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Antiques Roadshow Season 48 Episode 6
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00:00Today the Roadshow is in North London, in the leafy suburb of Finchley.
00:10Set in ten acres of beautiful gardens, this imposing Victorian mansion is Stephen's house.
00:17It was owned by Henry Stephens. He went on to become a local MP.
00:23He made his fortune out of ink, which enabled him to try new types of agriculture on his estate.
00:30And when he died in 1918, he left it for the enjoyment of the public.
00:35Are we going to enjoy ourselves today? Yes!
00:38Absolutely. Let's see if any of our experts can make them even happier.
00:45Gold, gold, gold. There's nothing like the colour of it, is it?
00:49Do you remember what you paid for any of them?
00:51My husband's standing there.
00:54Its creation is at the hand of the great Pablo Picasso.
00:57Not a piece of work for the cupboard.
00:59Yeah, definitely take it out of the cupboard.
01:01Welcome to the Antiques Roadshow.
01:21He seems to be smiling. Yeah?
01:28The dog's now smiling. I'll see if I can make you smile.
01:31So, first of all, you're going to tell me what's his story.
01:35Well, I was back in about mid-70s, I was walking down the high street in Surbiton, and I just came across this junk shop, stroke antique shop, and I saw this in the window.
01:46I just liked it.
01:48I think, you know, if you're buying anything and you're collecting anything, I think the rule number one is you've got to like it.
01:54Yes.
01:55And if you like it, it doesn't actually matter what you pay for it or what it's worth.
01:58So that's rule one, I would say.
01:59Yes.
02:00Yeah, definitely.
02:01Well, I think he's probably late 18th or even possibly early 19th century in Qing Dynasty.
02:08He's made of soapstone.
02:09Yeah.
02:10And actually, if you pick him up, you know, he actually does have that quite sort of soapy softness of the stone.
02:16And a lot of happy hands have held that over the years.
02:19Yeah.
02:20But actually, it's done it a great service because it's just put so much colour into the stone.
02:24Yeah.
02:25And what he is, he's a low hand.
02:27And the low hands were the sort of guardians of Sakyamuni Buddha.
02:31And they went through the four stages of enlightenment.
02:34So I feel much more enlightened with him sitting there with me today.
02:38If I turn it around, we'll see that he was actually holding something.
02:42Yes.
02:43You can see on the back here, he was clearly had something which he was reaching back over and it's probably a back scratcher.
02:49That's probably what it was.
02:50So he's giving that a good go at scratching his back.
02:55And then it sits really, really nicely.
02:58You often don't see them on this type of waved finish base.
03:02And I suspect on each of these, he probably would have had an incense burner or a vase or something of that type.
03:08Yes.
03:09Now, the other thing with him, not only is he missing part of his arm, so he was obviously like that when you got him,
03:14I think at some point he's had a bit of an accident and his head's been off.
03:18That was my nephew did that.
03:20Right.
03:21When he was tiny.
03:22OK.
03:23So, you know, you couldn't really blame him for that.
03:25No, no.
03:26But what he is, I have to say, I mean, I think he's beautifully carved.
03:29You see a lot of these types of soapstone carving and actually they became very popular in the latter part of the 19th century
03:35and indeed into the 20th century as kind of tourist souvenirs.
03:40And, you know, some of those, I'll be honest, they look like they were kind of carved with a trowel.
03:44Whereas him, you know, you can just see the softness of the folds of the robe and the hair.
03:50I mean, look at the way that hair is delicately painted and almost kind of etched into the stone itself.
03:56It's amazing.
03:57So we know it's Chinese.
03:58We know it's soapstone.
03:59We know it's a Lohan.
04:00And we know he's got a bit of damage.
04:02So you paid five quid.
04:03That's it.
04:04For it.
04:05So I've got to improve on five quid.
04:07Oh, good.
04:08Right.
04:09I think even in the condition he is in, I think that would make a thousand to fifteen hundred pounds of auction.
04:14Wow.
04:15Even in the condition he's in.
04:18That's a matter.
04:19I just have no idea.
04:20That's amazing.
04:21Wow.
04:22And when you go back and see your nephew, if he'd not knocked his head off, it was worth two to three thousand.
04:27So he owes you a thousand quid.
04:29And then if you can find the rest of the arm, I reckon he was worth three to four thousand.
04:32Wow.
04:33I'm so, I'm really shocked.
04:34I had no idea.
04:35It's not a bad return on five quid, is it?
04:37No.
04:38Excellent.
04:39So where's the junk shop?
04:41Uh, Serviton.
04:42Right.
04:43We're all off to Serviton.
04:45I love a jewel that has impact.
04:55And when you brought this to me, and with the sunshine, it really was impactful.
05:00So do tell me, how did you get this beautiful jewel?
05:03Actually, this was in our family for about sixty years at least.
05:08We grew up in Tehran, Iran.
05:10Initially, it was my mum who was the bearer of this gift.
05:14My dad surprised her.
05:17And actually, I think he proposed to her on that day.
05:20So do you think he proposed with this bracelet rather than a ring?
05:23Yes, I definitely think so.
05:25Oh, really?
05:26Because ring is not that common in our culture.
05:29Oh, that's interesting.
05:30Yes.
05:31Well, you get more diamonds if you have a bracelet as an engagement than a ring.
05:36More like that.
05:37At least you get a yes as well.
05:39And my mum used to say, whichever of my daughters marry first, they will win the bracelet.
05:46Is that you?
05:47Yeah.
05:48And basically, she just beat us to it.
05:51What I love about it is that it's very unusual.
05:54I think that these two did not start life together.
05:58This part here, the front part, is separate to the bracelet part at the back.
06:05Mm-hmm.
06:06So I think this has come from another jewel.
06:08Oh.
06:09OK.
06:10But they're all diamonds.
06:11Mm-hmm.
06:12And a rose-cut diamond means that it is a flat back and a faceted top.
06:18Right.
06:19And if I turn this over, do you notice that the principal stones are all backed?
06:25Mm-hmm.
06:26You've got the smaller stones.
06:27Yeah.
06:28Which have open backs.
06:29And these ones here are closed.
06:31Closed, yeah.
06:32And that is because there is like a tin foil underneath.
06:36Mm-hmm.
06:37So that the front here, these rose-cut diamonds really sparkle.
06:41Mm-hmm.
06:42Because you've only got the facets at the top.
06:45Oh.
06:46Unlike the modern brilliant cut that we have today, when the facets are at the back as well.
06:49Mm-hmm.
