother passed.
02:05I really don't know an awful lot about them.
02:07All I know is that they're Moorcroft.
02:09Mum has had them for many, many years.
02:12I don't even know what style pattern they are, so, yeah.
02:15And was your mum a Keane Moorcroft collector?
02:17No, no, she was an antique collector.
02:20So she collected everything?
02:21Everything, yes, yes, lots and lots of things.
02:23So these are vases in the Hazeldean pattern, designed by William Moorcroft.
02:27And what's particularly nice about these vases is that if we have a look underneath,
02:33we see William Moorcroft's signature, painted in green, W. Moorcroft design.
02:39So the Hazeldean pattern, it was a pattern that was specifically designed for the luxury retail shop Liberty & Co.
02:45What age are they?
02:47They're dated 1913, and that is when Moorcroft founded his own pottery.
02:52So these are lovely early examples of his work.
02:55This pattern, you can see, is very much influenced by the Art Nouveau.
02:59What we have is this lovely pattern of elongated trees in a landscape setting.
03:05And this was a time in which Moorcroft was sort of expanding beyond floral designs
03:09and going into landscape designs in his pottery.
03:13The technique here that he uses is the signature of Moorcroft, and it's this tube lining technique
03:19where he's picked out all of the organic details of the branches and the trunks in liquefied slip.
03:26Lovely colours, this bluish-green glaze with celadon tones in the landscape here and yellows coming through.
03:34Do you live with them now, and do you have them displayed in your own home?
03:39They are on a shelf, and I don't really particularly like them.
03:43Oh, my goodness!
03:44So, yeah, sorry, Mum.
03:47Well, I absolutely love these vases.
03:49And because they're large, you've got a pair, and the pattern is desirable.
03:54Yes.
03:54I think these would comfortably be worth, in the region, a £4,000 to £6,000 at auction.
04:00What?
04:01Yeah.
04:04Really?
04:04Oh, well, I'm glad that's such good news for you.
04:07When I found out that the actual pattern is Hazeldean, it was quite nice because my mum's name is Hazel,
04:20so I can imagine that's the reason why she got them in the first place.
04:25So, yeah, it was lovely.
04:26Really nice.
04:27This is a wonderfully imposing image of a gentleman, isn't it?
04:39And I know this gentleman as William Frederick Cody,
04:43but known to most people, of course, by the legendary title of Buffalo Bill.
04:48I'm very interested in the history of Buffalo Bill's Wild West show.
04:52He was born in 1846, and he had a tough upbringing.
04:57By the age of 11, he was working.
04:59At 14, he was a Pony Express rider.
05:02Wow.
05:03So, I know there's a family story going on here to do with Buffalo Bill,
05:07and we have this photograph.
05:08Can you tell me about this gentleman in the photograph?
05:10Yes, it's a great-uncle, and he was my great-grandmother's brother.
05:16I can see he's in military uniform here.
05:18Can you tell me something about that?
05:19Yes, he was in the first lifeguards.
05:21What was his association with Buffalo Bill?
05:24From what I was told, Buffalo Bill came over to recruit horse riders,
05:29and I suppose because he was in the horse guards and a good horseman.
05:33That's a pretty incredible story.
05:34In fact, it's not a story that I've heard before.
05:37The Wild West show was a kind of fairytale image, really,
05:40or a fairytale representation of what the Wild West was like.
05:44But, of course, we know that to be a very, very different scenario.
05:48So, the period we're talking about, basically, is the kind of 1880s,
05:52and Cody toured Britain and Europe on several occasions.
05:56Even Queen Victoria came to see the Wild West show.
06:00One thing that kind of ties him in as well are things like this.
06:04So, this is an official route, Buffalo Bill's Wild West,
06:07and it's an official date route of all the places that they were visiting.
06:12It's an incredible itinerary.
06:15I cannot tell you how many shows they were enacting.
06:19And, in fact, I do believe that on some of these,
06:22your relative's name is actually written on the back on one of them.
06:25So, that ties him in absolutely perfectly.
06:28He was there.
06:29He was doing this.
06:30This, in itself, is a lithographed advertising sign.
06:36Oh!
06:36So, in fact, this is actually on tin.
06:40So, if I tap it, you can hear that.
06:42This signature in the bottom says,
06:44Sincerely yours, Buffalo Bill.
06:46It's not a real signature.
06:48Oh!
06:49Value?
06:51It would be worth a lot more if this was a real signature.
06:55But I think, as it stands at auction,
06:56this would currently be worth around about £400 to £600.
07:00Yeah.
07:00But, delightful.
07:02Thank you for bringing it.
07:02It's a lovely story, isn't it?
07:03It is.
07:04Yes, thank you.
07:06I'm kind of speechless,
07:12because I have never seen such a bizarre collection of Christmas cards.
07:17Where's the joviality, the jolliness of Christmas?
07:21None there.
07:22No, it's all kind of bizarre,
07:24from devils and sort of a man drunk in the street.
07:26Yes, yes.
07:27If you didn't mention Christmas, you wouldn't know.
07:28No.
07:29No Christmas cards.
07:30No.
07:30How and why?
07:31Are you a collector of Christmas cards?
07:33No, no.
07:33I just came across the collection in my elderly cousin's house after she died.
07:38I mean, they're signed from, most of them, by somebody called Ada.
07:42And I don't really know an Ada in the family.
07:44Well, do you know what?
07:44I wish I did know Ada, because I bet Ada had a really cracking sense of humour.
07:50You've got sort of slightly naughty.
07:51They're almost like the sort of saucy seaside postcards, aren't they?
07:54Yes, they're doing that one.
07:54There's this man about town there with his cane, a true boulevardier.
07:59And you open it up, and like a true boulevardier, he's having a load of fun.
08:04And then here, you've got this ta-da, hee-haw of a donkey.
08:09In a barn.
08:10A lot of these are printed really, really well.
08:12And I think best wishes for the new century is obviously a pun on century, century.
08:16So I'm guessing that's, what, 1899.
08:19So we're looking at sort of late Victorian turn of the 20th century cards.
08:24People do collect Christmas cards.
08:25Valentine's is the big one.
08:26But Christmas card collectors are out there, and they're very ardent and avid.
08:30Let's just say we've got £20 on average, 20, 40, 60, 80, 100, and 20, 40.
08:36You've probably got over £200 worth, and maybe considerably more.
