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00:01Every year we travel the country, giving you the chance to show our experts your cherished
00:05items. But our summer roadshows have proved so popular, we haven't been able to pack in
00:11all the pieces you brought along. So tonight we'll be showing some unseen moments from
00:15some of our most memorable venues across the summer. Coming up...
00:20Is it a bird? Is it a plane? It looks like a little Superman figure to me.
00:24What do you feel like when you wear them?
00:26Like a million dollars. They are very, very special.
00:29And my father was going to attack it with a polishing drill because he thought it was
00:33dirty. You basically saved its life. Anyone who can peer beyond the shoulders of the shopkeeper...
00:38It's where all the best things are. It's where all the best things are.
00:43I'll also be talking all things ceramics with one of our experts when we pay a visit to Trenton
00:49Gardens in Staffordshire with this stunning lake. This was created by Capability Brown in
00:55the 18th century. All of it dug by hand. Can you imagine? It's just a stone's throw from
01:01Stoke-on-Trent. And we were here almost 10 years ago with a roadshow, but that time I was in a rowing
01:07boat. This time a motor's doing all the hard work, I'm glad to say. Welcome to the Antiques Roadshow.
01:13In June 2025, we spent a glorious day at Stevens House in the leafy North London suburb of Finchley. Once owned by ink magnate and politician Henry Stevens,
01:29the imposing Victorian mansion is set in 10 acres of landscaped gardens, where a rare Chinese item has caught the eye of Lee Young.
01:36When you brought this to my table, I have to say, I think I saw the cover first and that got me excited, but not nearly as excited as I was when I saw the whole thing. It is simply beautiful. It's lovely to hold. Now I need to take a look at it.
01:51How you come to own such a thing? My parents were very interested in Oriental art. They traveled widely in Japan, China. When they came back to England, they bought this, I think in about the 50s, 60s, something different.
02:09And then my parents passed away. Been on my cabinet ever since and my daughter likes it too.
02:24That sounds perfect. It is Chinese, cloisonne and it's a censer, which is an incense burner, which is why we've got those holes in the top.
02:29So, cloisonne, it's made up of these little sort of closons, so this is wire work that's placed onto the metal and then they put in enamels and fire those enamels and then file down those enamels until you get this wonderful decoration.
02:50Ah, I see.
02:51It actually sort of dates from the 18th century and it dates from the Qianlong period and so that's between 1736 to 1795.
03:01Yeah, I've had a really good look over and there doesn't seem to be any kind of blemishes or damage or anything like that over this piece at all.
03:06You know, the gilding's all in perfect condition.
03:09And, you know, we look at the front here and you've got this lovely kind of lotus flower and all these lovely sort of scrolling, colourful tendrils and other, you know, flower head motifs.
03:18And then they're all below this lovely band of Rui heads or Lingzhu fungus.
03:23The one thing I should say is the stand is much later.
03:25Now, if I take the lid off, first of all, we can talk about this wonderful ware inside.
03:32Yes.
03:33And then we can see we've got the label here, Costellani, who started out as a collector, it says collection, but he actually eventually became a dealer in his own right.
03:41Wow.
03:42And had a shop in London and was actually retailing primarily kind of Asian art in London.
03:48Yes.
03:49So they were buying...
03:50I think they probably bought it from him.
03:52Bought it directly from him.
03:53Having that collector's label on there helps when things are being sold today.
03:58At auction, I can see this comfortably making between £5,000 to £8,000.
04:03Wow.
04:14Well, what a spectacularly beautiful pair of enameled gold and diamond earrings.
04:19Tell us all about them.
04:20Well, these were given to me by my grandmother, who actually died aged 101.
04:27Goodness, yes.
04:28And I was extremely close to her.
04:30Mm-hm.
04:31She bought these earrings for herself and she always believed that they were Fabergé, but that the mark was lost when she had them changed to clips rather than pierced ears because that was how she needed them.
04:43But they have a very special place in my heart because of the connection with her.
04:48I bet.
04:49I bet.
04:50Well, the first thing to say, just for point of accuracy, is that they are not by Fabergé.
04:55They're something really rather earlier than that, which is fun.
04:58I suspect that they're actually French and that they are about 1840 to 1860 in date, which precludes Fabergé by about 30 years.
05:07Well, had the fittings not been changed, we might have got a little mark from Paris which would endorse what I said.
05:12But I can tell you sort of instinctively and nothing more than instinct that a firm called Malerio in Paris was making jewelry of this description.
05:22They're one of the oldest businesses in Europe and they exist even today and have the most spectacular heritage.
05:29They are enameled gold and they're heightened with brilliant diamonds.
05:34And what do you feel like when you wear them?
05:37Like a million dollars.
05:38They are very, very special.
05:40Aren't they marvelous?
05:41Yes, they really are.
05:42They're ivy leaves and diamonds.
05:45And in the Victorian 19th century language of flowers, which was in France too, ivy was for sort of tenacity and faithfulness.
05:52And diamonds, well, forever.
05:54Beautiful articulated things and they come apart here on what's called a rat's tail.
05:58And it's called a rat's tail because you can bring this forward and take it off.
06:04So that's your dress down Friday, ivy leaves and diamonds.
06:09Not very dress down, I have to say, but nonetheless.
06:12And when you're going out for something a bit more special, you can add this marvelous drop.
06:17So versatile is also a keynote of really great jewelry, particularly in the 19th century.
06:22And so tiaras make into necklaces and bracelets turn into brooches.
06:26So all of that makes them covetable and valuable.
06:31And earrings are often disproportionately valuable in our world.
06:35But I think because of all the things that I've said about them, if they were for sale, they would probably cost about 8,000 pounds today.
06:44That's wonderful.
06:45I absolutely love them. Thank you.
06:47Thank you very much indeed.
06:49So this looks like a pretty unremarkable restaurant, Bill, doesn't it?
07:03It's from Parks Restaurant in Beech and Place in London.
07:06And it's dated 1965.
07:08What's going on with it?
07:09My parents had an anniversary, very special anniversary dinner.
07:13Right, OK.
07:14And yeah, some interesting people were in the restaurant.
07:17And if we turn it over, we can see who those people are, can't we?
07:20Because they were obviously John Lennon and George Harrison.
07:23That's right.
07:24My father said to the maitre d', can I ask them for their signatures?
07:29And the maitre d' said, we don't do that at this restaurant, sir.