06:50And so it gives it a lot of brilliance.
06:51Sure.
06:52We are always talking about diamonds being flawless.
06:55Mm-hmm.
06:56Well, with today, when we've got a lot of the synthetic diamond market, things are shifting.
07:01Yeah.
07:02In that we love to see character in a diamond.
07:05Mm-hmm.
07:06And these have characters.
07:07And you can tell immediately that they are not synthetic diamonds.
07:10Yes.
07:11You know, if you gave me a flawless natural diamond and a flawless synthetic diamond,
07:15I would not be able to tell the difference with the naked eye.
07:18But this, I can instantly see that they are natural, billions of years old.
07:24Good.
07:25And they are unique to you.
07:27Yes.
07:28With the history.
07:29You know, a stone is going to be different.
07:30Yes.
07:31Yes.
07:32And set in silver.
07:33And I love the way these are all beautifully scrolled in settings.
07:38And then it is set on a yellow gold bracelet mount.
07:42So, I think both parts were sort of around about the 1920s.
07:46Oh.
07:47Wow.
07:48That 1930s.
07:49Value-wise, at auction, you would be looking in the region of about £5,000 to £6,000.
07:55Wow.
07:56That's good.
07:57That's amazing.
07:58That's good.
08:00Thank you very much.
08:01That's amazing.
08:02We didn't think it would be that much.
08:03I won't sell it, by the way, everyone.
08:04We're keeping it.
08:05We're keeping it.
08:20Do you know, over the many years I've been doing Antiques Roadshow, there have been a couple
08:24of items I've always wanted to turn up on my table, and this is one of them.
08:29Good.
08:30I love beautifully made miniature works of art, and this beautiful little Maximilian suit
08:36of armour is made by, I think, one of perhaps the best makers ever.
08:41Now, before we go in to who he is, I want you to explain to me where you got it from.
08:47It was at the Park Lane Antique Arms and Armour Exhibition.
08:53The actual dealer was in Stratford-on-Avon.
08:56So, a few days later, I drove up and I bought it there and then.
09:00What year was this?
09:011988.
09:02Right.
09:03Okay.
09:04Now, you know who it's by, don't you?
09:06Yeah, Granger.
09:07Or Granger.
09:08I'm not sure.
09:09Yeah, well...
09:10Edward.
09:11Edward Granger.
09:12Yeah, Edward Granger, who was based in France.
09:13And if you say Granger, I think that's absolutely fine.
09:16And he was working quite early, in fact, with these kind of miniatures from the 1840s.
09:22And so, when we come to date a little object like this, in my mind, this to me probably
09:27dates from about the 1850s or 60s.
09:29Yes, yes.
09:30Now, the reason I'm so mesmerised by it is the sheer quality of the craftsmanship
09:37of this little armour.
09:38And when we start to look at it carefully, there isn't anything that isn't accurate about
09:43it.
09:44There isn't anything from the spurs down to the articulation of every piece of the armour.
09:51Every rivet, every finger armour, every hook that keeps the armour together.
09:58And, interestingly enough, one of the things about Granger or Granger is that, essentially,
10:03he always mounted them on little mannequins as well.
10:06You can tell his mark because he went to trouble with what was underneath too.
10:11So, if we take off the helmet there, we can see this rather kind of medieval looking face, which
10:18has this articulated mannequin underneath it.
10:22And, one of the problems with these is that they're so beautifully made and articulate that they need
10:30to be supported, don't they?
10:31And I can tell this isn't its original support.
10:33Did you make this?
10:34Yeah, I made that because otherwise, without that, he'd be at that angle.
10:38So, this is actually holding him up, otherwise he'd sort of collapse.
10:41So, we've got a couple of his arms here.
10:45We've got his sword and medieval flail.
10:47They're probably quite difficult to place on him, aren't they?
10:50Yes, because he just cannot grip them.
10:51I said the arm will fall off if I put this to him.
10:54Right, okay, okay.
10:55Now, the thing is, he's in good condition.
10:57Do you keep him under a dome or something?
10:59He's been in a display case since I bought him.
11:03It's the first time he's ever been out of it.
11:05Oh, really?
11:06Well, actually, that's good because that is obviously why his finish is good
11:11and he's not really showing any signs of what I would call rust or real degradation.
11:16Would you mind telling me how much you paid for it, at least?
11:19Yes, a thousand pounds.
11:20A thousand pounds?
11:21Yes.
11:22At the time, did that seem like quite a lot of money?
11:25It seemed like a lot of money then, yes.
11:27If this came up for auction in a good arms and armour sale,
11:30you could happily expect to get seven to ten thousand pounds for it.
11:37And I might even be being a little bit on the miserly side.
11:41Right.
11:42Yeah, okay.
11:44It is absolutely fabulous.
11:47And you've really, really made my day bringing this in.
11:49Yeah.
11:50And mine too.
11:51So thank you very much.
11:52Thank you very much.
11:54Wasn't that the most incredible object?
12:00I mean, masterful craftsmanship and a beautiful, beautiful object.
12:04Really highly collectible as well.
12:06And the kind of item I always dream of seeing on any given row show day.
12:09Do you know, you've brought something in today that I've been looking for for as long as I can remember.
12:20A happy life.
12:21Yeah.
12:22Does it stop?
12:24No.
12:25Once you wind it, it will go on for a very, very long time.
12:29It belonged to my mother and I inherited it.
12:32And it was always in my grandparents' house.
12:35And the first thing to say is it's a toy.
12:37It's made in Japan, late 1940s.
12:39These were exported widely at that period and were very popular.
12:44Still are.
12:45I think at auction today, I can see that fetching between 100 and 150 pounds.
12:50Very nice.
12:51So question is, has she brought you a happy life?
12:54Oh, definitely.
12:55I have very happy memories of that.
12:57Good.
12:58Yes.
13:05Well, it looks as though you've brought in four walnuts.
13:10But I've learned that you never judge a book by its cover.
13:18They are absolutely sweet.
13:21So these are real walnut shells.
13:23Walnuts that might have been cracked open inside have been eaten.
13:26Yes.
13:27But they've actually been turned into these tiny little boxes or etuis and had scent flasks
13:34and needlework sets with tiny pairs of scissors placed inside them.
13:40The hinges and the mounts are silver that's been gilded.
13:44They're so appealing, aren't they?
13:46They are.
13:47Where do they come from?
13:49The very first one I found was in Portobello Road.
13:53I just thought, wow, and I bought it.
13:57And from then on, the hunt was on.