08:40Yes, I really didn't think there was any value to them.
08:42Just curiosity and amazement.
08:45Good old Ada, right?
08:46Yes.
09:00Well, the style and the design of this gorgeous polar bear just scream Art Deco.
09:07But before we reveal a little bit of his story, tell me, how did you come to own him?
09:11He was a wedding present to my parents.
09:15They were married in 1944.
09:17I've known it all my life, obviously.
09:19And they gave it to me when I got married.
09:22And do you always remember it in their home?
09:23Oh, always.
09:25Absolutely.
09:25In fact, I used to play with it.
09:27You used to play with it?
09:28Yeah.
09:29Wow.
09:29So he survived?
09:30He did.
09:32And my children played with it, actually.
09:34Well, he's just the most gorgeous thing.
09:36He's the most beautifully designed item.
09:39And when we look at it, you know, it's all about this economy of line, this simplicity,
09:44that just pairs this wonderful polar bear down to, you know, the absolute bare minimum.
09:48Here he is sat on this sort of stepped ice block, looking down into this wonderful three-ripple pool.
09:56And actually, if we turn him over, there's a lot of little gifts there for us,
10:00because underneath we have the words polar bear, modelled by Doris Linder.
10:06And then next to it, the Royal Worcester Marks, dated 1937.
10:13Well, Doris Linder was actually a very talented artist.
10:15She was born at the end of the 19th century, 1896, in South Wales, but went on to study art,
10:22first training at St Martin's School, looking at sculpture.
10:26She then went on to the British Academy in Rome, and then came back to London to the Calderon's Animal School,
10:31where she learnt to observe animals and just pare them down in that beautiful stylistic form.
10:38In 1920, she actually exhibited a number of her works at heels of London.
10:43And, of course, it was there that she was picked up and spotted by the management of Royal Worcester.
10:49And in 1931, they launched a range which included works by her.
10:54And, of course, over the period, she created all kinds of studies of dogs, horses, but also she did her zoo babies.
11:02And I think this is probably where he came from.
11:04I've never had the pleasure of handling this model, and I love him.
11:10And I think if he were to come up for sale at auction today, I think you'd comfortably be looking at somewhere in the region of £500 to £800 for him.
11:19I won't tell the kids.
11:20This is by one of my favourite artists.
11:30He became president of the Royal Academy, we are not worthy, Sir Frank Dixie.
11:34By the time he died in 1928, he was essentially in the modern world, but he's a Victorian painter.
11:40And this is the sort of picture that he made his name with, mythological Grande Mise-en-Seine.
11:45What an amazing burst of colour that is.
11:47I think it's a study for a much larger picture, I'm pretty sure.
11:51So, Frank Dixie, what is he to you?
11:53He's my great-great-uncle on my mother's side of the family.
11:58So these are direct from his studio, effectively, or his house?
12:00Pretty much, yeah.
12:01These would all have been in the family in one person's hand.
12:06They've come down to me now.
12:07It's oil on card, and it's just beautifully and freely done.
12:12He's just done it as a colour sketch.
12:14She hasn't bothered with the details of the faces because it's not about drawing.
12:18It's about tying in all the shapes and the composition, getting the colours in order.
12:24This is the kind of picture that he made his name with.
12:26Imagine this, really huge, on the wall of the Royal Academy, with a frame perhaps even larger than the picture itself.
12:33What he also did was this kind of domestic scene underneath it.
12:37I mean, that's very Victorian, isn't it?
12:39Well, it's all very romantic, isn't it?
12:41This wonderful little oil painting of a girl reading a love letter by candlelight.
12:47It is one of my favourites.
12:48It's very intimate, isn't it?
12:50And the glow of light in a halo, casting a shadow across her brown ringlets on the back of the chair.
12:56So I suppose that's a bit earlier than this mythological scene of maybe about 1870.
13:01The clothes make me think so.
13:03But Frank Dixie was of a large family of very good painters, and none of these pictures are signed.
13:09Thinking about it, this could well be by Frank's father, Thomas Francis Dixie.
13:14And then this delightful little sketch, which shows how free he could be when he wasn't trying too hard for the Royal Academy.
13:22Who's that little girl?
13:23Well, yeah, the family story is that it is based on my grandmother.
13:28She's so alert, and the light on her face is so delightful.
13:31And the hair completely uncoiffed and natural.
13:33Totally innocent.
13:34With this lovely white light behind her.
13:36I mean, he's really caught her inquiring inquisitive inspiration, hasn't he?
13:41I love the speed at which it's done.
13:43Just a few strokes, I can imagine.
13:45He's good enough to do that in, like, 20 minutes.
13:47I just wish.
13:49If only we could all do that.
13:51Yeah.
13:52Again, it's possible that this is actually by another member of the Dixie family.
13:56That's Frank's sister, Margaret, who was also really good.
14:00OK, what are they all worth?
14:01Put them back.
14:02Looking at that, I'd say £4,000 to £6,000.
14:06Wow.
14:07It's wonderful.
14:09What about that?
14:10I mean, it's delightful.
14:12I think that's £6,000 to £8,000 of anyone's money.
14:15And then, lastly, this delightful thing.
14:17Not so valuable, and yet I'm going to put £2,000 to £3,000 on that.
14:22That will add up to something like over £15,000.
14:27It's quite a lot when you finish up.
14:30Quite surprising.
14:31Well, they're brilliant things, really lovely things.
14:33Stoke-on-Trent is celebrating 100 years as a city,
14:53and at nearby Trenton Gardens, we're making a welcome return visit,
14:57a decade since the roadshow was here in 2015.
14:59Back then, it was being restored to its former glory,
15:05having lain neglected for years.
15:08And now, look, we've got the blossoms.
15:10You can smell the perfume.
15:12But I tell you, back in the day,
15:13you would not have wanted to take any deep breaths around here.
15:17When Capability Brown designed the garden in the 18th century
15:22with the lake as its ornamental showpiece,
15:25part of the river Trent was dammed to allow it to supply the water.
15:30Big mistake.
15:31As the potteries grew and became more industrialised,
15:34the towns expanded,
15:35and the Trent, just by Trenton, became more and more polluted.
15:40The river was described at the time as a foul, slimy sewer,
15:45brimful of the impurities of every dirty, crowded town that hugs its banks.
15:51For the Duke and Duchess of Sutherland, the owners of Trenton Hall,
15:55well, the place just stank.
