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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.
00:40Absolutely not. He's told me not to bring them back.
00:42Go on.
00:44I'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.
01:11We love a good garden on the Antiques Roadshow, and we've seen some very memorable ones this year.
01:16Welcome 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,
01:46where ceramics expert Catherine Wright found a piece that recalled the glory days of one of Stoke's finest potters.
01:54Well, my spirit's really lifted today when I saw you produce this beautiful pair of vases from your bag.
02:00What 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 had had them for many, many years.
02:11I 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.
02:19So she collected everything?
02:21Everything, yes, yes.
02:22Lots 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.
02:51So these are lovely early examples of his work.
02:55This pattern, you can see, it's very much influenced by the Art Nouveau.
02:58What 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,
03:17and it's this tube lining technique where 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.
03:46Well, 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?
04:00Yeah.
04:03Really?
04:04Oh, well, I'm glad that's such good news for you.
04:13When I found out that the actual pattern is Hazeldean,
04:17it 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.
04:24So, yeah, it was lovely.
04:26Really nice.
04:35This 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,
05:06and we have this photograph.
05:07Can 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?
05:23From 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.
05:32That's a pretty incredible story.
05:34In fact, it's not a story that I've heard before.
05:36The 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.
06:14I cannot tell you how many shows they were enacting.
06:19And, in fact, I do believe that on some of these,
06:21your relative's name is actually written on the back on one of them.
06:25So, that ties him in absolutely perfectly.
06:27He was there. He was doing this.
06:30This, in itself, is a lithographed advertising sign.
06:35Oh!
06:36So, in fact, this is actually on tin.
06:39So, if I tap it, you can hear that.
06:41This signature in the bottom says,
06:43Sincerely 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. Thank you for bringing it.
07:02It's a lovely story, isn't it?
07:03It is. Yes, thank you.
07:10I'm kind of speechless,
07:11because 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.
07:29Christmas cards.
07:29No.
07:30How and why?
07:31Are you a collector of Christmas cards?
07:32No, no.
07:33I just came across the collection
07:35in my elderly cousin's house after she died.
07:38I mean, they're signed from, most of them,
07:40by somebody called Ada,
07:41and I don't really know an Ada in the family.
07:44Well, do you know what?
07:44I wish I did know Ada,
07:46because 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,
07:57a true boulevardier,
07:58and you open it up, and like a true boulevardier,
08:01he's having a load of fun.
08:03And then here, you've got this ta-da, hee-haw of a donkey.
08:08In a barn.
08:09A lot of these are printed really, really well,
08:12and I think best wishes for the new century
08:14is obviously a pun on century, century,
08:16so I'm guessing that's, what, 1899.
08:18So we're looking at sort of late Victorian
08:20turn-of-the-20th-century cards.
08:23People do collect Christmas cards.
08:25Valentine's is the big one,
08:26but Christmas card collectors are out there,
08:28and they're very ardent and avid.
08:30Let's just say we've got £20 on average,
08:3320, 40, 60, 80, 100, and 20, 40,
08:35you've probably got over £200 worth,
08:38and 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.
08:47MUSIC PLAYS
08:48Well, the style and the design of this gorgeous polar bear
09:05just scream Art Deco.
09:07But before we reveal a little bit of his story,
09:10tell me, how'd you come to own him?
09:11He was a wedding present to my parents.
09:14They were married in 1944.
09:16I've known it all my life, obviously,
09:19and they gave it to me when I got married.
09:22And you always remember it in their home?
09:23Oh, always. Absolutely.
09:25In fact, I used to play with it.
09:27You used to play with it?
09:28Yeah.
09:28Wow. So he's survived?
09:30He did.
09:31And 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,
09:40it's all about this economy of line,
09:42this simplicity that just pairs this wonderful polar bear
09:46down to, you know, the absolute bare minimum.
09:48Here he is sat on this sort of stepped ice block,
09:51looking down into this wonderful three-ripple pool.
09:55And actually, if we turn him over,
09:58there's a lot of little gifts there for us,
10:00because underneath we have the words polar bear,
10:03modelled by Doris Linder.