14:00And I've just found them, not very frequently, but they seem to pop up and I spot them.
14:07I'm not sure of their age or where they were made, but I think they come mostly from France.
14:13And I think they were made about 1830 to 1860.
14:181830 to 1860.
14:20Yes.
14:21But I think you're definitely right on the France thing.
14:23Right.
14:24And in fact, one of them's got a really lovely little secret.
14:27You obviously haven't opened this one for a while.
14:29No.
14:30But there's a very small book.
14:33Tiny book.
14:34Just in here.
14:36And it's a book of songs.
14:39It's French.
14:41And these were produced every year.
14:44And this one has the date that it's from 1817.
14:49Wow.
14:50So this one we know is slightly earlier than you thought they might have been.
14:55But I wonder, were they made for adults or is it a toy, do you think?
15:00I think it's a toy for adults.
15:03I think you wouldn't trust a child with these.
15:05The fact that they're so complete means that they were probably barely even used for needlework.
15:11They were just little immaculate little novelties beautifully made.
15:16Yeah.
15:17I love what you've collected.
15:19Do you remember what you paid for any of them?
15:21My husband's standing there.
15:25Well, then...
15:26Don't listen.
15:27Pence.
15:28Quite a lot of money.
15:29Quite a lot of money.
15:30Yeah.
15:31When these appear at auction, they often fetch between sort of £300 to £500.
15:35And so for your collection, I would value them at around £2,000, these four.
15:41They're not going anywhere.
15:43I just love them.
15:45You've made my day.
15:46You really have.
15:47To see one is lovely.
15:48To see four is really something special.
15:52Thank you so much.
16:00I've slipped away from the specialists and their tables for a moment to find out more about the house and its remarkable owner, Henry Stevens.
16:09Stevens' indelible ink was invented by his father, Dr. Henry Stevens.
16:14But it was Stevens Jr. who created the international brand and used the fortune he made to pursue his own scientific interests.
16:22This nine metre tower is a huge water purification system.
16:28The water filters down through four separate tanks.
16:33And even its construction is groundbreaking.
16:36Made from reinforced concrete, it was built in 1880.
16:40Now, reinforced concrete is very commonly used these days, but it's thought this is the earliest example of its kind.
16:50In the 1860s, contaminated water had caused a cholera outbreak in Finchley.
16:55And Stevens took up the campaign for safe water supply.
16:59He later set up his own private water company.
17:02And he brought innovative ideas to his gardens, too.
17:07And usually for the time, Stevens wanted to make his estate self-sufficient.
17:12There was a herd of highland cattle, a flock of sheep and a dairy, as well as underground heating so he could grow exotic produce.
17:23This is now a raised flower bed, but in Stevens' time, it was a pond for fresh fish.
17:29Making Stevens' house and gardens a fascinating blend of Victorian technology and nature.
17:48This is an interesting collection of scarves.
17:50They're obviously Second World War propaganda scarves issued by a number of the fashion houses
17:57during the Second World War.
17:59I love them.
18:00They're so colourful in a time of austerity.
18:03Because a scarf brings an outfit together.
18:07Yeah.
18:08I know.
18:10Not colourful, but it's a scarf.
18:12Yeah.
18:13So how long have you been collecting?
18:14I've been collecting scarves for about 40 years.
18:1640 years?
18:1740 years, yeah.
18:18Why such a short amount of time?
18:20Because I think when I first went to work with my first pay packet,
18:24the first thing I ever bought was a silk scarf.
18:27Ever since then, I just like fabrics, I like textiles,
18:30and I like things that portray social events of the time.
18:35Well, these really do that.
18:37Yes.
18:38I love this one in particular.
18:40Dig for victory.
18:42Implying that you grow your own vegetables and fruit.
18:46They're remarkable.
18:47And this one, shoulder to shoulder with the Americans.
18:50Yes.
18:51And this one here, Time Gentleman Peas.
18:53Oh, that's Time Gentleman Peas.
18:54That's all about the pubs.
18:56Yeah, pubs closing.
18:57All the pubs.
18:58All the pubs' names.
18:59And they made a special feature of including ex-servicemen
19:03because that was an important part of life during the war.
19:06This is also fascinating.
19:07This is about all the radio programmes
19:09that were broadcast during the war.
19:11And this one about keeping the lights out.
19:13For heaven's sake, turn that light off.
19:15Yeah.
19:16Again, the blackout.
19:17So that's telling people, reminding people, they've got to observe that discipline.
19:21That's correct.
19:22And so you wear the messages.
19:24Yeah.
19:25I mean, it's amazing.
19:26It's bringing fashion and politics and the war effort together.
19:30Yeah.
19:31And I think they're all by Jack Ma except for that one, aren't they?
19:34Yes, I believe so.
19:35And Jack Ma was an English company.
19:38There was a designer for Jack Ma called Arnold's Lever.
19:41Yes, yes.
19:42I think they're all behind these.
19:43But in their day, they would have looked very modern and contemporary.
19:46I'm going to value these scarves.
19:47And I think this little collection here that you've got,
19:49which I think are fabulous, honestly, I'd love to own these.
19:52It's about £1,000 for the lot here.
19:55Oh.
19:56It really is.
19:57Yeah.
19:58And so when you pack these up and go home, what will you do with them?
20:02They'll be packed up and left in boxes.
20:04And when I get depressed, I open a box, lay them out on the bed,
20:07and I feel very, very happy.
20:08Really?
20:09So it's like reading a book.
20:10But it also makes you happy like it would have made the people
20:13that wore them originally happy.
20:14Yeah, I just like looking at them.
20:15It would have lifted their spirits then as they lift your spirits now.
20:19I think that's amazing.
20:20Yeah.
20:21Thanks so much for bringing them.
20:22Thank you very much indeed.
20:23Oh, it was a delight speaking to Ronnie about something that we both love.
20:29A little bit surprised at the pricing, but they are treasures,
20:34and I adore them, and I like them even more.
20:37He's told me more about them.
20:45You've brought along two quite curious-looking objects,
20:48very interesting.
20:49How did you get them?
20:51They came out of my loft, and at some point recently
20:54I had to clear it out to have some work done
20:57and the obvious junk went to the tip.
21:00The rest of it went to my neighbour.
21:02One of the boxes included a lid of old tatty silver,
21:06which I gave to her to take away,
21:08and an hour later she came back to me and gave me these
21:10and said, you might want to keep those.
21:12So I took them back off her, I plunked them on my dining table,
21:14and they've been there ever since.
21:16And what have you found out about them,
21:18apart from the fact you think they're silver?