07:33And he stuck it in front of them in any way.
07:35All right, OK.
07:36And they were more than delighted to sign it.
07:38Right, OK.
07:39And if he went.
07:40Excellent.
07:41So were John and George kind of regular customers there?
07:43Apparently they were.
07:44It was one of their favorite restaurants.
07:45We're going to talk about value.
07:46I mean, obviously it's a family thing.
07:47It's got that great story behind it.
07:49But it's actually quite a valuable little thing.
07:51OK.
07:52And I think first-hand kind of accounts that really put you on the spot
07:55and you know that they're really genuine, these signatures,
07:58mean that this is worth one to one and a half thousand at auction.
08:01OK.
08:02It's not going anywhere.
08:03But everybody says that.
08:04I'm going to say that.
08:05It's great.
08:06Thank you for bringing it.
08:07So, am I looking at part of a larger collection or what?
08:25No, they're just the three bottles in the family.
08:29We don't have any more.
08:30You said the family.
08:31Are we going back in time?
08:33We are.
08:34They were always around in my grandma's house.
08:37And I remember them as a child many moons ago.
08:40And they've been passed down through the generations.
08:43We thought they might have come from Germany or Holland.
08:48And from sort of research, we thought they might be sort of late 1600s.
08:55Right.
08:56The right bits are the fact that these are probably German,
09:00but they were made across, you know, into Bohemia,
09:04what is today the Czech Republic.
09:06Yeah.
09:07But we're not talking 1600s.
09:10No.
09:11We're talking 1700s.
09:12Oh, right.
09:13Right.
09:14But what we're looking at is a form of German folk art.
09:18Yes, exactly.
09:19Because these are clear bottles.
09:21These are in like a soda glass.
09:23So there's no lead in them at all.
09:25And they are then enameled by hand.
09:29Oh, it's enameled.
09:30With these spirited designs.
09:32In other words, there is a glass paste that's laid on
09:35and then they're then heated when the glass then solidifies
09:39and it anneals to the actual body.
09:42So tell me your thoughts about them.
09:44Well, I love the colours.
09:46I like their simplicity, the naivety of it.
09:49And they've just been with us for so long
09:52that they're part of the family, really.
09:54Yeah.
09:55Let's have a look at what we've got here.
09:56First of all, we have a white dog.
09:59Yes.
10:00What I love are the flowers.
10:01The flowers are wonderful.
10:02And even the corners have got these curly whirlies,
10:06aren't they?
10:07And so there's a lot going on.
10:08Even the shoulders have got beautiful decoration.
10:11The little one in front there, well, that is all floral.
10:15But what I love is the fact that the enamels are still there.
10:19Ah.
10:20So often they get flaky and they disappear.
10:22And let's go on to the big one.
10:24Yes.
10:25Now the big one's got everything going for it
10:26because the big one has got a little screw twist top.
10:30The others, you can see here, should have had two screw twist tops.
10:35Yes.
10:36This is the premier example where you've got a milkmaid on one side.
10:43And on the other side, we've got what appears to be a raspberry or strawberry tree.
10:49When it comes to the value, I just wish they'd all got their-
10:52Their tops.
10:53Their tops, their screw twist top.
10:54But so let's just take them as three fabulous glass flasks.
10:59And I would say that you would be looking in the region of around about 800 pounds
11:05to perhaps, perhaps a thousand pounds.
11:08Good Lord.
11:09If they'd got their original tops, I would have said a thousand to twelve hundred without hesitation.
11:14Right.
11:15But what you've got is family treasure really, isn't it?
11:18Exactly, exactly.
11:19It is.
11:26The thing I love about this is something that's so beautifully simple,
11:29so exquisitely put together, yet conveys such a wonderful message.
11:34It seems so wonderfully observed.
11:36This fabulous ceramic sculpture of a monkey and her little baby here.
11:41But before I reveal more of the story of it, how does it come into your life?
11:44In the early 2000s, my wife and I were away for a romantic weekend in Budapest.
11:49And we were in an antique shop, and we were looking at various things.
11:52And we loved monkeys.
11:53We'd spent time with this particular type of monkey in a sanctuary in France.
11:58When we were talking to the owner, there was a doorway behind him, behind the counter.
12:03And just through that, I could see this up on a shelf, slightly obscured.
12:07We pleaded and begged and explained our passion, and we agreed a price.
12:12It was a couple of hundred pounds, and we brought it home with us.
12:16I'm so pleased you've given me that link.
12:18You've mentioned the fact that you're in Budapest.
12:20Yeah.
12:21So, when we turn the monkey around, on this side, we've got, and the name is actually written
12:26in reverse, it's actually Imre Simé, who is the Hungarian aspect with this date of 1906.
12:33But also, we have this mark here, this quite intriguing little backstamp.
12:37Have you ever managed to find out who this is?
12:40I know it's the Wiener Karamek mark.
12:42Brilliant.
12:43Well found.
12:44This date of 1906, which is the year that this factory was opened by two great Austrian sculptors.
12:53Michael Pawonly and also Berthold Lofner.
12:58Right.
12:59Now, when we look at this at the front, we've got so many references.
13:03The date itself actually belies the object.
13:07Because at first glance, you look at this and you think this is Art Deco.
13:11Yes.
13:12This is 1925, 1930.
13:15This is 20 years before.
13:18I felt it was sort of an Art Deco-y, Cubist look about it.
13:22But, as you say, the date being so early didn't quite fit.
13:26And I never really understood how that was.
13:29And doesn't it show what a powerhouse and what was happening?
13:33You know, the change that was...
13:35This is a million miles away from Victoriana, from that late 19th century.
13:39Yes.
13:40It's a mile away from Art Nouveau.
13:42It's so far removed but shows the strength of movement that's really taking hold and going to come forward.
13:48I'm going to put a price on it.
13:50My gut instinct is I feel that the market, the appetite for this would be stronger in Hungary.
13:57I'm going to say an auction estimate of eight to twelve hundred pounds.
14:03It was a lovely find.
14:04I commend you for that.
14:05Thank you very much.
14:06I commend you.
14:07Anyone who can peer beyond the shoulders of the shopkeeper.
14:09It's where all the best things are.
14:11Yeah.
14:12It's where all the best things are.
14:14Yeah.
14:15Back at Trenton Gardens, I've got a chance to catch up with one of our longest-serving experts, John Sanden.
14:34His late father, Henry, was with the roadshow almost from the start.