10:05And then next to it, the Royal Worcester Marks,
10:09dated 1937.
10:12Well, Doris Linder was actually a very talented artist.
10:16She was born at the end of the 19th century,
10:181896 in South Wales,
10:20but went on to study art,
10:22first training at St Martin's School,
10:24looking at sculpture.
10:25She then went on to the British Academy in Rome,
10:28and then came back to London to the Calderon's Animal School,
10:31where she learnt to observe animals
10:33and just pare them down in that beautiful, stylistic form.
10:38In 1920, she actually exhibited a number of her works
10:42at Heels of London.
10:44And, of course, it was there that she was picked up
10:46and spotted by the management of Royal Worcester.
10:49And in 1931, they launched a range
10:52which included works by her.
10:54And, of course, over the period,
10:55she created all kinds of studies of dogs, horses,
10:58but also she did her zoo babies.
11:01And I think this is probably where he came from.
11:04I've never had the pleasure of handling this model,
11:07and I love him.
11:10And I think if he were to come up for sale at auction today,
11:14I think you'd comfortably be looking at somewhere
11:16in the region of £500 to £800 for him.
11:19I won't tell the kids.
11:20LAUGHTER
11:21This is by one of my favourite artists.
11:30He became president of the Royal Academy,
11:32we are not worthy, Sir Frank Dixie.
11:34By the time he died in 1928,
11:36he was essentially in the modern world,
11:38but he's a Victorian painter.
11:40And this is the sort of picture
11:41that he made his name with,
11:42mythological 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,
11:49I'm pretty sure.
11:50So, Frank Dixie, what is he to you?
11:53He's my great-great-uncle
11:55on my mother's side of the family.
11:57So these are direct from his studio, effectively,
11:59or his house?
12:00Yes. Pretty much, yeah.
12:01These would all have been in the family,
12:04in one person's hand.
12:06They've come down to me now.
12:07It's oil on card,
12:09and it's just beautifully and freely done.
12:11He's just done it as a colour sketch.
12:14He hasn't bothered with the details of the faces
12:16because it's not about drawing.
12:18It's about tying in all the shapes
12:20and the composition,
12:22getting the colours in order.
12:24This is the kind of picture
12:25that he made his name with.
12:26Imagine this, really huge,
12:28on the wall of the Royal Academy,
12:29with a frame perhaps even larger
12:31than the picture itself.
12:32What he also did
12:34was this kind of domestic scene underneath it.
12:37I mean, that's very Victorian, isn't it?
12:39Well, it's very romantic, isn't it?
12:41This wonderful little oil painting
12:43of a girl reading a love letter by candlelight.
12:46It is one of my favourites.
12:48It's very intimate, isn't it?
12:49And the glow of light in a halo
12:51casting a shadow across her brown ringlets
12:54on the back of the chair.
12:56So I suppose that's a bit earlier
12:57than this mythological scene
12:58of maybe about 1870.
13:01The clothes make me think so.
13:03But Frank Dixie was of a large family
13:05of very good painters,
13:06and none of these pictures are signed.
13:08Thinking about it,
13:11this could well be by Frank's father,
13:13Thomas Francis Dixie.
13:14Yes.
13:15And then this delightful little sketch,
13:18which shows how free he could be
13:19when he wasn't trying too hard
13:20for the Royal Academy.
13:22Who's that little girl?
13:23Well, yeah, the family story
13:25is that it is based on my grandmother.
13:28She's so alert,
13:29and 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
13:38inquisitive inspiration, hasn't he?
13:41You know, I 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.
13:48Yeah.
13:49If only we could all do that.
13:51Yeah.
13:52Again, it's possible that this is actually
13:54by another member of the Dixie family.
13:56That's Frank's sister, Margaret,
13:57who was also really good.
14:00OK, what are they all worth?
14:01Put them back.
14:02Looking at that,
14:03I'd say £4,000 to £6,000.
14:06Wow.
14:07It's wonderful.
14:08What 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,
14:18and 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.
14:49Stoke-on-Trent is celebrating 100 years as a city,
14:52and at nearby Trenton Gardens,
14:54we're making a welcome return visit,
14:56a 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 with 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,
15:33the towns expanded,
15:34and 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.