15:57So they decided to put the place up for sale.
15:59But the stench was so bad, they couldn't get a sniff from a buyer.
16:03Six years later, abandoned and unloved,
16:08the hall was pulled down and its sculptures, windows and doors
16:11were sold off to raise funds.
16:14There was no longer a grand house.
16:17So it was the gardens that had further incarnations.
16:20In the 30s and the 40s, they became the playground of the potteries
16:24with an outdoor swimming pool, a bandstand, miniature railway.
16:28And then in the 60s, a ballroom was built
16:31which hosted the big bands of the day.
16:33The Beatles led Zeppelin.
16:35But from the 1970s to the early 2000s,
16:38the gardens were forgotten once more
16:40before a restoration project in 2004 brought them back to life.
16:45Look at it today.
16:46Visitors can come here and enjoy the gardens restored to their former glory.
16:51And the lake, looking just beautiful,
16:53onto the island, beavers have been reintroduced.
16:56And then...
16:59I'm going to sniff the air, clean and fresh.
17:01The transformation is complete.
17:04Back on a baking hot day in June,
17:20the Roadshow visited Lister Park in Bradford,
17:23then celebrating its status as 2025 City of Culture.
17:27And among the crowds, eagle-eyed miscellaneous expert Ronnie Archer Morgan spied
17:33a miniature treasure.
17:35I know it's tiny, but it's perfectly formed and perfectly charming.
17:42This little celluloid tape measure.
17:45Where did you get it?
17:46Well, I bought it in a jumble sale when I was very young, about six, seven.
17:51I loved it.
17:52And I used to always go buying little things in jumble sales.
17:54Went to a lot of them when I was a child.
17:56Can you remember what you paid?
17:57It would have been a penny or something.
17:58I only ever had a few pennies with me.
18:00I used to get loads in jumble sales at that time.
18:02When I first started collecting, I collected Piero's.
18:07Oh.
18:07So that drew me to it.
18:09Right.
18:10But I love the dog singing to his music.
18:13Yes.
18:14The dog's there, all moulded into the celluloid,
18:16and singing to his tune.
18:19And Piero's are very romantic.
18:22And it's probably French.
18:24Oh, great.
18:25I would say this is early 1920s, I would think.
18:30It still functions.
18:31Yes, it still pulls out.
18:33It still pulls out.
18:34I don't want to pull it all the way out
18:36because, you know, you have to ease them back in.
18:39When I first saw it, you know,
18:41I said to you that it's made of celluloid.
18:43And celluloid's an early plastic.
18:45Yeah.
18:45And people collect things made of early plastics, you know.
18:48A collector would pay, I think,
18:50I'm going to stick my neck out,
18:52certainly £100, possibly up to £150 for that.
18:55Wow.
18:56And the fact you bought it when you were six or seven...
18:59Yeah.
19:00..is heaven.
19:01That's lovely. Thank you so much.
19:06I was surprised.
19:08I didn't realise it would be worth anything, to be really fair,
19:11but it isn't about the money anyway.
19:13I was more curious about what it was made from
19:16and, you know, where it might have come from, really.
19:27We get loads of Bibles on the Antiques Roadshow,
19:30as you can imagine,
19:31and many of them don't have a date on them.
19:34So you find yourself looking for clues.
19:36There's a bit of a clue on the spine here, 1561.
19:39There's a bit of a clue on the title page here in Roman numerals, 1560.
19:44What do you know about the date of this Bible?
19:46We purely just assumed it was 1561
19:49because that was what was on the spine of the book.
19:52Well, don't always judge a book by its cover
19:54because I've had to go away and do a little bit of research
19:57because I couldn't quite join up the dots.
19:59I think it's actually published by this John Cawood in 1569.
20:04Right.
20:05And it's really quite rare.
20:07Oh.
20:08The first English Bible complete
20:10was published by Miles Coverdale in 1535.
20:14So this is within about 30 years
20:16of the first complete English Bible.
20:18It's not in the best condition,
20:20but it is really, really quite rare.
20:22And at auction,
20:24I could see it making somewhere north of £3,000.
20:26That's excellent.
20:27Fantastic.
20:29Thank you so much for bringing it.
20:31Pleasure.
20:31Where do you hang these horns at home?
20:38Well, they don't hang on the wall.
20:39They sit on top of the wardrobe.
20:41They've sat on the wardrobe,
20:43three different wardrobes, for about 49 years.
20:46Is that because you don't like them?
20:47No, that's because my husband will probably divorce me
20:50if I attempted to put them on the wall.
20:53He's not a fan, let's put it that way.
20:55Where are they from?
20:56Give us some history.
20:57Well, I inherited these from my great-grandmother.
21:01Her father, my great-great-great-grandfather,
21:04had these hanging on the pub,
21:07which he ran in East League.
21:09Now, they wouldn't just be, by any chance,
21:11this gentleman here.
21:12It is indeed, yeah.
21:13That's Morton Handley.
21:15Right.
21:15And he was a publican.
21:17He owned two or three different pubs.
21:19Well, believe it or not, I would have thought these probably are 1860s.
21:24Wow.
21:25They look like the work of a very famous Scrimshaw engraver called Gustav Fontemsky.
21:32He was a Prussian.
21:34Yes.
21:34And he was an adventurer, artist, ended up in New Zealand as a soldier.
21:40Wow.
21:41These are very similar to the sort of things he engraved.
21:46The decoration was literally scratched out.
21:50And you then, once you'd scratched your design,
21:53you would rub a soot-based pigment into those lines that you'd engraved,
21:59into a, you know, the soft cow horn.
22:03And, hey, polish it up and look what you've got.
22:06Now, what are they worth?
22:08So, do you think your husband might like them more if I put a more punchy value?
22:12No.
22:12Absolutely not.
22:13He's told me not to bring them back.
22:15Go.
22:16Well, they're in very beautiful condition.
22:19I haven't ever seen better.
22:21At auction, probably around £1,000.
22:25Possibly a little more, possibly a little less.
22:29They're not everybody's thing, but very unusual.
22:31A fabulous signed souvenir programme,
22:41the Rolling Stones in the Queen's Hall in Leeds,
22:44from July 1964.
22:46Obviously, not yours.
22:47No.
22:47You're far too young.
22:49I'd like to know where they came from.
22:50It was a birthday present for my 15th birthday
22:53from one of our neighbours,
22:54who knew that I was in a band and liked my music.