21:20That they're silver pots.
21:22And that I should keep them.
21:23They went to the dining table, I got on with my life, and...
21:26And here you are today.
21:27And here we are today, yes.
21:28Right, let's have a closer look.
21:29They are salt cellars.
21:30It's a form that I know, and it's copying an earlier style.
21:34They were commissioned by the Salters Company of London in 1897,
21:39and they were to commemorate Queen Victoria's Diamond Jubilee,
21:4360 years of the reign, 1837 to 1897.
21:46And that's why we've got that on the front there.
21:48We've got Queen Victoria's cipher, and we've got the dates.
21:51And the other marks on the top half is the Salter Company coat of arms.
21:56Oh, well, the family name is Salter,
21:58so that might explain why they were in my loft.
22:01All right.
22:02Whether my family has any link to the company,
22:04I have absolutely no idea, but...
22:06Or maybe the reason that someone just bought them originally,
22:08you never know.
22:09Well...
22:10Yeah.
22:11We'll just have a closer look at the mark.
22:12I'm sure it's going to be by a silversmith.
22:15Most of them were by...
22:17Yeah.
22:18It's Garrard & Co of London.
22:20Crown Jewelers.
22:21Oh, Crown Jewelers.
22:22Yes.
22:23And when I pick that up there, I can feel the gauge of the silver.
22:26It's much, much heavier than you'd imagine.
22:28So these are super quality.
22:30Now, the form is based on a much earlier form.
22:33Salt, back in the 1500s, Henry VIII's time,
22:36was a very precious commodity.
22:38So if we just look, I mean, they're very gothic.
22:41They're very 1500s.
22:42And look, we've got these gothic trifoils,
22:44like a three-leaf shape.
22:46And just that shape,
22:48that kind of tapering octagonal shape is very gothic,
22:50as are the finials with these beaded pieces on the top.
22:54And salt cellars back in the medieval times were quite big.
22:57OK.
22:58You know, it was an important piece of silver to have on your table.
23:01So these, in a way, are quite small.
23:03So what are they worth?
23:06I've no idea.
23:07Well, they're comfortably worth about a thousand pounds.
23:13We want to know what else you've got in your loft.
23:16Or might have in your loft.
23:18Oh, it's all gone now.
23:19It's all gone.
23:20It'd have been up there for decades.
23:22It was too much.
23:23At least you've got something.
23:24Yeah, yeah.
23:25Well done.
23:26Thank you for sharing them today.
23:37I just think it's so wonderful how something so simple, so small, but with just a few brushstrokes can convey such a huge amount of impact.
23:46And what we have here is this fabulous little jug in the form of an owl.
23:51But, of course, it's creation, you know all too well, is at the hand of the great Pablo Picasso.
23:57So I've got to ask, how did it come to be in your life?
24:00Well, I got this from my parents.
24:02My father was serving in the U.S. military and stationed in Germany in the mid-50s.
24:07They decided to go away for the weekend to the south of France, and they met a lady there who was apparently a very good friend of Picasso's,
24:14who said, you absolutely must come and meet him.
24:17Come and have lunch.
24:18I know where his studio is.
24:19I know where his studio is.
24:20So she took them up there.
24:22And sadly, he wasn't there.
24:23He was out for the afternoon.
24:25But they saw this.
24:27So, of course, well, you mentioned that wonderful region.
24:30You mentioned going to the studio.
24:31Well, it wasn't quite Picasso's studio.
24:34Where he went was to the studio of Madura in Valois, which was owned by Suzanne and George Rane.
24:40And they handed over a small part of their studio to him.
24:44Over the following 24 years, from 1947, he created 3,500 unique pieces and 633 edition pieces.
24:56Now, when we say edition, that means that these could be remodelled into limited edition runs.
25:03Right.
25:04And they went from anything from 50 to 500 pieces.
25:08You haven't given me the year, I don't believe, so I'm going to predict the year.
25:12This was conceived in 1954.
25:15Hmm.
25:16How's that fit?
25:17That fits perfectly.
25:19This is called Hibu.
25:21Hibu.
25:22Owl.
25:23Owl.
25:24In terms of the edition, this is a lower level edition.
25:27There were 200 of these.
25:29Right.
25:30If we look underneath, we've got all the things we want here.
25:33We've got the painted mark here for edition Picasso.
25:36Mm-hmm.
25:37We have the Madura.
25:38Right.
25:39Which is, of course, the name of the pottery that Susan and George Rane had.
25:42Yes.
25:43And again, we've got edition Picasso.
25:45So, all the elements that you want to see within the base of the jug to give you that identification.
25:51So, when we look at values, well, of course, Picasso as a name is a globally recognised phenomenon.
25:56It's this market that just year on year has grown and grown and grown.
26:00The record price for one of the unique pieces currently stands at nearly two and a half million dollars.
26:06OK.
26:07When we look at the editions, as I say, we look at sort of the volume of the editions.
26:14And this being one of only 200 that were made makes it, you know, a nice rare little find.
26:20As such, being a Picasso edition, Hibu jug, I'm going to say somewhere in the region today of £3,000.
26:28I'm very happy with that.
26:31I'm very pleased that you're very happy because I think it's just exquisite.
26:38We are just the custodians for this.
26:41Well, look after it because it's a wonderful thing and thank you for sharing it.
26:44Thank you very much.
26:54I think from the moment that you brought this to the table and opened the box
26:58and revealed what you were bringing along, I just fell in love with it.
27:03It's a beautiful watch, but not only that, it's also by one of the best watchmakers in the world
27:09and certainly one of the most collected, Patek Philippe in Switzerland.
27:14Yes.
27:15So where did you come across it?
27:16It was given to me on one of my birthdays.
27:19I can't remember when, but it was quite some time ago by my late husband.
27:24And he was a Patek Philippe lover.
27:27Patek Philippe have got a rich history in watchmaking.
27:30It's not like normal watches.
27:32Normal watches, you expect them just to be circular or rectangular or square.
27:37But this has got this lovely, what's called a Torno case.
27:40And it's not only Torno, it's also got a curve X.
27:44So it's got a curved back.
27:46So it's shaped to the shape of your wrist.
27:49It's very comfortable.
27:50And you've got that all important Patek Philippe signature.
27:54And I can see from your archive certificate here that it was made in 1919, sold in 1920.
28:01Now, it's a very, very pretty watch.
28:04And it originally states it's on a leather strap.
28:08I was discussing this with my colleague and we both came to the conclusion that it's probably been a man's watch.