15:50For the Duke and Duchess of Sutherland, the owners of Trenton Hall,
15:54well, the place just stank.
15:56So 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.
16:04Six years later, abandoned and unloved,
16:08the hall was pulled down and its sculptures, windows and doors were sold off to raise funds.
16:13There was no longer a grand house.
16:17So it was the gardens that had further incarnations.
16:20In the 13s and 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 which hosted the big bands of the day.
16:33The Beatles led Zeppelin.
16:35But from the 1970s to the early 2000s, the 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.
16:50And the lake, looking just beautiful.
16:53Onto the island, beavers have been reintroduced.
16:56And then, when I sniff the air, clean and fresh.
17:02The transformation is complete.
17:10Back on a baking hot day in June, the Roadshow visited Lister Park in Bradford,
17:22then celebrating its status as 2025 City of Culture.
17:28And among the crowds, eagle-eyed miscellaneous expert Ronnie Archer Morgan spied a miniature treasure.
17:34I 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 Pieros.
18:06Oh, my goodness.
18:07So, that drew me to it.
18:09Right.
18:09But I love the dog singing to his music.
18:13Yes.
18:13The dog's there, all moulded into the celluloid, and singing to his tune.
18:19And Pieros 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.
18:32It still pulls out.
18:34I don't want to pull it all the way out because, you know, something like you have to ease them back in.
18:39When I first saw it, you know, I said to you that it's made of celluloid.
18:42And celluloid's an early plastic.
18:44Yeah.
18:45And people collect things made of early plastics, you know.
18:48A collector would pay, I think, I'm going to stick my neck out, certainly £100, possibly up to £150.
18:55And the fact you bought it when you were six or seven is heaven.
19:00That's lovely.
19:01Thank 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.
19:12I was more curious about what it was made from and, you know, where it might have come from, really.
19:18We get loads of Bibles on the Antiques Roadshow, as 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 because that was what was on the spine of the book.
19:52Well, don't always judge a book by its cover because I've had to go away and do a little bit of research because I couldn't quite join up the dots.
19:59I think it's actually published by this John Cawood in 1569.
20:03Right.
20:04And it's really quite rare.
20:07Oh.
20:07The first English Bible, complete, was published by Miles Coverdale in 1535.
20:14So this is within about 30 years of the first complete English Bible.
20:18It's not in the best condition, but it is really, really quite rare.
20:22And at auction, I 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?
20:37Well, they don't hang on the wall.
20:39They sit on top of the wardrobe.
20:41They've sat on the wardrobe, three different wardrobes, for about 49 years.
20:45Is that because you don't like them?
20:47No, that's because my husband will probably divorce me if 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, had these hanging on the pub, which he ran in East League.
21:08Now, they wouldn't just be, by any chance, this gentleman here.
21:12It is indeed, yeah.
21:13That's Morton Handley.
21:14Right.
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.
21:24They look like the work of a very famous Scrimshaw engraver called Gustav Fontemsky.
21:33He was a Prussian.
21:34Yes.
21:34And he was an adventurer, artist, ended up in New Zealand as a soldier.
21:40Wow.
21:40Now, these 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, you would rub a soot-based pigment into those lines that you'd engraved.
21:59Into a, you know, the soft cow horn.
22:02And, 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.
22:14Go.
22:16Well, they're in very beautiful condition.
22:18I haven't ever seen better at auction.
22:22Probably around £1,000.
22:25Possibly a little more.
22:26Possibly a little less.
22:28They're not everybody's thing, but very unusual.
22:31A fabulous signed souvenir programme, the Rolling Stones in the Queen's Hall in Leeds, from July 1964.
22:45Obviously, not yours.
22:47No.
22:47Far too young.
22:49I'd like to know where they came from.
22:50It was a birthday present for my 15th birthday from one of our neighbours, who knew that I was in a band and liked my music.
22:56How fantastic.
22:58And did she get them signed herself?
22:59She did, yeah.
23:00Her and her husband, I believe, went to the gig either to review it for a local newspaper or a local magazine.
23:06Oh, right.