22:57How fantastic.
22:58And did she get them signed herself?
22:59She did, yeah.
23:00Her husband, I believe, went to the gig
23:02either to review it for a local newspaper or a local magazine.
23:06Oh, right.
23:07Yeah.
23:07Well, here we go.
23:08It's the 12th of July 1964.
23:10Well, It's All Over Now was number one.
23:13And the Stones had just come back
23:15from their first North American tour.
23:17So, they were cresting a wave.
23:18I mean, they were really at the start of their major career.
23:22You just wonder what the atmosphere was like
23:24in the Queen's Hall in Leeds.
23:25It was pretty exciting.
23:25It must have been unbelievable.
23:27And then we've got another Stones concert here.
23:30It looks as if it's from their 1965 tour,
23:32but it doesn't actually give the venue on it.
23:34And then we have the Four Aces programme from the Beatles.
23:38Again, it doesn't say where it is.
23:40I believe they're both from the Bradford gig.
23:42OK.
23:42Yeah, because we've got the tickets for them.
23:44Oh.
23:45Yeah.
23:45OK.
23:46So, oh, heavens, look at this.
23:49So, this is the Beatles in 1964, October the 9th.
23:55The Beatles had just come back from their second North American tour.
23:57It was all kicking off then, I think.
23:59It was really kicking off.
24:01Hard Day's Night, the album, was number one.
24:04And look at this.
24:04This is A3 in the stall.
24:06She must have been right.
24:07Right at the front on stage.
24:08Exactly.
24:09Do you think she heard anything?
24:10Of the screaming, probably not.
24:12But, no.
24:13So, let's talk about the unsigned pieces first.
24:16So, the Beatles Four Aces,
24:19with the two tickets here for the performance.
24:22We're probably talking about £300-ish, maybe £400.
24:27So, that's very nice.
24:28Wow.
24:29The 1965 Rolling Stones, again, with its tickets,
24:36an unsigned piece doesn't have the same sort of cachet,
24:39so we're talking about £80 to £100.
24:41Yes.
24:42Very good, yeah.
24:42But, of course, this is the prize.
24:44This is the treasure from such an important part
24:49at the start of their career.
24:50I would see this fetching between £1,500 and £1,800 at auction.
24:55Really?
24:57It's not a bad birthday present.
24:59Not a bad birthday present.
25:01No.
25:16We've travelled far and wide this year,
25:19and when we visited the hill of Tarvit in Fife on Scotland's east coast.
25:23I couldn't resist a quick round of golf on the estate's course,
25:27the only one in the UK to still use hickory clubs.
25:31Nice swing from the shoulders, keep your head still.
25:34Rude not to, really, in the home of golf.
25:38That is not too bad.
25:40It's not bad at all, actually.
25:42It's not bad at all, actually.
25:43Back at the mansion,
25:44picture specialist Charlotte Reardon came across an intriguing pair of portraits.
25:50So, we're standing here next to a beautiful young couple,
25:53painted in the Edwardian period.
25:55Can you tell me a little bit about the romantic backstory here?
25:58Yes, well, this is Norman, 17-year-old.
26:01This was commissioned by his mother and father before he actually went to war.
26:06And this is Jeanette.
26:07She was walking down the high street in Perth,
26:09and the artist had seen her and said,
26:11I'd like to paint you.
26:13But she actually said,
26:14Hmm, that can't happen.
26:16I'll have to ask my mother.
26:17And the mother said,
26:18Yes, OK, I can paint you.
26:20But these are actually by the same artist, Charles Seller.
26:23And actually, these were painted before they met each other.
26:27So, they're married later on in life.
26:28And the daughter, actually, of these couple,
26:31left them to me when she passed away.
26:33So lovely.
26:33As you say, they're both painted by the same artist.
26:36This is Charles Seller.
26:37Now, portraiture in the Edwardian period,
26:39which is where these works sort of hail from,
26:41was a lucrative way for an artist to make a living.
26:44He's a sort of sensitive study of character, I think.
26:47You know, this is really beautifully observed
26:49and in watercolour with sort of chalk elements.
26:52She's obviously an extreme beauty,
26:54beautiful, elegant neck
26:55and just a lovely sort of distant look in her eyes there.
26:59And this, I think, is especially poignant.
27:00He was just about to go off to war.
27:02This might have been something his parents made to remember him by,
27:05if the worst were to happen, as it did to so many young men.
27:08It just captures that sort of on the cusp of manhood, I think.
27:10It's got the little sort of shadow of a moustache.
27:14His hat looks a wee bit big on his head.
27:15Really lovely little snapshot in time.
27:17It's a piece of social history as well,
27:19in that sense.
27:20And luckily, Norman actually got through the war
27:22and he came back and they got together.
27:25It's just unusual that two paintings by the same artist
27:28end up together before they even met.
27:31So they've obviously had a bit of TLC,
27:33some lovely new frames here, keeping them in good condition.
27:36Do you have them hanging at home?
27:37Yes, they're hanging in the hall,
27:38so every time we come downstairs in the morning and say,
27:40good morning, Norman, good morning, Jeanette,
27:42it's just nice pictures to look at.
27:44Value-wise, I think, at auction and, you know, sold individually,
27:49although obviously you never want to separate them.
27:51Yeah, you wouldn't want to separate them.
27:51But sold individually, you'd probably be looking at around sort of three to five hundred each at auction.
27:57They belong together.
27:58Beautiful heart pendant, which is the epitome of love and sentiment.
28:12It's got an inscription around the edge.
28:14What does that say?
28:15It says Henry Barnard de la Porte Beresford Pierce.
28:20He was my adopted grandfather.
28:22And how do you think he got hold of the pendant?
28:24I think it was probably given to him on his christening,
28:29because it was the year he was born, in 1875.
28:32And I see that somebody is wearing the pendant in this rather special photograph here.
28:38That is me on my wedding day in 1971.
28:42Well, it is absolutely stunning.
28:44The heart is cabochon rock crystal, which, of course, is just the epitome of love and sentiment.
28:50And then, of course, we have the diamond-set bow on the top.
28:53And when you fall in love and the relationship is wonderful, you can tie the bow.
28:58And then, of course, sometimes relationships go wrong,
29:01and it's recognised by you pull the ribbon and the bow comes undone,
29:06but then you find true love again and you tie it again.