28:15Oh, how interesting.
28:17From this period, men's watches were quite small.
28:20Ladies' watches were very small.
28:23And in 1920, this would have probably been a man's watch.
28:26How interesting.
28:27But a very stylish man's watch.
28:30If it was to come up into auction today, I would suggest a pre-sale estimate of around £4,000 to £6,000.
28:42Okay.
28:45Wow.
28:46Very nice. Thank you very much.
28:48It's not bad for a little watch.
28:49Not bad for a little watch.
28:51Yeah.
28:52So we have on the table a bomb fuse and a George medal.
29:04I have a feeling I know where this story is going to go.
29:07Who is the gentleman in the top photograph?
29:10Ronald Smith is Simon Smith's uncle.
29:15And Simon is married to our cousin.
29:18On the onset of war, he joined the Royal Navy Volunteers.
29:23Being a keen engineer, he was an obvious choice for bomb disposal.
29:29And when asked, he volunteered.
29:31So he becomes a Royal Naval Volunteer Reserve bomb disposal officer during World War II.
29:36Yes, he does.
29:38Now, the George Medal is a very high up gallantry award.
29:43Above it, only the Victoria Cross and the George Cross.
29:46Now, this chap here is actually quite a famous bomb disposal officer
29:52because this is the man who defused the German parachute mine
29:57at St Paul's Cathedral in April 1941.
30:01And without him that day, that landmark that we all know so well,
30:08people all over the world know, wouldn't actually probably be standing today.
30:13Yeah.
30:14Now, as with all gallantry medals, there is always a citation.
30:18And I have the citation here for Ronnie's Day Out.
30:27On the 17th of April 1941, an unexploded mine lay in the churchyard of St Paul's Cathedral,
30:33about three yards from the cathedral itself.
30:36The mine was completely covered by the parachute, which it was impossible to remove.
30:41And so Lieutenant Smith had to crawl underneath and inside the parachute to get at the mine.
30:47In this dark and difficult position, he commenced to unscrew the disc from the bomb prior to fitting the gag,
30:54which is a device for rendering the fuse inert.
30:59Before he was able to fit the gag, a large fire engine was driven past at speed only some 10 yards away.
31:05The vibration set up by the passage of the fire engine started the clockwork mechanism of the bomb fuse.
31:12Under the best circumstances, Lieutenant Smith had 17 seconds to make good his escape.
31:19But very gallantly continued his operations and was able to insert the gag before the mine exploded.
31:26Had the mine exploded, there is no doubt that a major part of the cathedral would have been devastated.
31:32That's incredible.
31:34Now I read also somewhere else that when he stopped it, there were two seconds left on the fuse.
31:40Yeah, I've read that too, yes.
31:42That's terrifying.
31:43Yeah.
31:44Yeah.
31:45What do we owe to these people?
31:47So much.
31:48So much.
31:49I always find it incredibly difficult to put a value on these things because this is someone's life.
31:55Lieutenant Smith is a very famous bomb disposal officer.
32:00And this is one of the most written about accounts of bomb disposal during World War II.
32:07I think if this came up for sale, it would sell between 15,000 and 20,000 pounds.
32:13Wow.
32:14I never thought it was that much.
32:16Wow.
32:17This has been a real privilege to meet this man today.
32:21I do know that he was a very quiet man, never spoke much about his wartime exploits after the war,
32:30which I find so incredible, you know.
32:33He's another one of those unsung, unlooked-for hero.
32:39Yeah.
32:40Who we owe so much to for those days of World War II.
32:43Yeah.
32:44Real privilege, thank you.
32:45Thank you, Mark.
32:51So I was really drawn to this watercolour because the colours are really, really bold.
33:01And it's quite abstract, but there's this very sort of dreamlike quality about it.
33:07It's signed with the monogram R and it's dated 1954.
33:11Now R, he's not that well known.
33:14He's a German artist called Hans Reichel, who died shortly after this was painted in the later 1950s.
33:21So I'm wondering how it came to be here and to be yours.
33:25So I went to Paris in 2006 when my grandmother's sister passed away.
33:32I assumed this was something that was of meaning to her and I didn't want to do anything other than look after it.
33:38So I brought her back to London with me.
33:41So Hans Reichel was born in Germany.
33:45After the First World War, he moved to Munich and he was very lucky to meet Paul Klee.
33:51He's one of the most famous, if not the most famous German artists working in the early 20th century,
33:56who developed very distinct colour theories.
33:59And I think you see that in this.
34:02You have these sort of different passages of colour and these notations.
34:07And there's a sort of musical quality about them that I feel that Reichel must have seen in Paul Klee's work.
34:15So the medium is a mixture of ink and watercolour on paper.
34:21And I really love how Reichel has used wet paint merging into other pools of wet paint.
34:30So you get this kind of murky, mysterious, kind of dreamlike quality.
34:37Even though it's entirely abstract, I do feel it sort of transports you to another place.
34:43And is it something that you like?
34:45Yes.
34:46I mean, I like it, but I've never put it up, you know, since coming back.
34:50It's been in a cupboard.
34:51It's been in a cupboard!
34:53That's probably helped the colours stay so strong because they haven't kind of faded in the natural sunlight.
35:00As I say, although he was German, he did then go on in the 1920s to move to Paris.
35:05So it's not inconceivable that your aunt may have met him at some point.
35:12Couldn't surprise me.
35:13She didn't go there till the 40s, but he didn't die till the late 50s.
35:16So if she loved her art, who knows?
35:18Yeah.
35:19It's the sort of work that if this was to come at auction today, we'd probably put an estimate in the region of £1,500 to £2,000.
35:27Wow.
35:28Not a piece of work for the cupboard.
35:30Yeah, definitely take it out of the cupboard.
35:32Our experts are always on the lookout for exciting pieces of pop memorabilia.
35:44And today, our specialist Claire Tolmore has challenged me to guess the value of a group of objects linked to a legendary musician and one of my heroes.
35:53This has to be one of my favourite images of all time.
35:58I've actually got a copy of this on a wall at home.
36:011973, David Bowie, Aladdin Sane album cover.
36:05Just iconic and fabulous.
36:08Claire, tell me about it.
36:10So these are the items from Brian Duffy's archive.
36:14Brian Duffy, of course, being the photographer behind this iconic album cover.
36:19And he had already been a fashion photographer before in the 60s, so he was established.
36:23But it was this collaboration with Bowie that really sort of took him far and wide.
36:28And this is what one of his photographic prints then?
36:31So this is a printer's proof.