23:06Yeah.
23:07Well, here we go.
23:08It's the 12th of July 1964.
23:10Well, It's All Over Now was number one.
23:12And the Stones had just come back from 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 in the Queen's Hall in Leeds.
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, but it doesn't actually give the venue on it.
23:34And then we have the Four Aces programme from the Beatles.
23:37Again, 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 tickets for them.
23:44Oh.
23:45Yeah.
23:45OK.
23:46So, oh, heavens.
23:48Look at this.
23:49So, this is the Beatles in 1964, October the 9th.
23:54The 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.
24:03And look at this.
24:04This is A3 in the store.
24:06She must have been right at the front on stage.
24:08Exactly.
24:09Do you think she heard anything?
24:10Of the screaming, probably not.
24:13So, let's talk about the unsigned pieces first.
24:16So, the Beatles Four Aces, with the two tickets here for the performance.
24:21We'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, an unsigned piece doesn't have the same sort of cachet.
24:38So, we're talking about £80 to £100.
24:41Yes, very good, yeah.
24:42But, of course, this is the prize.
24:44This is the treasure from such an important part at 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.
25:01We've travelled far and wide this year, and when we visited the hill of Tarvit in Fife on Scotland's east coast,
25:22I couldn't resist a quick round of golf on the estate's course, the 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.
25:35In the home of golf.
25:38That is not too bad.
25:40It's not bad at all, actually.
25:41Back at the mansion, picture specialist Charlotte Reardon came across an intriguing pair of portraits.
25:50So, we're standing here next to a beautiful young couple, painted 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.
26:05And this is Jeanette.
26:07She was walking down the high street in Perth, and the artist had seen her and said, I'd like to paint you.
26:12But she actually said, hmm, that can't happen.
26:16I'll have to ask my mother.
26:17And the mother said, yes, okay, I can paint you.
26:20But these are actually by the same artist, Charles Seller, and actually, these were painted before they met each other.
26:26So, they're married later on in life, and the daughter, actually, of these couple, left them to me when she passed away.
26:33So lovely.
26:33As you say, they were both painted by the same artist.
26:36This is Charles Seller.
26:37Now, portraiture in the Edwardian period, which is where these works sort of hailed from, was 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, and in watercolour with sort of chalk elements.
26:52She's obviously an extreme beauty, beautiful, elegant neck, and just a lovely sort of distant look in her eyes there.
26:58And 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, if the worst were to happen, as it did to so many young men.
27:07It just captures that sort of on the cusp of manhood, I think, got the little sort of shadow of a moustache.
27:13His 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, in that sense.
27:19And luckily, Norman actually got through the war, and he came back, and they got together.
27:25But it's just unusual that two paintings by the same artist end up together before they even met.
27:31So, they've obviously had a bit of TLC, some lovely new frames here, keeping them in good condition.
27:35Do you have them hanging at home?
27:37Yes, they're hanging in the hall, so 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.
27:43Value-wise, I think, at auction and, you know, sold individually, although 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.
27:58Yeah, they do, yeah.
27:59They go together.
28:00Beautiful heart pendant, which is the epitome of love and sentiment.
28:11It's got an inscription around the edge.
28:14What does that say?
28:15It says, Henry Barnard de La Porte Beresford Pierce.
28:19He was my adopted grandfather.
28:22And how do you think he got hold of the pendant?
28:23I think it was probably given to him on his christening, because 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.
28:37That 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.
28:49And 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.
28:57And 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 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,
29:23which 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.
29:45Yes, well, we are looking at a piece of jewellery that at auction would fetch somewhere between £2,000 and £3,000.
29:55It's absolutely lovely.
29:58Thank you very much for bringing it along.
29:59Not at all.
30:00Thank you very much.
30:01So 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.
30:27But it's been in my house.
30:29I'm the third generation in the house.
30:31And it's been in my house all these years.
30:35It's a vase designed by a lady called Charlotte Reed.
30:38Yep.
30:38And she was working in the potteries in the 1930s.
30:41The vase is of this ovoid ribbed form with a sort of speckled, mottled glaze and 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 who were working in the potteries in the 1930s.