29:08So it's all will be fine at the end of the day.
29:11Date-wise, it's probably just a little bit earlier than when your grandfather was born.
29:17And this style of jewellery was very popular for a very long time through that Victorian time,
29:24which was all about love and sentiment.
29:26There aren't any hallmarks on it.
29:28There aren't any maker's marks on it either, which is typical of the period.
29:31But it's quite clear that it's of a good hand and is more than likely British-made,
29:38possibly by a good top London jeweller.
29:41I'm sure you're intrigued to know about value.
29:44I would like to know.
29:46Yes.
29:46Well, we are looking at a piece of jewellery that at auction would fetch somewhere between £2,000 and £3,000.
29:56It's absolutely lovely.
29:58Thank you very much for bringing it along.
29:59Not at all. Thank you very much.
30:09So this is a very striking vase that you've brought along.
30:12What can you tell me about this piece?
30:14Only, unfortunately, that it belonged to my grandparents.
30:18My grandmother did a short spell of service down in London.
30:21We don't know whether it was a wedding gift or whether when she was down in service it was gifted to her down there.
30:28But it's been in my house.
30:30I'm the third generation in the house.
30:32And it's been in my house all these years.
30:34It's a vase designed by a lady called Charlotte Reed.
30:38Yep.
30:38And she was working in the potteries in the 1930s.
30:42The vase is of this ovoid, ribbed form with a sort of speckled, mottled glaze
30:47and then this band of bold Aztec pattern decoration at the top.
30:52And you can see here that it's clearly marked C. Reed with her signature on the base.
30:58Charlotte Reed's work is probably the least celebrated of some of the very iconic female designers
31:04who were working in the potteries in the 1930s.
31:07So the value at auction would be much more modest.
31:10And it's probably in the region of £80 to £120.
31:14Lovely. Thank you.
31:27I've got to say, look, these really come to life and glisten in this late afternoon sunshine that we're basking in today.
31:34They're almost sort of jewel-like, aren't they?
31:35What do you know about them?
31:36They came from my mother's family.
31:39Her great-grandfather was involved with a China trade based in Boston in the United States.
31:45And I believe they went into Japan in the early days when the Westerners were first being allowed in
31:51because there are lovely Japanese things like this scattered around the family.
31:56So what they are, well, they're Japanese and they are sort of knife hilts or kazuka, as they're called in Japan.
32:07And the material that they're made from, it's a mix of metals.
32:11And they date from the 19th century.
32:14Well, the first one we've got here is we've got this little priest's attendant, I suppose,
32:19and he looks like he's having a really fun time at a festival or something like that.
32:24And if I turn that back, that's signed by an artist here called Kiyosugu, who was producing incredible fine work.
32:33And I mean, that's, you know, you can't argue with that.
32:35So this one on the front, Shiraboshi, so this is a type of Japanese dancer or entertainer.
32:42And that's the figure that is depicted there.
32:44And again, exceptional quality.
32:46Now, this one is a little torn, but it does say Kozai.
32:50So that is pronounced Kozai on the back.
32:53So that little bit of paper that somebody translated, absolutely right.
32:57And then this fellow on the front here is Jorajin, so he's a god.
33:01And again, look, signed on the back here.
33:04And they were absolutely right.
33:07Tomoyoshi, and that is the signature on that one.
33:10And does the turtle mean anything?
33:12It's a minigami.
33:13So, yes, so this minigami is a sort of a mythical figure in Japan.
33:17And it has a long tail, which is, in fact, sort of seaweed.
33:20So it's often sort of depicted, so it's seaweed on the minigami.
33:23So, yeah.
33:23You like them?
33:24I do.
33:25What do you like about them?
33:27The skill, the craft that went into making them.
33:30And they tell you something about Japan at that time, which is fascinating.
33:35Presumably, they were prestigious items.
33:38I mean, clearly, because so much effort was put into them.
33:41They are a really nice group.
33:43They're a really nice set.
33:44And I think if they came up at auction,
33:46they'd probably make somewhere between £8 to £1,200, something like that.
33:49Actually, goodness me.
33:51Yeah.
33:53The detail is quite amazing.
33:56We have learned about them.
33:57And the fact that they were individual artists doing them is fascinating.
34:02And they are really special.
34:04And I love the story about the turtle on the back as well.
34:06Well, I've seen many snuff boxes on the Antiques Roadshow over the years.
34:20But I have to say, the snuff box that you've brought in is one of the best I have ever seen.
34:25It's 18-carat gold, it's Scottish, and it's got this fabulous faceted citrine on top.
34:33Tell us how it's come into your family.
34:35Well, it was passed down to the family on my husband's side, and he inherited it from his grandmother.
34:41So we'll just have a look at the base, because that's got all the information, I think, that we need.
34:47It says, nicely engraved, from Andrew Tennant to his friend Alexander Blackie and his heirs forever.
34:58Yeah.
34:58It says, 1815, it's a splendid inscription, isn't it?
35:03That's a specialist engraver who's done that part of the box.
35:06But there's many other specialists who've been involved in the making of it.
35:09The border is cast in 18-carat gold.
35:12The sides are incurved, and we have a special flush hinge on the back.
35:18So it's a specialist hinge maker who has done that.
35:20The stone itself will have been done by an Edinburgh lapidary specialist who've cut the stones.
35:26The colour of that stone, sometimes you'll see that catalogue as smoky quartz.
35:30It's got that golden, almost honey, whisky colour to a deep, deep colour.
35:36It's a fantastic stone in its own right.
35:39I would need to do a bit more research to find out the exact maker.
35:42The maker's mark is clearly here.
35:45IG, Edinburgh, 1815.
35:48The nice thing, though, I don't know if you've noticed, between the date and the hallmark,
35:52it has the actual maker of the box, Deary, D-E-A-R-I-E.
35:56I didn't know that.
35:57No.
35:57It's quite faint, but it's there.
36:00So, again, we would need to do a bit further research just to find out what he fits in.
36:04But that must have been one real special friend to have given a box like that.
36:08Yes.
36:09We don't know why or what the relationship was between his friend and Alexander Blackie,
36:17who was the ancestor.
36:18Yeah.
36:19But it would be very interesting to find out.
36:21If that turned up on the market, you would be looking at an estimate of £10,000 to £15,000.
36:27Oh, wow.
36:29That's very nice to hear.
36:32Gosh.
36:34Thanks so much for bringing it today.