14:37It's what we call slipware, made in Staffordshire, somewhere around about 1700.
14:44And John himself joined in 1985.
14:47This has got to be one of the rarest pieces of English porcelain.
14:51Now, after 40 years, he's indisputably roadshow royalty.
14:56So it's wonderful to be able to learn how his dad fired up his lifelong passion for pottery.
15:02John, I'm assuming that your illustrious father, Henry Sanden, had something to do with your interest.
15:07Well, of course, with a dad like that, I mean, how could I have done anything else?
15:11He'd really got me started just as soon as I could walk in the garden, picking up bits of broken pottery.
15:17I mean, that mug, incredibly, I helped dad join that together from broken bits when I was just five or maybe six.
15:24He dug it up in the garden, all little tiny bits.
15:27I helped him wash them, join them together.
15:29And I was amazed that something 300 years old could come back to life from being broken.
15:34So as well as digging up in the garden, did you dig up further afield?
15:38Dad loved archaeology of all sorts, but in Worcester, he used to go for walks around the city and took me with him.
15:44And if ever he saw any workmen had been digging a hole, he would lower me down into a trench
15:50and toss me down a trowel and a paper bag to pick up any bits of broken pottery.
15:55Then I'd take them home, wash them in the sink, and he would show me in the books what they were part of.
16:01And so, professionally, how did it begin for you?
16:05When I was 13, he sent me up to London and gave me 20 quid and said,
16:10go and buy something rare and something unusual down Portobello Road.
16:14And I bought this little pot. I recognised that this was from ancient Peru.
16:19It's a whistling pot. It came from the time of Inca.
16:22Gosh, so what, 1300s to 1500s, about that?
16:25That's right. And so this would have been in a grave somewhere up in the Andes.
16:29And the spirits of the dead would have been released when the bird sings.
16:33And I saw it on the stall there and realised it still works.
16:37Oh, let's hear.
16:38As the air goes through the little chambers, the bird sings away.
16:44£18 I paid and brought it back to my dad.
16:47He wanted to give me a profit for it, but I wouldn't sell it to him.
16:50I've kept it ever since.
16:52Quite right, too. And then from there, you went into the business.
16:56I was only 16. I was still at school doing my A-levels.
16:59When I was offered a job in a London auction house in Bond Street,
17:03I learnt and brought along the knowledge I'd been gaining on old pottery,
17:08and particularly about Worcester porcelain.
17:10And what about this piece? How does this fit into your life?
17:13Well, this goes back to my dad's love of Worcester, especially his work.
17:18He was the curator of the porcelain works at Worcester,
17:21and one of the great craftsmen who'd been there all his life
17:24was Harry Davis, who painted that vase.
17:27I would have been ten.
17:29Dad took me on to a little room in the factory
17:31and introduced me to Harry Davis,
17:33just sitting there, calmly painting a whole pile of plates.
17:37I was mesmerised, and I admired him so much.
17:40Harry did this when he was a teenager.
17:42Oh.
17:43It was made in 1903, and it was his first vase,
17:46painted with a view of Kemsey near Worcester in winter.
17:50I mean, nowadays his vases fetch thousands of pounds,
17:53but I grew up staring at that vase as Dad did, and loved it too.
17:58Now it's mine, and, of course, porcelain doesn't get better than that.
18:02Who knows more about ceramics and porcelain than you pay?
18:05I mean, I can't imagine.
18:07Of course, your father sadly is no longer with us,
18:09but such a stalwart of the show, as you have been for so many years.
18:12And a real treat, actually, John, to hear about your life in ceramics.
18:17No, it means a lot to me too.
18:24In early summer, we visited Shuttleworth House,
18:27a striking Victorian mansion set in 4,500 acres of Bedfordshire countryside.
18:32And while we were there, we were treated to a fly-pass by a spitfire.
18:36And miscellaneous expert Paul Atterbury was fascinated to hear the story
18:42of one pilot's all-but-forgotten contribution to the war effort.
18:47Now, I'm looking at a group of, obviously, aviation things here.
18:51There's a model of a Gloster Meteor, there's some medals, there's an award,
18:56and it's obviously an aviation story,
18:59and here we've got a photograph of an amazingly jolly group captain.
19:04Who's he?
19:05This is our father, group captain H.J. Wilson,
19:08known by everyone as Willie Wilson.
19:10And these things, you lived with them?
19:12Yeah. If I'm a child, they were in the flat,
19:14although the medals were not on display.
19:16My brother had those framed. They were just hidden in a drawer.
19:19So, where does his life begin in the Air Force?
19:22So, he joined up before the war
19:24and actually left the RAF before the war started.
19:28And then, as soon as the war started,
19:29he was brought back in as a test pilot.
19:32We don't often get the chance to talk about people
19:34who were equally brave,
19:37who were never fighting the enemy directly.
19:39And testing aeroplanes, of course, was the basis for everything.
19:42His particular job at Farnborough, where he was based from 1941,
19:46was to test aeroplanes.
19:49Here we have a model of a Gloster Meteor.
19:52This is the first jet warplane used by the Allies.
19:57It was developed from 1940, first flew in 1943,
20:02and went into service in July 1944 with a 616 squadron.
20:09You know, the jet was a new concept.
20:11And your father, I think, pioneered that.
20:14And also, most importantly, he taught people how to fly it.
20:17You'd flown a Spitfire Hurricane.
20:20You couldn't just step into this and fly it,
20:23because the whole technology was completely different.
20:25But this became the mainstay of the Air Force.
20:28Thousands were made.
20:29It was used by Air Forces all over the place.
20:31And he was very much involved in getting that plane
20:35to become the famous thing it was.
20:37And that takes us on to really, in a way, back to the photograph.
20:42What's going on here?
20:44So that's Eric Greenwood. That's my father.
20:46Eric Greenwood was working for Gloucester, my father for the Air Force.
20:49And the same day in Herm Bay in 1945,
20:51they both had a go at breaking the world speed record.
20:54At the end of it, they awarded it to Eric Greenwood, my father,
20:59and went off to lick his wounds.
21:02And it was only a few hours later,
21:04they discovered they'd got the maths wrong
21:05and realised it was my father who had broken the world speed record.
21:08So it ended up the numbers.
21:10Absolutely.
21:11Wonderful. Very British, isn't it?
21:12Yes.
21:13I think it was only three miles an hour between the two.