31:07So the value at auction would be much more modest.
31:10OK.
31:10And it's probably in the region of £80 to £120.
31:14Lovely. Thank you.
31:22I've got to say, look, these really come to life and glisten in this late afternoon sunshine that we're basking in today.
31:33They're almost sort of jewel-like, aren't they?
31:35What do you know about them?
31:37They 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.
31:57So 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.
32:56And then this fellow on the front here is Jorajin.
33:00So he's a god.
33:01And again, look, signed on the back here.
33:04And they were absolutely right.
33:06Tomoyoshi.
33:07And that is the signature on that one.
33:10And does the turtle mean anything?
33:11It's a minigami.
33:13So, yes.
33:13So this minigami is a sort of a mythical figure in Japan.
33:16And 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?
33:26The skill, the craft that went into making them.
33:29And they tell you something about Japan at that time, which is fascinating.
33:35Presumably, they were prestigious items.
33:37I mean, clearly, because so much effort was put into them.
33:40They are a really nice group.
33:43They're a really nice set.
33:44And I think if they came up at auction, they'd probably make somewhere between £8,000 to £1,200, something like that.
33:49Goodness me.
33:50Yeah.
33:53The detail is quite amazing.
33:55We 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.
34:14Well, 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 has got this fabulous faceted citrine on top.
34:33Tell us how it's come into your family.
34:35Well, it was passed down through the family on my husband's side, and he inherited it from his grandmother.
34:41OK.
34:43So we'll just have a look at the base, because that's got all the information, I think, that we need.
34:48It says, nicely engraved, from Andrew Tennant to his friend Alexander Blackie and his heirs forever.
34:58Yeah.
34:591815.
35:00It's a splendid inscription, isn't it?
35:02That'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.
35:17So 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 does 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.
35:42Yeah.
35:42The maker's mark is clearly here.
35:44IG, Edinburgh, 1815.
35:47The 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.
35:56Didn't know that.
35:57No.
35:57It's quite faint, but it's there.
35:59So, 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.
36:18But 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.
36:33Thanks so much for bringing it today.
36:35It's made my day.
36:36Well, it's made my day unexpectedly, yes.
36:38Wonderful.
36:45From high summer in Fife, we return to early autumn sunshine in Trenton Gardens near Stoke-on-Trent,
36:52where expert Will Farmer is challenging me to an appropriately pottery-based game.
36:57We'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.
37:11What I wanted to do was bring along three pieces that really epitomise that late 19th, early 20th century surge and renaissance in the work of lustreware.
37:22Because lustreware is just this incredible medium in the world of ceramics.
37:27You're looking at wares here that all use silver, gold, platinum, reduction firings to remove oxygen, to 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, the 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.
37:57This 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.
38:16And this is Daisy McKay-Jones at Wedgwood with her Fairyland lustre, a large Malfrey pot in a pattern called Candlemass.
38:25Now, the game is which, and I hate to say it myself, because they're all incredible.
38:31Which one is, basic, that feels a bit harsh, which 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.
38:46One of these pieces is worth £8,000 to £9,000.
38:50And one of these pieces is worth £12,000 to £15,000.
38:55Oh, 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.
39:08And 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.
39:26It's the most extraordinarily ornate one, isn't it?
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.
39:36I don't know.
39:38I'm erring towards the red one.
39:40You like the red one?
39:40I just, I like it more.
39:42I mean, I love the red one the best.
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?
39:49Yes.
39:51So, 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.
40:02Pilkington's, 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 and complexity and the amount of hours and work that have gone in to create something.
40:17So, these three show the story of how the industry has perfected the techniques and processes of lusterware.
40:25Right.
40:26Right.
40:26Now, what we have to bear in mind, ladies and gents, is that Will is also probably trying to throw us off a bit with that.
40:31Oh, 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.
40:46So, you're locking that in?
40:48No, because you always tell me, go with what you like.
40:53Yeah.
40:53And I would have thought this would be more to today's taste, either this one or that one.
41:01Two out of three went for this.
41:03Yeah.
41:04And that's good enough for me because it's my favourite.
41:06Okay.