36:35It's made my day.
36:36Well, it's made my day unexpectedly, yes.
36:39Wonderful.
36:45From high summer in Fife, we return to early autumn sunshine in Trenton Gardens near Stoke-on-Trent,
36:51where expert Will Farmer is challenging me to an appropriately pottery-based game.
36:58We're in the land of the potteries.
36:59We're going to be talking about ceramics.
37:01Who better than Will?
37:03And we have to rank these in order of value with basic better best.
37:06Correct.
37:06And they all look absolutely stunning.
37:08This is really about luxurious lustres.
37:12What I wanted to do was bring along three pieces that really epitomise that late 19th, early 20th century
37:19surge and renaissance in the work of lustreware, because lustreware is just this incredible medium
37:25in the world of ceramics.
37:27You're looking at wares here that all use silver, gold, platinum, reduction firings to remove oxygen,
37:33to create these beautiful finishes.
37:36So let's start nearest you.
37:37This is a piece by the great William D. Morgan, a beautiful double ruby lustre.
37:43Circa late 1880s, pulling in all those Hispano-Moresque sort of ideas,
37:48the florid motifs, the dragons, everything you'd want to see.
37:52Move on nearest me.
37:53We've got a piece that's a little bit later, 1912, 1915.
37:58This is Richard Joyce for Pilkington's Lancastrian, who were really the masters.
38:03I mean, and this is incredible.
38:04It's got the goddess of the sea being pulled by Hippocampia.
38:08I mean, this is a show-stopping piece.
38:10And then in the middle, the latest of all three.
38:14This is Circa 1920-25.
38:17And this is Daisy McKay-Jones at Wedgwood with her Fairyland lustre,
38:22a large Malfrey pot in a pattern called Candlemas.
38:25Now, the game is which, and I hate to say it myself, because they're all incredible.
38:31Yes.
38:32Which one is basic?
38:34That feels a bit harsh.
38:36Which one is better and which one is best?
38:38What are the values we're talking about?
38:40So, in terms of the values, we're looking at one of these pieces is worth between £4,000 and £6,000.
38:47One of these pieces is worth £8,000 to £9,000.
38:50And one of these pieces is worth £12,000 to £15,000.
38:58Right.
38:59Oh, my goodness.
39:00I'm hoping you've all got some ideas.
39:03Which do you think is the best?
39:05The one in the middle?
39:06The red one.
39:07Oh, the red one?
39:08Yes.
39:09And why do you choose that one?
39:10I just like the colour and the shape of the handles on the pot.
39:16And also, it's older than the others, isn't it?
39:19Yes.
39:20Yeah.
39:20OK, so you're going for that one?
39:22I'm going for that one.
39:23All right.
39:23What about you?
39:24I'm a particular fan of the one in the middle.
39:26And it's the most extraordinarily ornate one, isn't it?
39:29It is.
39:29Especially with the sun out and the colours that are reflecting off it.
39:32Whether that adds any value to it, I don't know.
39:34But it's definitely pleasing to the eye.
39:35I don't know.
39:37I don't know.
39:37I'm erring towards the red one.
39:40You like the red one?
39:40I like it more.
39:42I mean, I love the red one the best.
39:44I have to...
39:44Anyone going for the blue one?
39:46I'd go with the daisy, the Wedgford.
39:48You'd go for the one in the middle as well?
39:50Yes.
39:50So, would you like some little clues?
39:53Of course.
39:54In terms of De Morgan, double ruby luster, this is a thing he perfected.
39:59He set the benchmark.
40:02Pilkingtons, quite a high volume turnout.
40:05Their productions are out there.
40:07Also, when we look at something like Fairyland luster, you've got to think about scale, size
40:13and complexity and the amount of hours and work that have gone in to create something.
40:18So, these three show the story of how the industry has perfected the techniques and processes
40:24of lusterware.
40:26Right.
40:27Now, what we have to bear in mind, ladies and gents, is that Will is also probably trying
40:30to throw us off a bit with that.
40:33Oh, as I've learnt with you.
40:35I'm actually trying to help you here.
40:36Yeah, yeah.
40:36I am, I promise you.
40:37I promise you.
40:38He always says that as well.
40:39Well, the thing is, look, this is the obvious sock you in the chops, showstopper rock star pot.
40:47So, are you locking that in?
40:48No, because...
40:50Because you always tell me, go with what you like.
40:53Yeah.
40:54And I would have thought this would be more to today's taste.
40:58either this one or that one.
41:01Two out of three went for this.
41:04Yeah.
41:04And that's good enough for me because it's my favourite.
41:06OK.
41:06If you turn around and tell me it's that, I'm going to be very cross.
41:08But I'm going to say, basic, they're obviously not very basic at all, which is the Pilkington.
41:14Yeah.
41:15Better.
41:16Yeah.
41:16Best.
41:17Locked in.
41:19Oh, boy.
41:20You're going to be cross.
41:22Oh.
41:22Oh.
41:23You should have gone with the hit-you-round-the-chop showstopper.
41:26Oh, no!
41:28This is our basic, although I hate to use that word because it is so beautiful, but is
41:33the Pilkington's Lancastrian by Richard Joyce at £4,000 to £6,000.
41:38The Ruby Lustre, the double Ruby Lustre by De Morgan at sort of £8,000 to £9,000 is our
41:44better.
41:44That, that is the absolute glory piece of Daisy McKay Jones for Wedgwood Ferryland Lustre,
41:52£12,000 to £15,000.
41:55Oh, gosh.
41:56Well done, you.
41:57Thanks very much.
41:58You're welcome.
41:59One of our busiest locations this year was Stephen's House in North London.
42:19It was once home to Henry Stephen's, who made his fortune from indelible ink.
42:24He then spent it creating a beautiful, self-sufficient garden.
42:29And in one of its tranquil corners, Francis Christie found a striking sculpture by a forgotten artist.
42:35So this is a wonderfully elegant bronze sculpture of what looks like a woman swimming.
42:48And it's by an artist who, back at the height of his career in the sort of 1970s and 80s,
42:54he was one of the most popular artists at the Royal Academy.
42:58Now, his name was Sidney Harpley, and I'm wondering how this beautiful sculpture came to be yours.
43:05Well, my parents, in 1985, went to the summer exhibition at the Royal Academy, as they always
43:11did, and they went into the sculpture room, and the first thing my mum saw was this sculpture.