21:15It wasn't very great.
21:16Wasn't it 6.06?
21:18That's right.
21:19That he got the speed record.
21:20We've got a case of medals here which we must end with.
21:22Normally, we're looking at medals awarded in combat.
21:25Here is a group that has no combat association whatsoever.
21:28These are the standard medals.
21:31This is an Air Force cross with two bars,
21:35which means he was given three Air Force crosses,
21:39and this is a CBE.
21:41This is truly exceptional for a truly exceptional man.
21:46And in terms of value, you're looking at a lot of money here.
21:50Are you aware of that?
21:51I mean, I have no idea, to be honest.
21:54Well, an Air Force cross with two bars,
21:56well, you can start at £10,000.
21:58Right.
21:59And probably go up.
22:00Right.
22:01OK.
22:02You're supposed to say something now.
22:05We have no plans to sell them.
22:07Yeah, it's something we obviously get very proud of,
22:10but, yeah, keeping it in the family.
22:12I mean, I think it's very exciting to see such a thing because I'll never see it again.
22:16He must have been an extraordinary man, extraordinary achievements in very many fields of war that we never really think about.
22:24Yes.
22:25So thank you very much.
22:28It's something we just grew up with and almost, it was normal, but it wasn't normal.
22:36It was extraordinary what he did.
22:38But now I'm incredibly proud of what he did.
22:41And it's extremely appropriate that a spitfire should be flying over.
22:46Perhaps he's sort of come back to supervise the event.
23:03The Wedgwood vase of huge scale.
23:06It is.
23:07What about it with you?
23:08Well, as much as I know, it was my grandfather's.
23:11And I'm not sure where he got it from.
23:13And he kept it on the staircase in his house in Annick.
23:17When he passed away, he then left it to my dad, who then passed it to me when he passed away.
23:22Now, this is a potpourri vase.
23:24We know that because the lid is pierced.
23:26So those lovely holes would allow the perfume to fill the room.
23:31It's jasperware.
23:32It was called jasperware because it was meant to mimic the mineral jasper.
23:37The clay body, which was a greyish white material, would have been dipped into a dyed slip of blue, dark blue in this case,
23:44which is very much for the period of around 1840, 1860.
23:49So that's when this piece was made.
23:51Gosh.
23:52Is it different with it being the dark blue as well?
23:54Is that rarer?
23:55Yes, the dark blue was more popular in the 19th century.
24:00The lighter blues came in later.
24:01Yeah.
24:02And it's beautifully styled with these classical figures on the outside.
24:05Each one moulded separately and applied to the body of the vase in this white relief.
24:10Like a cameo effect.
24:12So they really feel like these figures are coming towards you.
24:15It's just such a beautiful three-dimensional piece.
24:19What is unusual is the pedestal base.
24:22The vases are usually smaller.
24:24Maybe the lid's not pierced for the potpourri.
24:26But this has got all of it.
24:28This has got the pierced lid and it's got the base.
24:30It just elevates it literally to something more special than just a vase and cover.
24:35Yeah.
24:36I think it's a wonderful thing.
24:38It shows all the masterful craftsmanship at the Wedgwood Factory of the time.
24:43If this were to come up at auction, it would make somewhere in the region of £1,000 to £1,500.
24:51That's very nice, but I wouldn't sell it.
24:53You know, it's heritage to me.
24:55I'm an only child and so were my mum and dad.
24:58So, to me, it's something that I will treasure.
25:05Is it a bird? Is it a plane?
25:09It looks like a little Superman figure to me.
25:11Can you tell me a little bit more about it?
25:12So, it's a peg doll that my mum made when she was asked to do some work on the production of the original Superman movie.
25:20My mum was approached, or the company she worked for was approached, to see whether she could come up with a way of waterproofing the costume to be used in one of the scenes where Superman goes into the water, comes out of the water and the water just drips straight off him and he's looking as pristine as he went in.
25:38So, she said, yeah, I can come up with a chemical that can do that and eventually said, yeah, I think I've got something that will work.
25:46And they said, great. Do you want to come and see it being used in the film?
25:50She said, great. They were pleased. Christopher Reeve was pleased.
25:53He had lunch with mum, bought her a bouquet of flowers, say thank you for coming up with this solution.
26:00And with the original swatches, mum made a uniform and a cape for the peg doll.
26:08So, the actual construction of this suit was really quite a complex and involved process.
26:13There was a lot of testing that went into it. There were a lot of problems with it.
26:17Not just getting the form to fit Christopher Reeve perfectly, but also consideration of sweat, would you believe.
26:23The suits were made by a company called Bermans and Nathans. They were the costumiers for the film.
26:28And the gentleman, Noel Howard, who ran the floor for Bermans and Nathans at that time, actually found a company in Europe who produced this fabric with this very, very special weave.
26:37But they obviously still hadn't resolved coming out of water, those sort of shots which your mother was so involved with.
26:43I mean, this was a big production for Warner Brothers Studios.
26:46And, of course, we've gone on and seen many iterations of Superman since.
26:50So, this is a wonderful piece of memorabilia, this peg doll.
26:54But what we're really focused on here is actually the cloth components themselves,
26:58because those are samples of the original costume that Christopher Reeve wore in the film Superman, which is amazing that it survived.
27:05And I think this would have an auction estimate of somewhere in the region of about £300 to £500.
27:10But really, it's more about the backstory and it's about the history of it that's more important, perhaps, than the financial.
27:15Of course. Absolutely is. Thank you.
27:17You have brought me in an interesting sword. It is a tulwar-hilted shamshir, this extravagantly curved blade.
27:34Shamshir means lion's claw. So, whose sword is it? Why have you got it?
27:40It's a sword owned by a chap called Lieutenant Edward Kelly of Waterloo.
27:45It's been in the family for a very long time. The history is my great-great-great-great-something grandmother was his wife.
27:54Right. So, that has all stayed in our family ever since.
27:57My father passed away last year, my uncle passed away this year.
28:01As we start to lose a lot of the knowledge around it, I'm interested to know more about it, really.
28:07Yeah. Kelly was in one of the last charges at Waterloo.
28:11He took out a French colonel, cut his epaulettes off his uniform and nicked his horse.
28:17He was the most amazing chap, hence Waterloo Kelly.
28:20He subsequently went out to India, where I suspect this sword came from.
28:27He was out there with his son, and I think they were at the siege of Bharatpur.