41:06If you turn around and tell me, 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.
41:15Yeah.
41:16Best.
41:17Locked in.
41:19Oh, boy.
41:20You're going to be cross.
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 the Pilkington's Lancastrian by Richard Joyce at 4,000 to 6,000.
41:38The Ruby Luster, the double Ruby Luster by De Morgan at sort of 8,000 to 9,000 pounds is our better.
41:45That.
41:45That is the absolute glory piece of Daisy McKay Jones for Wedgwood Ferryland Luster.
41:5112,000 to 15,000 pounds.
41:54Oh, gosh.
41:55Well done, you.
41:57Thanks very much.
41:58You're welcome.
41:58You're welcome.
41:58You're welcome.
41:58You're welcome.
41:59You're welcome.
41:59You're welcome.
41:59One of our busiest locations this year was Stephen's house in North London.
42:18It was once home to Henry Stevens, who made his fortune from indelible ink.
42:24He then spent it creating a beautiful, self-sufficient garden.
42:28And 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.
42:47And it's by an artist who, back at the height of his career in the 1970s and 80s, he was one of the most popular artists at the Royal Academy.
42:57Now, 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 did.
43:12And 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.
43:20But 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 of them had all been sold.
43:31Roll on a couple of months later, on my parents' wedding anniversary, there was a knock on the front door of the house.
43:37And there was Sidney Harpley with his own copy to present to my mum.
43:42Wow.
43:43From my father.
43:44And that's how we've got it.
43:46And about ten 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 form.
44:08And the female form, in all different poses, really became his sort of signature subject.
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 movement.
44:28You kind of feel that she's just about to carve into the water with the elegance of her hand movements.
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 worked with the foundry, the bronze foundry, to make sure that he had the weight and the distribution properly.
44:57And she's literally floating in space.
45:01He was formally trained after the Second World War.
45:04I 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, is that after the Second World War, he actually worked in an artificial limb factory.
45:19Really?
45:19Which meant that he spent his days modeling and casting artificial limbs.
45:26Oh, wow.
45:26And I think when you know that, and therefore he must have had a really intricate knowledge of anatomy, it's why his sculptures are so good.
45:37Because he knew exactly what a limb should look 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 sculpture, it's incredibly sort of lifelike and realistic.
45:54And I just think it's just such an elegant piece to just sit and look at.
45:58So Hartley is someone who's not as well known now, I think, as he was back when your parents bought it.
46:03But 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 of £3,000 to £5,000.
46:14Oh, wow.
46:15Very impressive.
46:15I have no idea.
46:16Fantastic.
46:18A mystical, mysterious-looking bowl.
46:27What can you tell me about it?
46:29I've been in the family now for four generations.
46:32It belonged, I understand, originally to my great-grandmother.
46:35When she died, it came to me.
46:37I'm very happy to have it.
46:38And what do you know about it?
46:41Other than the fact it's lelike and it's old lelike, very little, other than it always used to sit in the middle of my grandmother's dining table, occasionally with some fruit in it.
46:50But that's where it always was.
46:52And there's more lelike in the family.
46:54Is it a collecting area?
46:56Yeah.
46:56My sister has one with shells on it, which she got as a wedding present, which is why when my grandmother died, I was offered this one.
47:07How wonderful.
47:08How wonderful.
47:09Well, let's take a deep dive into this.
47:11This shape is called coupe au vert, so open cup.
47:15We have six ladies, or nymphs, dancing in the water all around the edge.
47:21And if you have looked carefully, each one of these ladies is different, in a different position, different expression.
47:28This pattern is called ondine, and it was created by René Lalique in 1921.
47:35If we turn this over to the base, we can see that it's impressed Ă l'alique, which means that this was created within his lifetime.
47:45Later on, the R was removed, it was just l'alique, and it also has, here, an etched signature, l'alique.
47:51So if we sit it back down and take a look at the ladies, they have this kind of Vaseline look about them, an opalescence, which you can see really well on this dark background of the table.
48:04That was achieved by adding cobalt oxide to the glass whilst it was still hot.
48:08Now, the thicker the glass was, the slower the glass would cool down, and that meant the deeper the opalescence.