36:33So this is working out how the record sleeve would look.
36:36And what's really great is we have some hand annotations in Duffy's hand.
36:40The 31% refers to the sort of colour density, colour balance and things like that.
36:45And then there's also a little annotation there in his hand.
36:481973 Bowie cover. I photographed and designed.
36:52And, of course, what strikes you about it is this lightning bolt through his face.
36:55Absolutely. So that's a really interesting story.
36:57Pierre Laroche was the makeup artist on the shoot.
37:00The shoot took place in Swiss Cottage, just down the road.
37:03But it was Duffy who did this lightning bolt in lipstick and Pierre Laroche filled it in.
37:08And we've got a little note here that describes it as well, this lightning bolt.
37:12It was about Bowie's split identity as he moved away from Ziggy Stardust into a new era.
37:17And the camera, is that what created this fantastic image?
37:19This is the camera. This is Duffy's 1970 Hasselblad camera.
37:23This is the one that shot that image.
37:25And you've got a stool here. I mean, how does that fit in?
37:28So it looks like a humble stool, but this is actually the stool that Bowie sat on for the shoot.
37:33But not only that, it was Duffy's stool in his photographer's studio.
37:37So it's been sat on by a host of stars.
37:40A host of famous bottoms.
37:41Yes, basically. Marianne Faithfull, John Lennon.
37:45Basically anyone who came through Duffy's studio sat on it.
37:48So what are the three values we're talking about of this photographer's print, the handwritten note and then the stool?
37:57So one is £500, one is £800 and one is £2000.
38:02£500, £800, £2000. Right. What do you think?
38:07I think the stool £500, the note £700 and this amazing print £2000.
38:15Yeah, I'm thinking that as well. Yeah.
38:17Different? Anyone think any differently?
38:19I think the note £5, the stool £8 and the print £2000.
38:23Print £2000. Agreed? Print £2000?
38:26I think the stool, possibly.
38:28You think the stool is worth £2000? Yeah, possibly all those derriers.
38:31Really?
38:32What do you think?
38:35I think the stool is £2000 and the picture is £500.
38:40A picture's £500? Yes.
38:42I'm weeping inside at that.
38:45OK, so you're not alone with the stool then.
38:48I mean, this surely has to be the thing that's worth £2000.
38:52This is incredible.
38:53So I would say starting at highest value, £2000, £800, £500.
39:01If it is the stool worth £2000, well, I don't know.
39:04I'm going to be very embarrassed. Go on, Clare.
39:07Spot on.
39:08Oh!
39:09Great.
39:10Why are the values what they are?
39:12Well, this one, it's unique, it's got the hand annotations.
39:16This one is, it's a stool, it's a standard, typical stool.
39:19Worth about a tenner, really.
39:20Yeah, but lots of famous people have sat on it.
39:22This is about the make-up and the title and it's in Duffy's hand.
39:26It was very integral to the design.
39:28So that's really charming, and again, his handwriting.
39:31Overall, if we were to see this at auction,
39:34I think you'd be sort of looking at around £20,000 to £30,000 for the whole collection.
39:39So altogether, it's worth an awful lot more.
39:41Yeah.
39:42Well, I have loved hearing about this, I have to say.
39:44Thank you so much.
39:45Thank you so much.
39:55This is a chess table that I've inherited from my granddad.
40:00I know absolutely nothing about it, to be fair.
40:02I've got guesses from £10 to...
40:04I think I was the highest.
40:06£2,000, haven't we?
40:07Yeah.
40:08So, maybe in the middle somewhere.
40:10We thought it'd look a little bit more interesting and useful
40:17if we popped a chess set on there.
40:19OK.
40:20All right.
40:21Well, thank you for doing that.
40:22You're welcome.
40:23And so I gather none of you play chess?
40:26No.
40:27No.
40:28Right.
40:29So why do you have this little table?
40:30Because it originally was in my granddad's house,
40:33in a Welsh cottage, and then it moved to my parents' house,
40:37and now I have it.
40:39So it's lived most of its life in Wales.
40:42In Wales.
40:43OK, so the table, it's Victorian.
40:46Oh, OK.
40:47When we look at the top, we can see it's all beautifully veneered,
40:50figured walnut.
40:51The wood around the outside is originally tulip wood,
40:56which was originally pink.
40:58The wood here, the inside, is holly.
41:01Nice one.
41:02And that was white.
41:03And then the wood here, this is satin wood,
41:06and this would be yellow.
41:08Wow.
41:09So you've got these lovely colours.
41:10So it would have been quite colourful.
41:11Really, really colourful.
41:12Wow.
41:13Then, of course, you've got the gold lacquer,
41:15which is on the brass, like a gilt lacquer.
41:18I really congratulate you that you haven't polished it.
41:22That's not a backhanded compliment.
41:25No, no, no.
41:26But some people can get a cleaning product for cleaning brass,
41:32and they take away this lovely gilt lacquer.
41:35For me, the little part of the detail is this lipped edge.
41:39Yeah.
41:40And do you know what that's there for?
41:42Stop the chest pieces falling off.
41:44Of course.
41:45To me, this is exhibition quality,
41:47and you had the Great Exhibition of 1851.
41:50This is good enough to be made by one of the exhibitors
41:53of the Great Exhibition, such as a company called Holland & Sons.
41:57I like this.
41:58They made furniture of this quality.
42:00This is superb.
42:03Victorian furniture isn't as saleable as it used to be.
42:06In today's depressed Victorian market,
42:10it's worth around three and a half thousand.
42:13Oh.
42:15But enjoy it.
42:16Don't get any products.
42:17I'm not going to.
42:18I'm going to carry on ignoring it.
42:21Just flick a duster over it occasionally.
42:23Yeah.
42:25It's such a pleasure to see a great piece of,
42:27may I say, Victorian piece of furniture.
42:40You've brought along a book of poems.
42:43Would you like to tell me a bit about it?
42:45Well, this is a book of Keats' poems,
42:48first edition of his sonnets.
42:50I've absolutely loved Keats since I was 15
42:53and doing them for O Level,
42:55and my husband bought that for me as a birthday present,
42:58and all his most famous sonnets are in it.
43:01So, as you well know, this is Keats' third book of poems,
43:05and this is the final one to be published in his short lifetime.
43:09It is Lamia, Isabella, The Eve of St. Agnes,
43:13and other poems by John Keats, published in London in 1820.
43:18There is a special connection between John Keats
43:22and the place that we are filming this piece today.