28:32This shamshir with a tulwar-hilt, it's very nice. This is gold-kafgari work.
28:38The scabbard itself is silver-mounted. I can see why the thing was taken.
28:43I would think, because of the story, and we can tie it to Waterloo Kelly,
28:50I could see that making £1,000. Oh, really?
28:55But the sword itself, of course, brings Waterloo Kelly's story to life.
29:02And it's a fabulous thing, which I very reluctantly will give back to you.
29:05Thank you very much. Thank you very much for bringing it in.
29:07It will stay with the family. Splendid. Thank you.
29:10From Bedfordshire, we headed north in July to the east coast of Scotland,
29:28and the hill of Tarvit in Fife.
29:31An Edwardian mansion built for mill owner Frederick Sharp,
29:35containing all manner of mod cons,
29:37including the most lavish of condiment trolleys.
29:40This silver galleon, or neth,
29:44could be wheeled along the table...
29:46..like so.
29:50To the delight of the assembled guests,
29:53it was both a conversation piece
29:55and a very effective way of showing just how wealthy Sharp was.
29:58And out in the grounds, Lee Young has spotted another fascinating curiosity.
30:07So I would say normally this type of screen would be to sort of cover up something,
30:13or you while you were, you know, getting redressed or undressed,
30:17or I'm not actually sure this kind of miniature decorative version would cover much up, actually.
30:22No. It would not.
30:24But what do you know about it?
30:25My great-grandfather bought it.
30:27He travelled to Japan on a selling trip.
30:30He had a linen company.
30:32And he bought it, and then it belonged to my grandmother,
30:36then my mother, then my father.
30:38And then my father was going to attack it with a polishing drill,
30:42because he thought it was dirty.
30:44And so I just managed to catch it in time and tick it off him,
30:47and that's why I've got it now.
30:49Because it could have been disastrous.
30:51You basically saved its life.
30:53I saved its life, yes.
30:54First thing to say about this is it's just lovely quality.
30:56You're absolutely right.
30:57It's Japanese.
30:58Yes, I think it dates from the sort of late, you know, part of the 1800s.
31:02And it's a type of work called sort of damascene,
31:05and that is a process of inlaying metals on top of one another to create a pattern.
31:11But it's got a little sort of signature or a little seal down here.
31:15So that actually says that it's a komai sebe,
31:19who was a metal worker and set up a workshop in Kyoto in 1841,
31:24producing this type of decorative object.
31:29Yeah.
31:30You've got that lovely kind of, you know, Mount Fuji in the background,
31:33but just this sort of continuous landscape with the temple there,
31:37and I think that's a sort of bit of a waterfall going on there.
31:39Yeah.
31:40You know, the attention to detail is so good.
31:42It's just beautiful.
31:43And the other thing I would say is that the condition is so good.
31:46So where does it live?
31:47It's just on a kind of a dresser.
31:50Yeah.
31:51It's kind of out of sunlight.
31:52It's just there.
31:53And just ignore it.
31:54And every now and again, I look at it.
31:56Yeah.
31:57I know you like it.
31:58Do you like it?
31:59Oh, I love it, yeah.
32:00It's the fine detail.
32:01And it's typically Japanese with all the sort of the formal garden scenes and whatever.
32:05But just the intricacy of the whole thing is phenomenal.
32:08You know, this is the sort of thing that would have been made for the Western market.
32:11Now, considering its size, I think it would carry quite a decent estimate at auction.
32:15I think if that came up, it would probably make between eight to twelve hundred pounds.
32:19OK.
32:20That's lovely.
32:21You know, at a sale.
32:23It was a surprising bit.
32:26I didn't realize it was maybe worth that much.
32:29I knew that it was beautiful.
32:31But beauty and being worth anything is totally different.
32:34We have two brooches, two completely different styles.
32:46And I'd love to start with this one here.
32:49Could you tell me what you think those are?
32:51They're cameos.
32:53And is it onyx?
32:54Absolutely.
32:55So they're carved.
32:56So most people do call them cameos.
32:59However, because they are incised, they're actually called intaglios.
33:03Intaglios.
33:04Intaglios.
33:05And they are usually carved from sardonyx, onyx, agates, etc.
33:10Yeah.
33:11In this case, we have Mars, the Roman god of war.
33:15And we have him twice.
33:17The carving is incredibly detailed, which is the main mark of quality when it comes to looking at cameos and intaglios.
33:26They were typically made in Italy, but then also throughout Europe in the 1860s.
33:32The 1860s, 70s, and 80s.
33:34Could you tell me a little bit about the history of it?
33:37Well, all I know is that my great-great-great-grandmother came on the Grand Tour.
33:43Yes.
33:44She was over here in the 1850s and maybe early 1860s.
33:49Mm-hmm.
33:50It wouldn't surprise me if some or all of this piece came from that period.
33:55My hunch is that they brought those back and had...
33:59Just the intaglios?
34:00Yes.
34:01And had them set in this style of mount.
34:04And the reason is because the jewellery that was being made in the mid-19th century didn't look anything like this.
34:10Yes.
34:11Of course, the alternative is that she purchased the jewel in Italy on her Grand Tour.
34:17I'm going to move to the crescent brooch now, which is a completely different type of jewel.
34:22And this is a form we see quite often.
34:25But the reason that this caught my eye was because of the sapphires.
34:30They are a beautiful, vibrant hue.
34:34Sometimes sapphires can be over dark and a bit muddy looking.
34:40But these are very vibrant, very bright blue.
34:44Do you think that they came from the same person?
34:47I have a feeling that they all came from the daughter of my great-great-great-great-grandmother.
34:54And we always knew this lady as mama child.
34:56So it wouldn't surprise me if this was something like this.
34:59Right.
35:00In terms of value, this one at auction today I could see in the region of 1,500 to 2,500 pounds.
35:07And this lovely crescent brooch at 700 to 1,000 pounds.
35:13I think they're family heirlooms, aren't they?
35:16I can't be the one to break the chain.
35:18I'm so glad you came and shared them with us today and really enjoyed chatting to you.
35:22I enjoyed it very much.
35:23And thank you very much indeed for your expertise.
35:31So here we are, the Hill of Tarvet, beautiful landscape surrounding us.
35:35And you've brought a painting by the great colourist artist George Leslie Hunter, which is, he's probably one of my favourite Scottish colourists.
35:43What's your history with it?
35:44I acquired it back in 2007.