48:17Why does that matter?
48:19Collectors of Lalique want that opalescence to be really strong, and the deeper the opalescence, the more value they would ascribe to the piece.
48:27So this shape was made in different designs, and if you were starting to collect Lalique, you'd probably start with the pattern called coquille, which sounds like what your sister has, shells, going around the outside.
48:40That's right.
48:40So that's kind of the starting point.
48:43Then next we have the poisson, which has curling fish going around the outside, a bit like the ladies here, but the ladies, the ondine 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 ondine, wonderful opalescence, lovely design.
49:07It's what the collectors want.
49:08If 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. I did better than my sister.
49:18You did.
49:29What a lovely little card mascot, which I assume is sort of stylised hair.
49:34So how did you acquire it?
49:35It was my dad's. I 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.
49:44And so 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.
49:51And it's copyright AEL, which is Le Jeune, which although it sounds French, I think it's English.
49:57And it's 1920s.
49:59Oh, it's right.
50:00OK.
50:01And I have a particular interest for it because I'm pretty keen on hairs myself.
50:05Right.
50:06OK.
50:06The reason is, um, it's a little piece on my jacket.
50:11True.
50:11Hairs everywhere.
50:12I can see.
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.
50:20OK.
50:21Yeah, not bad at all.
50:22Yeah, that's nice.
50:23Nice to know.
50:54It's in her hand, and this is a book that she obviously owned at some point, and she's
50:57written 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.
51:18Yes.
51:19And, uh, I had a walk-in cupboard in the basement where I kept my stock, and after about
51:2515 years, St. Cleared the rubbish at the back of the cupboard, and I found these two
51:31books.
51:32That's a very nice find, isn't it?
51:33It will.
51:33Yeah.
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
51:40first edition of it, which is a rare book.
51:42It doesn't have a date on the title page.
51:44The printer's name is Harrison of Pall Mall, and this is really one of the key books in
51:48medical history.
51:49This is a distillation of everything Florence Nightingale had learnt about nursing, both
51:56in the Crimean War, which, as you say, she left to go to from your premises in Harley Street,
52:00but also back at home.
52:02And she really puts on its feet the idea of nursing as a profession, and particularly
52:08a 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.
52:33I think that's something that resonates with at least half of the population.
52:36And it's a very slim book, very concise, and it certainly changed the face of medical history
52:41in Britain.
52:42So that's an important book, first edition of 1860.
52:46I'm not quite sure the background of this one.
52:48This is a book that she obviously owned.
52:50Well, there was a letter in there which says, from her brother, thanking them for helping
52:58organise Florence's funeral.
53:01Right.
53:01And 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.
53:13There 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.
53:19That's a gift.
53:19They're two very nice things to have together.
53:21I don't think they've always been together.
53:22But 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.
53:36Oh, wow.
53:38Oh.
53:38So that, yeah, like everybody, I'm saying that surprises me.
53:42And then it's just nice to have Florence Nightingale's signature here, albeit in pencil.
53:47But I think we'd prefer a signature in pen.
53:50But there's a reason why she wrote it in pencil.
53:51So it is as it is.
53:53I think that adds another few hundred pounds to the table here.
53:56So 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.
54:08I 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.
54:41The 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.
55:01Yes, 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.
55:20But where does a moonstone come from?
55:23Well, it's part of the Feldspar group.
55:25You can 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.
55:33And underneath, there's the brooch fitting as well.
55:38So it's here as a pendant.
55:40Yeah.
55:40If I take off the back, and there it is, which is lovely.
55:44So often that gets lost.
55:45Yes.
55:45So 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.
56:05OK.
56:06I don't know what to say.
56:08I know that it's quite usual to say, well, it's not going anywhere.
56:12But I don't wear it.
56:14Because 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, there's just time to return to Trenton Gardens in Staffordshire
56:34to try out a local treat.
56:38At 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?
57:00Yeah.
57:00Right, come on.
57:04Mmm!
57:06Delicious!
57:07Right.
57:07We're going to scoff these from all of us here at Trenton Gardens from the Antiques Roadshow.
57:14Bye-bye.
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