43:26I don't know if you know, but Henry Stephens,
43:29the inventor of Stephens, Inc.,
43:31he was at medical school with John Keats.
43:34Wow.
43:35And they shared a room.
43:36That is amazing.
43:38One of the poems that's not in this volume is Endymion.
43:42The first line of Endymion is,
43:44a thing of beauty is a joy forever.
43:48That line was written, apparently, by Henry Stephens,
43:51not by John Keats.
43:53Well, you've really told me something I had no idea about.
43:57It's a really desirable book, and this copy has been rebound more recently.
44:03It's missing a few pages of advertisements at the back, which make a bit of an impact on the value.
44:09Even so, if you were to sell it, I would expect it to make, at auction, at least £5,000.
44:16Ooh!
44:17What do you think you're going to do with it?
44:20I'm keeping it...
44:22I don't know whether, if it's £5,000, I'll actually have it buried with me.
44:26I think there's a poetry to that that John Keats would have appreciated.
44:32I'm glad it's valued as much as I value it.
44:36Well, this is a thing of beauty, and it will be a joy forever.
44:39Yes, thank you very much indeed.
44:41I was really enamoured of this piece of glass as you pulled it out of the kind of towel that you brought it along in,
45:06because it's just so fine and fragile, isn't it, as well?
45:10Where does it come from?
45:11Well, Mark, I inherited it from a good friend, and she always used to refer to it as a Jew.
45:17Right.
45:18And that's all I was ever told.
45:20I could see it was depicting something.
45:22I wasn't sure if this was the hunter goddess.
45:26I hadn't got a clue, so I thought you were here today, so I'd come along and see if I could find out.
45:31Well, the joy of that is, as soon as you pulled it out of the towel, I knew exactly what it was.
45:37And one of the biggest clues was this little cartouche in the bottom, which says A.D.
45:43And that A.D. stands for Albrecht Dürer.
45:46Oh.
45:47So, the Dürer, which was probably something she said to you and you probably never heard her quite right, was kind of halfway there in a way.
45:57So, Dürer was basically the preeminent engraver and creator of woodblocks, and most of his work was biblical.
46:04His most famous woodblock was Adam and Eve.
46:06So, what you have is a stained glass version of one of Albrecht Dürer's very famous woodblocks, called the Presentation of the Virgin in the Temple.
46:16And these all date from the 15th and 16th centuries.
46:19So, the original woodblock for this particular impression was done in about 1503.
46:28Oh.
46:29So, very, very old.
46:30Yeah.
46:31Now, this isn't that old.
46:33I think this is a Dutch piece of glass.
46:35Oh, right.
46:36Right.
46:37But I think what has happened is that the person who has created this piece of stained glass has obviously looked at one of his original engravings.
46:43Yes.
46:44And has obviously religiously and very accurately copied it.
46:48Oh.
46:49Now, when you had it at home, did you have it displayed in a window?
46:52I did, yes.
46:53Yes.
46:54And that's, I utilised the chain.
46:55You've got a suspension chain.
46:56Yes.
46:57Now, which way round did you have it?
46:58Did you have it that way round?
46:59No, the other way.
47:00You had it the other way round.
47:01Yes.
47:02So, you had it the right way round.
47:03Oh, did I?
47:04Right.
47:05Sorry, I don't mean that to sound patronising in any respect.
47:08Yes.
47:09But sometimes it's kind of quite easy to get stained glass the wrong way round.
47:12Yes.
47:13But, of course, the clue is that the initials AD are the right way round, down in the bottom right-hand corner there.
47:19OK.
47:20So, how old do I think this is?
47:21Well, I think this is 17th century.
47:24Oh.
47:25So, it's somewhat after the original.
47:27Right.
47:28But it's still a very, very old piece of glass.
47:31I think it's absolutely wonderful.
47:34This really comes to life when you hold it up to the light.
47:38Yeah.
47:39And isn't that absolutely wonderful?
47:41And luckily, it is completely undamaged.
47:43Yeah.
47:44And for that reason, I think if this were to come to auction, it would make between £1,000 and £1,500.
47:51Wow.
47:54And long may you enjoy those rays of sunshine shining through it.
47:58Thank you, Mark.
47:59That's lovely.
48:00That's really nice to know.
48:01And to know what it is.
48:02That's brilliant.
48:03I love these snow goggles.
48:12Inuit snow goggles, I think, are one of the most enigmatic items and objects from Arctic culture.
48:20So, tell me how you come to own them and if you like them.
48:24I love them.
48:25I bought them off an online marketplace during COVID.
48:29I used to live in Canada in my early 20s.
48:32It's a very remote island off the coast of British Columbia.
48:35And I picked up a book one day and that's where I learned about them.
48:38And obviously, they were very striking.
48:40Early incarnation of sunglasses.
48:42There's something very enigmatic about them, isn't there?
48:45I mean, they're a cool thing and they're practical.
48:47They're functional.
48:48Yeah.
48:49And did you know they were usually specifically carved to fit a person's face?
48:53And they're obviously to stop the glare from the snow and the ice, you know,
48:58because little crystals reflecting that sun can blind a man.
49:02And they would put soot inside the goggles to reduce any light that might have crept in.
49:08And that's why they're black in there.
49:11They're made of caribou antler.
49:13Really?
49:14Yeah.
49:15And they would have been held on with caribou sinew.
49:18They're probably bearing straights.
49:21They're certainly 19th century.
49:23People collect them.
49:24People love them.
49:25I would value these at three to four thousand pounds and rising.
49:30How much did you pay?
49:31I paid 203 pounds for them.
49:34You did so well.
49:36And you wear them.
49:37I've worn them.
49:38Yeah.
49:39Probably hard to see.
49:40Hard to see.
49:41Don't cross the road when you're wearing them.
49:43You won't see anything coming from the side.
49:45No, no.
49:46But lovely object.
49:47I'm glad you like them.
49:48Really cool.
49:49Really, really cool.
49:50Gold, gold, gold.
49:51There's nothing like the colour of it, is it?
50:05But what was the first time that you saw the colour of this ring?
50:08Well, I found it with a metal detector like six months ago.
50:11It was in Sussex in an orchard.
50:13Maybe like less than a foot deep.
50:16I handed it into the local finds officer and got it back recently.
50:21Yes, and so that's the portable antiquities schemes.
50:24That's an obligation in law to report it.
50:27So you did the right thing.
50:29And boy, did you do the right thing in finding it.
50:31This would come out of the ground as it appears here, because it seems to be absolutely pure gold.
50:37Incorruptible.