35:48I was very keen to get a Fife painting.
35:51I liked a Fife painting.
35:52It's about five miles from where I live and it's just less than a mile from here.
35:58So he's nicely signed it here, El Hunter.
36:01So he was born on the Isle of Butte and then early on he moves with his family to California and then comes back to Scotland in about 1906 after being to Paris.
36:11And I think some of these later landscapes really are where he's settled and happier.
36:16And, you know, this really was the time for Scottish colourists.
36:20Actually, what brings my eyes into this picture is actually that incredibly intense green right on the sort of top of the hill.
36:27And you can see where he's used his brush and pulled it right across, big broad brushstroke.
36:32And then he's turned it upside down and then incised the oils with his brush.
36:37I think that's really lovely.
36:39And I suppose these five landscapes are so characteristic because of the red rooftops and he really captures those in such...
36:46Well, I mean, it's a colourist painting, but they're just such bold colours.
36:50It's going to be painted probably around sort of circa 1920.
36:53We're talking about 18 or so years ago when you bought it. What did you pay?
36:59It was a London sale. And yeah, I pushed the board out and it was sort of high 20s.
37:03You paid at the time a strong price for it, but I still think in the current market people would chase this picture.
37:10It's a good scale. It's very bold in colour. And I'm going to value it 30,000 to 50,000.
37:15Gosh, lovely. That's nice. Thank you very much. That's very nice.
37:18It's a lovely painting though. As you say, it's strong colour. Look at the greens and the reds. It's fantastic.
37:35So let's get this right. You've come on a backpacking holiday from Australia.
37:39Yes. And you brought some antiques with you.
37:41Yes. Because you knew the Antiques Roadshow was going on.
37:44Absolutely.
37:45You've got some fantastic things. Early tree, beautiful handmade wooden boxes.
37:50Which is your favourite one?
37:51I've probably got two. That's one.
37:54Right. This is a burr wood and silver mounted snuff box.
37:58And because of its size, it's a table snuff box or a snuff mull.
38:02Right.
38:03It's early 18th century. It's going to be George I or very early George II, 1725, 17, that sort of time.
38:10And that's the other one.
38:12And then your other favourite is this sweet little, it's rosewood, isn't it?
38:16Yes.
38:17My favourite is the Fernware piece.
38:20What a wonderful survival and what amazing condition it's in.
38:24And it's a souvenirware piece because it has the Isle of Wight scene on the top.
38:29Mm-hm.
38:30Value-wise, are we looking at the best part of £700 to £1,000?
38:35Lovely, yeah. Lovely.
38:48When we think of Crimean War nurses, we were taught at school about Florence Nightingale, weren't we?
38:54But actually this lady here was in the Crimea, involved in nursing. Who is she?
38:59Indeed, she's Eliza Mackenzie. She nursed at Therapea and Florence Nightingale was at Scudari.
39:07And as far as we are aware, they were actually quite good friends as well.
39:11So they're literally over the other side of Istanbul.
39:14Of the Bosporus, yes.
39:16Absolutely.
39:17She was actually a lady superintendent and they weren't trained nurses.
39:22They held almost an administrative leadership role.
39:25So she would have been overseeing the nurses and the patient care.
39:30She was out there, I think, in about 1855, wasn't she?
39:34Yeah, the brooch that we're looking at was presented to her in 1856.
39:37This is this one here?
39:38Yes.
39:39I'm going to read the back because it's a beautiful inscription.
39:43It says, presented by the Sultan to Mrs Mackenzie in acknowledgement of her services in the hospitals of the British Army in the East, 1856.
39:58So this is the Sultan of the Ottoman Empire, Abdul Majid, who was so grateful to these nurses for their help in healing the wounded and the sick.
40:12And it's a beautifully made brooch in 18 karat gold.
40:15And this is enamel, the red of the flag of Turkey.
40:18I thought it was enamel, yes.
40:19And set with these beautiful rose-cut diamonds, really catching the light.
40:24All right.
40:25And it would have been a European-made piece.
40:27It's not a Turkish-made piece.
40:29It's not Turkish.
40:30How did you get the brooch?
40:31Well, the brooch was given to me by my aunt.
40:34She inherited it from...
40:36Well, it obviously went down the line, but Eliza was my great-great-great-aunt.
40:41And you brought along the watercolour of her.
40:44Yes.
40:45So was this just before she went?
40:47She's 23 in the picture, so yes, I would think it would have been just before she went.
40:52Yeah, and it's by a great Scottish artist, Kenneth Maclay.
40:55So he was famous for painting Queen Victoria's children.
41:00All right.
41:01And he was renowned for creating amazing likenesses of his sitter.
41:07So we can be pretty sure...
41:08That's what she looked like.
41:09This is what she looked like.
41:10I think the brooch in itself, because it has that connection to early nursing in the Crimea,
41:17it's got to be worth between £3,000 and £5,000.
41:20Wow.
41:21The watercolour, it's got to be worth £1,000, £2,000 as well.
41:26Really so lovely to have the two and that family has kept them together.
41:31Indeed.
41:32You must be very proud of her.
41:33Indeed.
41:34Thank you so much for telling her story.
41:36From the sweeping beauty of Scotland's east coast, we're returning to Staffordshire and the tranquillity of Trenton Gardens.
41:55In an area famed for its craftsmanship, our ceramics expert, Will Farmer, is putting my antiques knowledge to the test with three exquisite pieces.
42:05We've got a little game here where we have to rank them according to their age.
42:12Tell me more.
42:13Well, I'm sort of calling this my Masters of Design, because fundamentally, while we have three very different objects, they all have their origins and their foundations of design in one key art movement, which is Cubism.
42:28Now, Cubism, of course, as you well know, is one of the most influential art movements of the 20th century, inspired and really pioneered by the likes of Picasso and Braque.
42:38And it was about really disassembling everything and reconstructing it and transferring how you look at form and shape.
42:45We have three things here. This incredible vase with these forms sitting on top of each other, yet with these sort of abstracted roses, an incredible bit of design.
42:57In the middle, I mean...
42:58Wow.
42:59It is a bit of a showstopper, isn't it?
43:01And this is an incredible piece of glass making. This is done in a cameo process where layer upon layer of glass is cased one on top of the other and then cut back to give this amazing, very dynamic, geometric, abstract design.
43:16And then nearest you, we have this sort of abstracted helmet head form. I mean, it's just been broken, sliced and reconstructed. It's got essence of people like Brancusi to it.