43:18And she just completely fell in love with it.
43:21But unfortunately, it had the sold sticker on.
43:23Oh, no.
43:23So, my dad, without my mum knowing, he contacted Sculptor to find out that the nine he'd cast
43:30of them had all been sold.
43:31Roll on a couple of months later, on my parents' wedding anniversary, there was a knock on
43:35the front door of the house, and there was Sidney Harpley with his own copy to present
43:41to my mum.
43:42Wow.
43:43From my father.
43:44And that's how we've got it.
43:46And about 10 years ago, she decided it would be the right thing to do to pass it on to James.
43:51Oh, lucky you, James.
43:52And did your parents ever say what Sidney Harpley was like?
43:57He was apparently a very charming man, but I don't know anything else about it at all.
44:02What's so interesting about seeing this sculpture is he was really interested by the female
44:07form, and the female form, in all different poses, really became his sort of signature
44:13subject.
44:14I think the movement that he achieves is amazingly elegant.
44:21Actually, although bronze is such a hard material, he's managed to capture this very free-flowing
44:28movement.
44:29You kind of feel that she's just about to carve into the water with the elegance of her hand
44:33movements.
44:34It's also technically incredible.
44:37He's managed to cantilever the weight of bronze coming down to this single point on her knee.
44:44He would have modeled this potentially in terracotta or in wax beforehand, and he would have really
44:51worked with the foundry, the bronze foundry, to make sure that he had the weight and the
44:56distribution properly.
44:57And she's literally floating in space.
45:01He was formally trained after the Second World War.
45:05I mean, he went to the Hammersmith School of Art.
45:06He went to the Royal College of Art.
45:08But actually, a fact about him that I think is really important, which is not so well known,
45:15is that after the Second World War, he actually worked in an artificial limb factory, which
45:20meant that he spent his days modeling and casting artificial limbs.
45:26And I think when you know that, and therefore he must have had a really intricate knowledge
45:33of anatomy, it's why his sculptures are so good, because he knew exactly what a limb should
45:41look like.
45:43So now that this sculpture is yours, what do you like about it?
45:47I love the way she sort of flows.
45:48It's, for a sculptor, it's incredibly sort of lifelike and realistic, and I just think
45:56it's just such an elegant piece to just sit and look at.
45:59So Hartley is someone who's not as well known now, I think, as he was back when your parents
46:03bought it, but he's increasingly, people are looking at his work again, which is great.
46:08And I think were this to come to auction today, we'd probably put an estimate in the region
46:12of £3,000 to £5,000.
46:14Oh, wow.
46:15Very impressive.
46:16I have no idea.
46:16Fantastic.
46:25A mystical, mysterious-looking bowl.
46:28What can you tell me about it?
46:29Been in the family now for four generations.
46:32Belonged, I understand, originally to my great-grandmother.
46:35When she died, it came to me.
46:38I'm very happy to have it.
46:39And what do you know about it?
46:41Other than the fact it's lelique and it's old lelique, very little, other than it always
46:46used to sit in the middle of my grandmother's dining table, occasionally with some fruit
46:50in it, but that's where it always was.
46:53And there are more lelique in the family.
46:55Is it a collecting area?
46:56Yes.
46:56Yeah.
46:56My sister has one with shells on, four shells on it, which she got as a wedding present,
47:05which is why when my grandmother died, I was offered this one.
47:08How wonderful.
47:09Well, let's take a deep dive into this.
47:12This shape is called coupe au vert, so open cup.
47:16We have six ladies, or nymphs, dancing in the water all around the edge.
47:22And if you have looked carefully, each one of these ladies is different, in a different
47:26position, different expression.
47:28This pattern is called ondine, and it was created by René Lalique in 1921.
47:35If we turn it over to the base, we can see that it's impressed, R Lalique, which means
47:43that this was created within his lifetime.
47:45Later on, the R was removed.
47:47It was just Lalique.
47:48And it also has, here, an etched signature, Lalique.
47:52So if we sit it back down and take a look at the ladies, they have this kind of Vaseline
47:57look about them.
47:58An opalescence, which you can see really well on this dark background of the table.
48:03That was achieved by adding cobalt oxide to the glass, whilst it was still hot.
48:09Now, the thicker the glass was, the slower the glass would cool down, and that meant the
48:16deeper the opalescence.
48:17Why does that matter?
48:19Collectors of Lalique want that opalescence to be really strong, and the deeper the opalescence,
48:25the more value they would ascribe to the piece.
48:28So this shape was made in different designs, and if you were starting to collect Lalique,
48:33you'd probably start with the pattern called coquille, which sounds like what your sister
48:37has, shells, going around the outside.
48:40That's right.
48:41That's kind of the starting point.
48:43Then next we have the poisson, which has curling fish going around the outside, a bit
48:49like the ladies here, but the ladies, the undine is the next best one.
48:54So your sister's bowl, if it's about this size, it's around 250 pounds.
48:59Poisson, around 500 pounds, but undine, wonderful opalescence, lovely design.
49:07It's what the collectors want.
49:10If this were to come up at auction, I'd expect it to fetch in the region of 1,000 pounds.
49:16That's very nice.
49:17I did better than my sister.
49:18You did.
49:20What a lovely little car mascot, which I assume is sort of stylised hair.
49:34So how did you acquire it?
49:35It was my dad's.
49:36I understand he got it from a neighbour about 30 years ago.
49:40My dad's not with us anymore, and he loved the Antiques Roadshow.
49:43So I thought I'd bring it along and see what you had to say about it.
49:49I don't know if you noticed on the back here, there's a mark.
49:51Right, yeah.
49:51And it's copyright AEL, which is Le Jeune, which although it sounds French, I think it's
49:57English, and it's 1920s.
49:59Oh, it's right, OK.
50:01And I have a particular interest for it because I'm pretty keen on hairs myself.
50:06Right, OK.
50:06The reason is, um, it's a little bit inside my jacket.
50:11True.
50:11Hairs everywhere.
50:14Anyway, value.
50:15He's in lovely condition.
50:16It's plated.
50:17I would think at auction, you're talking about between £300 and £400.
50:20Oh, OK.
50:21Yeah, not bad at all.
50:22Yeah, that's nice.
50:23It's nice to know.
50:36Well, Florence Nightingale is the reason why we're here having this conversation.
50:41Florence Nightingale, obviously the founder of nursing, modern nursing in Britain.