50:38You could bury it for a million years and nothing would touch the surface of this.
50:42So was it like that?
50:43Did you have to wash it much?
50:45No, I thought it was a propering or like a modern something.
50:49Well, that's the point about pure gold, I think.
50:51And having handled this, it's enormously heavy.
50:54I'm pretty confident that it's sort of 22 carat.
50:57And so we don't even expect to see any tarnishing having been in the ground.
51:02For how long do you think it was in the ground?
51:04I think you know.
51:05Could have been at least 150 years, I think.
51:07Well, I think there's plenty of signals here that this is actually a 17th century ring,
51:13if not an early 17th century ring, because of the shape of the ring,
51:17but also the engraving of the front with this wonderful heraldic eagle.
51:22And that's surrounded with a sort of dot and pellet pattern.
51:26We turn it over and we can see the initials TIW,
51:31and they're joined tied together with a sort of rope pattern,
51:35which is absolutely typical of the 17th century.
51:38And so the most obvious function of this ring is that it's a signet.
51:42So it's a way of sealing letters in sealing wax because it's carved in what we call intaglio.
51:48It's set back.
51:49This was a man of some considerable wealth because even then gold would have been enormously valuable.
51:57But you had an idea about the eagle, I think, didn't you?
52:00Yeah, someone told me it could be the eagle of St. John.
52:03Yes. So if this is the eagle of St. John, it might point to somebody ecclesiastical,
52:08possibly a high ranking priest, bishop of that sort of thing.
52:12And so this is a very grand individual indeed who can afford a ring like that.
52:17Let's kind of evoke him, if you like. He's on horseback. It's freezing cold.
52:21He's hurtling to get somewhere, a bishop's palace or whatever.
52:24And it falls off his finger and it's gone.
52:27400 years later, along come you, and we relive that moment.
52:33So this is magic, magic stuff.
52:35This is the biggest, bestest, most enormous signet ring from the 17th century that I've had that privilege of handling.
52:44If it were to be sold, it could fetch as much as, well, 10,000 pounds.
52:51Yes. Look at that.
52:54And I think it's worth every penny of it. I think it's a hugely evocative thing.
52:58There are a few things in applied and decorative arts that you can say is exactly the same as it was 400 years ago.
53:05Because most of it is faded, rubbed, damaged, compromised in some way or another.
53:10This is exactly the same as it was when that owner lost it.
53:15So thank you very much for bringing it. Brilliant.
53:18Thank you so much for bringing this fantastic Duncan Grant in.
53:29It's signed and dated 1952. How did you come by it?
53:33Well, I used to work in the West End of London and occasionally at lunchtime I'd pop into the local auction houses.
53:40This caught my eye one day and I said, wow.
53:43Went back the following day and then I said, I'm in love with it. I've got to buy it.
53:47It's been hanging in our home ever since. That was 53 years.
53:5053 years. Well, that's testament to Duncan Grant, isn't it?
53:54So how much did you pay for it at the time?
53:56I paid £280, which for me was quite a significant sum of money.
54:01So Duncan Grant was a British artist and member of the Bloomsbury Group,
54:06which was quite a radical group of British artists at the turn of the 20th century,
54:12along with people like Vanessa Bell and Roger Fry.
54:16They wanted to create art that was different and this seems less extraordinary now,
54:20but at the time it was really unusual.
54:22They were breaking away from the confines of the 19th century
54:25and trying to create something that was a little bit more informal.
54:28Duncan Grant went to Paris and was blown away by the works of Cezanne.
54:33And you can see that here in this fruit.
54:35It's very Cezanne-esque with all these wonderful rounded bright colours.
54:39He was also influenced by Picasso and Matisse, again bringing in these wonderful bright colours.
54:45Well, what's really fascinating about this is so unusual for a still life.
54:49We can see exactly where this was painted.
54:52Duncan Grant and Vanessa Bell moved to Charleston Farmhouse in East Sussex in 1916,
54:58right at the height of the First World War.
55:00This is the original wallpaper in the dining room at Charleston House.
55:05And this piece of furniture is still there.
55:07Duncan quite often would have a still life on a tray,
55:11but here he's put it on the table.
55:13And you can see that wonderful informality.
55:16It's as if everybody has got up from lunch and walked off
55:19and he's just got his paints out and thought,
55:22I'm going to just do that.
55:23It's absolutely fantastic.
55:24What do you love about it?
55:26Well, it's Tentitle still life with coffee pot,
55:30but actually it's the other items in the picture.
55:34They've got such vibrant colours.
55:36The fruit comes to life.
55:38I love the oranges, the pears, the peaches, the melon.
55:42It's all Matisse-like colouring.
55:44And the perspective is very good.
55:46And they look balanced.
55:47They don't look as though they're going to fall off the table.
55:49You're absolutely right.
55:50Although it looks very informal,
55:51he's probably spent quite a lot of time arranging it, hasn't he?
55:55Yes.
55:56And if you look at that lemon, particularly in the middle,
55:58I mean, that is a really psychedelic yellow colour.
56:02It's so bold.
56:03In terms of value, it's in really good condition.
56:06It's a really good size.
56:08So I would have thought at auction,
56:09you're probably talking something in the region of 20,000 to 30,000.
56:13Wow.
56:14Wow.
56:16That's a Schalke.
56:18So now I've given you this price,
56:19what are you going to do with it?
56:20I think I'm going to hang on to it and let the kids fight over it.
56:25Well, I think they...
56:26I think they will be.
56:28I think it's fabulous.
56:29Thank you so much for bringing it in.
56:32It's been an absolute pleasure to look at.
56:34Thank you for enlightening me.
56:38The valuation came as a bit of a surprise.
56:40I never expected it to be anything approaching the sort of figures
56:43that were given today.
56:45But we're going to just continue to enjoy the picture.
56:48Brings back a lot of happy memories, actually.
56:54You've got to admire the dedication of someone who's prepared to lug something as heavy as this
56:59all the way to the Antiques Roadshow.
57:01It's a Victorian recliner chair.
57:05A place for a drink.
57:06A place to put your book.
57:07And I'm sure a Victorian lady wouldn't have had to do this herself.
57:10Thank you very much.
57:20All I need now is a gin and tonic.
57:23For the Antiques Roadshow at Stephen's house.
57:25Bye-bye.
57:26applause
57:28cl fishing
57:30clusing
57:31and
57:32zur
57:34�ijn
57:36揽 Unity
57:37instrumental
57:39ぶ
57:42hop
57:49onto
57:51portraits
57:53ぶ
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