43:27In terms of their ages, they're all 30 years apart. So one of them dates from the 1930s, one of them dates from the 1960s, and one of them dates from the 1990s.
43:401990s.
43:41So it's across that whole of the 20th century, but the question is, what is the correct order?
43:49Oh, goodness. I didn't think any of them would be as recent as the 1990s.
43:54Oh, I don't know. Come on, you've got to help me out here.
43:56So, 30s, 60s and 90s.
43:59For me, I would say that the vase at the end is the 30s.
44:03Yeah, me too.
44:04The one in the middle would be the 60s, and then that one would be the...
44:08The 90s.
44:09The youngest, the 90s.
44:11Yes, I wondered about that.
44:13You see, there's a date on the back which Will has put a pink sticker over on one of them.
44:17Which is not very...
44:19Not very helpful.
44:20I'm almost the same.
44:2230s.
44:23Yeah.
44:2460s.
44:2590s.
44:26Okay.
44:27Oh, Will.
44:29I would have thought that was 30s.
44:30Okay.
44:31A little vase.
44:32Looking at this and the arrows on it and the shapes on it, that felt earlier than the 60s to me.
44:39I'd be amazed if this is 90s.
44:40You are talking yourself into it, so don't talk yourself out of it.
44:43Okay.
44:44So, 30s.
44:45Yeah.
44:4660s, 90s.
44:47Locked in.
44:48Final answer.
44:49Yes.
44:50You got it.
44:51Oh, thank goodness.
44:53Well done.
44:54Oh, my goodness.
44:55I get so many of these wrong, as you know at home.
44:58So, nearest me, we have the most incredible piece by Clarice Cliff.
45:04Oh, is it?
45:05Yes.
45:06I would not have put that as Clarice Cliff, actually.
45:08So, this is the yo-yo vase.
45:10Ah.
45:11One of the most daring forms that she ever, ever created.
45:14A piece that, when it was revisited by Wedgwood as a reproduction,
45:19they struggled to work out how she created it back in the 30s.
45:23And it took them a while to actually get there.
45:25Inspired by the work of Maison Desney.
45:27Dates from around 1930.
45:29And today, that vase is worth between £3,000 and £4,000.
45:35Nearest you?
45:37Mm.
45:38Isn't it wonderful?
45:39Love this.
45:40This is by Troika.
45:41Ah.
45:42But it's an incredibly rare piece of Troika.
45:44Wow.
45:45This is really as high up the scale as you'd ever want to see.
45:49And absolutely pulling in all those elements of early cubism.
45:53Worth £4,000 to £6,000.
45:56And then in the middle, which is so wonderful,
45:59is a piece by a glassmaker called Anthony Wassel.
46:03He was actually a glassmaker working in the 1990s in Matlock in Derbyshire.
46:09And this is a range called Delta.
46:11But again, all pulling in those lovely abstracted forms.
46:15And worth probably about £8,000 to £1,200.
46:18Oh.
46:19But three incredible pieces.
46:22And you got it!
46:23Oh, got to get one occasionally.
46:25What a treat though, Will.
46:27Especially this one.
46:28Isn't it lovely?
46:29I love this one.
46:30Yes.
46:31Well done.
46:32In the height of summer, we set up shop at Lister Park in Bradford.
46:51It was created in 1870 when local textile entrepreneur Samuel Cunliffe Lister sold the land to the city council at a bargain price,
47:00on the condition that it was turned into a public park.
47:03And in a quiet corner, Hilary Kay came across a fascinating collection of items that textile expert Lister may well have recognised.
47:14I've got a really great display here of bone lace bobbins used in the lace making business.
47:21And I've got a photograph of a lady making lace.
47:25Now, how is everything linked through to you?
47:27Well, these bobbins were owned by my grandmother.
47:30And she was born only in Bedfordshire, which in the 19th century was one of the main areas of lace making.
47:38At school, they learnt both lace making and reading, writing and arithmetic.
47:43If, when they got to about 12, they were good enough, they became lace makers.
47:49But my grandmother didn't become a lace maker because she wasn't good enough.
47:54So she went into service and eventually met my grandfather and raised a family.
48:01And when my grandfather died, she started to make lace again.
48:06So these were hers or you acquired them?
48:09These were hers.
48:10These were hers.
48:11So a lovely group here, dating from the late 19th century, and in really very good condition.
48:17But you can feel that they've been handled, which is great.
48:19Yes, that's true.
48:20Yes, yes.
48:21And these are bone bobbins.
48:23Yes.
48:24They've been hand turned on a treadle lathe, probably, to make them.
48:28And they're decorated in various different ways.
48:31Some of them have got wire wound round them.
48:33Others have got just coloured decoration.
48:36But to me, the ones that are really great are the ones that have got little messages or names.
48:42Here we've got Betty.
48:44Here we've got Mother.
48:46But here, ooh, you can imagine getting this.
48:50And it says, love, give me a kiss.
48:55Well, you'd have to marry her if you gave her that, wouldn't you?
48:58Yes, I think so.
48:59And she'd have to say yes.
49:00I think so.
49:01They also were used for memorials.
49:04So there'd be a name of somebody who was no longer there.
49:07Or in actually the really valuable ones, somebody who was a criminal who'd been hung.
49:12Yes.
49:13So murderers.
49:14People love to buy a murderer's name.
49:16I think there's only about seven recorded ones that were from hangings or murderers.
49:22And, of course, they're very scarce now.
49:25So I don't know what you'd value.
49:26No, no.
49:27Those are almost priceless.
49:28Yes.
49:29So as a group, I would say that the cumulative value would be something between £400 and £500.
49:34Oh, right.
49:35I should just say that my grandmother could only make these three patterns shown in the photograph there.
49:40But I'm sure she could do them absolutely brilliantly.
49:43She could probably do them with her eye.
49:44No.
49:45No, no, no.
49:46Oh, well, you're very honest.
49:48Thank you very much for bringing them into us.
49:49Oh, thank you.
49:50It's a pleasure.
49:51OK.
49:52Well, I can see immediately that it is an early Victorian watch.
50:03What do you know about it?
50:05Very little, to be honest.
50:07My brother and I inherited it off my uncle last year.
50:11And we just found it whilst clearing his house out.
50:14And even my mother doesn't know who it would have originally belonged to.
50:18Let's turn it over and see immediately.