50:45And you've got two books related to her.
50:48One is Notes on Nursing, which is by Florence Nightingale.
50:52The other is a book with an inscription in it which is in her hand, and this is a book
50:55that she obviously owned at some point, and she's written Florence Nightingale in it.
51:00How did these two books come to you?
51:02Well, for more years than I care to think of, I had a dental practice, and on the outside
51:08of the building, there's an inscription that says, Florence Nightingale left her hospital
51:13on this site to go to the Crimea in October, whatever it was.
51:19And I had a walk-in cupboard in the basement where I kept my stock, and after about 15 years,
51:26I cleared the rubbish at the back of the cupboard, and I found these two books.
51:32That's a very nice find, isn't it?
51:33I will.
51:34Yeah.
51:34In a way, this is the main event.
51:35This is Notes on Nursing by Florence Nightingale, published in 1860, and this is actually a first
51:40edition of it, which is a rare book.
51:42It doesn't have a date on the title page.
51:45The printer's name is Harrison of Pall Mall, and this is really one of the key books in
51:49medical history.
51:50This is a distillation of everything Florence Nightingale had learnt about nursing, both in
51:56the Crimean War, which, as you say, she left to go to from your premises in Harley Street,
52:00but also back at home.
52:03And she really puts on its feet the idea of nursing as a profession, and particularly
52:09a profession for women.
52:10There's a very, I think, very moving introduction to it in her preface.
52:16Every woman, or at least almost every woman in England, has at one time or another of her
52:22life charge of the personal health of somebody, whether child or invalid.
52:28In other words, every woman is a nurse.
52:32I think that's something that resonates with at least half of the population.
52:36Yeah.
52:36And it's a very slim book, very concise, and it certainly changed the face of medical history
52:41in Britain.
52:42Yeah.
52:43So that's an important book, first edition of 1860.
52:46I'm not quite sure the background of this one.
52:49This is a book that she obviously owned.
52:50Well, there was a letter in there.
52:53Right.
52:53Which says, from her brother, to thanking them for helping organise Florence's funeral.
53:01Right.
53:02And they might like this book, which was in her library.
53:06It was one of her books as a memento.
53:09So Florence Nightingale, I think she died in 1910.
53:11Obviously, there were major public memorials for her.
53:14There was one in St Paul's Cathedral.
53:15And it sounds as though that was the occasion on which this was sent.
53:18Yes, I think that's right.
53:19As a gift.
53:19They're two very nice things to have together.
53:21I don't think they've always been together.
53:23But it's a nice, very nice provenance for this book.
53:26Right.
53:26But of course, it has some value.
53:27Not in fantastic condition.
53:29You know, it's seen some life, perhaps in practical circumstances.
53:32But the first edition of this in this condition, I'd say £800 to £1,000.
53:37Oh, wow.
53:38Oh, that, yeah.
53:40Like everybody, I'm saying that surprises me.
53:42And then it's just nice to have Florence Nightingale's signature here,
53:46albeit in pencil, but I think we'd prefer a signature in pen.
53:50But there's a reason why she wrote it in pencil.
53:52So it is as it is.
53:53I think that adds another few hundred pounds to the table here.
53:57So I think everything here, we're looking at maybe £1,200 to £1,500.
54:00I talk to it for it.
54:02My pleasure.
54:02Thank you very much.
54:03Thank you for your time.
54:04I see an awful lot of jewellery.
54:12And when I opened that, I thought, wow, this is something I have never seen before.
54:18The carving of the moonstone in this setting, I just thought, oh, my gosh, this is great craftsmanship.
54:25What do you feel when you look at it?
54:27Well, it was my mum's, and my dad bought it for her.
54:31It was always referred to as the moonstone.
54:34She wore it.
54:35I mean, she was the kind of woman who thought wearing this was OK.
54:39It's not for me.
54:40So it reminds me of her.
54:42The whole piece is about 1880.
54:44It's English.
54:45And this has sort of got a romantic vision of a Renaissance princess.
54:50But what is so wonderful is you always look at the nose with hardstone cameos.
54:56That's the easiest thing to get knocked off.
54:59Right.
55:00So if it gets worn a lot.
55:02Yes, it can easily go.
55:03So we always look at the nose or anything that's protruding.
55:06And she certainly has her nose.
55:08And she's got these lovely natural pearls around the outside and sort of just highlighted with these rubies.
55:16So, of course, you've got pearls, which is for love.
55:19You've got rubies for passion.
55:21But where does a moonstone come from?
55:23Well, it's part of the Feldspar group.
55:25You find it in Brazil.
55:26You can find it all over the world, actually.
55:29Yeah.
55:29But also what's lovely is that it's in its original fitted case.
55:35And underneath, there's the brooch fitting as well.
55:38So it's here as a pendant.
55:40If I take off the back, there it is, which is lovely.
55:44So often that gets lost.
55:46Yes.
55:46So what do you think your father was thinking when he bought this?
55:50Well, I think he bought it for his good-looking lady, who he adored.
55:55And that's why he bought this for her.
55:57Oh, that's absolutely lovely.
55:59I would say in the right auction, that could be as much as £5,000.
56:04OK.
56:07I don't know what to say.
56:08I know that it's quite usual to say, well, it's not going anywhere, but I don't wear it.
56:15Because I don't know what's happening to it.
56:16Maybe you should try to wear it.
56:18Yeah.
56:19Maybe I should.
56:20I like it a lot more now that you've told me a lot more about it.
56:23Thank you very much.
56:26It's wonderful to look back on a summer packed with so many treasures.
56:30But before we go, it's just time to return to Trenton Gardens in Staffordshire to try out a local treat.
56:39At the end of the day on the Antiques Roadshow, I'm usually getting a bit peckish.
56:42And what better than the local delicacy, Staffordshire oat cakes.
56:46Now, these are a kind of heavy-duty oat pancake.
56:49And they were a staple of miners and potters in the 19th century made by local women.
56:54I've got a slightly gourmet version.
56:56Cheese and bacon.
56:57I've never had one before.
56:59Have you all eaten these before?
57:00Right, come on.
57:04Mmm.
57:06Delicious.
57:07All right.
57:08We're going to scoff these from all of us here.
57:12Trenton Gardens from the Antiques Roadshow.
57:14Bye-bye.
57:31Bye-bye.
57:37Bye-bye.
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