50:20It's had a hard life.
50:21It's very, very rubbed.
50:22There's a very nice London hallmark there.
50:2518 carat gold.
50:26Right.
50:27For London, 18.42.
50:29Let's open that up.
50:31You put your thumb in there.
50:33And that is actually a rather nice movement.
50:37David Morris, Fenchurch Street, London.
50:41Interesting balance with these weights.
50:43But it's a lovely thing.
50:45And this is the problem.
50:48Although the movement's lovely, the watch is not worth a great deal as a watch.
50:56OK.
50:57Sadly, the entire value is in the gold case.
51:01OK.
51:02At the minute, gold is over £57 a gram for 18 carat.
51:07This is a heavy watch.
51:11There's going to be about £2,500 of milk gold in there.
51:16Right.
51:17OK, well.
51:18It's what we call too heavy for its own good.
51:20Yeah.
51:21And the girl's looking at it avidly.
51:23Gold.
51:24How many ice creams could you buy with?
51:26Yeah.
51:27Great.
51:28Thank you very much.
51:40My great-great-grandmother brought it to America from Italy.
51:44Yeah.
51:45You've got some diamonds on the shoulders here.
51:47You've got those two stones.
51:48Then they've got an orange one in the middle.
51:50Yeah.
51:51And then the top, that's a diamond in the centre.
51:53Small diamonds around the side.
51:55Well, I think it's a very beautiful ring.
51:56Yeah.
51:57And at auction, you would be looking at around about £800 to £1,000.
52:01Yeah.
52:02And one day, you might have it.
52:05Yeah.
52:06Yeah.
52:07What we have here must be a very rare survivor as a programme and souvenir of the large suffragette march, which was held at Hyde Park.
52:27And you can see it says here, votes for women on the 21st of June in 1908.
52:32How did you come to have it?
52:33Well, to be honest, I just found it in a little envelope folded up in a case that was my father's.
52:39And it was years after his died that we found it.
52:42No idea where it came from.
52:44No idea where it came from at all.
52:46Well, it's printed on the flimsiest paper.
52:48And so, you know, it is a very rare survivor.
52:51And of course, this was when the women's political movement was actually sort of gaining momentum.
52:56And there had been a march the previous week, but this was by far the biggest political march that at that time had ever been held in Britain.
53:04And it is thought that around 30,000 women arrived and they all converged on Hyde Park, where there was a huge meeting.
53:12And as we can see here, it says 20 platforms with 80 women speakers.
53:17Now we have sort of Emmeline Pankhurst, of course, which is the name that we all know who's associated with the suffragette movement.
53:24Similar things do come up for sale at auction very, very occasionally.
53:28And the last one of these that I did actually see, though it wasn't printed in quite the same manner as this, actually sold for about £350.
53:36Gosh, yeah.
53:38It's a fair sum for something basically that was just such a throwaway item at the time.
53:42Exactly, yes.
53:43I'm really so delighted to see it and thank you for bringing it in.
53:47They may not be the best paintings in the world, but they're really interesting and fun.
53:56And I think they're very honest.
53:57They tell you so much about this man, his wife and their two children.
54:02Who are they to you?
54:03So this is my great-great-great-grandfather, Nicholas Coldwell, and he was a drum major in the Coldstream Guards.
54:10And this is his daughter.
54:12And then this is his wife, Mary, and their son, Henry.
54:18Henry's dressed very much as small boys were in the 1840s in this sort of rather feminine outfit with bloom as the works.
54:25But he's very fierce.
54:26Look, he's drawn his sword.
54:27He's wearing an extraordinary hat, which looks, along with the rest of the costume of his mother, rather Spanish.
54:35They're both oil on canvas, and they survived very well, so your family's looked after them awfully well.
54:40I think they've been in our family since they were painted.
54:43That would make sense.
54:44The family believe they were painted about 1851.
54:47I would have said the costume was slightly earlier, 1840s, but family history's usually right.
54:52And that huge canon behind, what's that?
54:54So this is called the Cadiz Memorial, and it's in the corner of Horse Guards Parade, still, in London.
55:01And it is a memorial to the Battle of Cadiz and the Battle of Salamanca afterwards.
55:06It's absolutely amazing.
55:08They're informal poses, but it is unusual to put the daughter with the father in a military context
55:14and the son with the mother in a rural context.
55:17So it's very studio-done.
55:19So what do you like about these pictures?
55:20Is it the blonde girl with her ringlets, this fierce warrior here?
55:25I think this is probably my favourite.
55:27Yeah.
55:28Because he's my relative.
55:29And actually, my grandfather looked quite a lot like this.
55:32So there is a family resemblance, and I'm named after the little girl.
55:37So I think that would have to be my favourite.
55:39And this is his mace, is it?
55:42We believe so, yes.
55:43Do you sort of throw it up in the air when the band's going and all that?
55:46Well, we're not quite sure.
55:47Probably, to let the rest of the band know what they're meant to be doing.
55:50Absolutely brilliant.
55:51If that's the same scale as the one in the painting, he wasn't a tall person, was he?
55:55No, we've got some idea.
55:57It's in army records that he was about five foot six.
56:00Oh, OK.
56:01OK, that's about a foot shorter than me, which is about right.
56:04It's a magnificent thing he's wearing, isn't it?
56:07And he's full of pomp and circumstance.
56:09I love the children.
56:10They look so cheeky.
56:11So I'm going to put, I don't know, six to eight thousand pounds on them.
56:15I know I've gone overboard, but they're, OK, how wonderful.
56:19I think they're worth that.
56:24It's been lovely to revisit our venues from the summer.
56:27But before we go, back at Trenton Gardens, there's just time to swoop in
56:32on one of Stoke-on-Trent's most famous pieces of pottery.
56:36We couldn't come to Stoke without visiting an old friend.
56:39Remember him, Ozzy the Owl?
56:41Of course, he came along to the Roadshow in 1990.
56:44He was spotted by your dad, John, by much-loved Henry Sandin.
56:49Ozzy is a 300-year-old piece of Staffordshire slipware made in the local area.
56:54And after the programme, Ozzy was sold to Stoke City Council
56:57and the Potteries Museum.
56:58And they tell me that he is one of their favourite exhibits.
57:01So it's very nice to be reunited with him
57:03and for the programme to have played a small part in his story.
57:07So from Ozzy and all of us here at Trenton Gardens, bye-bye.
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