logo
Antiques Roadshow guest KISSES stunned BBC expert after learning life-changing value of old clock banished to the attic

Antiques Roadshow guest KISSES stunned BBC expert after learning life-changing value of old clock banished to the attic

Daily Mail​15 hours ago
An Antiques Roadshow guest was left speechless after discovering the astonishing value of an 'ugly' old clock - and following its transformation to its original state, she was so thrilled she planted a kiss on the expert's cheek.
During a recently repeated episode of the BBC show, filmed in Cardiff, expert Richard Price took a closer look at the guest's 270-year-old clock.
At the start of the segment, Richard asked the guest: 'Let me ask you then, why is it so dirty? Do you not look after it?'
The guest admitted: 'No, it lives in a box in the attic because it's so ugly.'
Richard jokingly replied: 'Really? Who banished it up there?', to which the guest revealed it was his wife who had exiled the timepiece.
He explained he inherited the clock from his uncle around five years ago – but it went 'straight into the attic'.
Despite its grimy appearance, Richard said: 'Underneath all this filth and mess, we have the most wonderful bronze bull.'
In a separate interview, the guest's wife was equally candid about her thoughts on the unwanted heirloom.
She admitted: 'My husband inherited the clock from his uncle and when he brought it home, I wasn't impressed at all.
'It was very ugly, very dirty. We didn't realise how dirty until we were told how dirty it was on the Roadshow. I thought that's the colour it was supposed to be.'
The guest confessed he hoped it might be worth a couple of thousand pounds because it was pretty old – but Richard soon blew that estimate out of the water.
The expert revealed: 'Even in this state, I think your initial offer would be in the region of £20,000.'
'Twenty?' the stunned guest repeated, before Richard confirmed: '£20,000 in the rough like this.'
Appearing lost for words, the guest remarked: 'Good heavens... when they double, triple, quadruple the value that you have in mind, it's just unbelievable.'
And the surprises didn't stop there – Richard added that if the clock were cleaned and restored, it could fetch between £30,000 and £35,000.
The guest said: 'Good heavens above. My wife will never believe it.'
His wife recalled: 'I said "Oh, how did you get on?" He was quiet, awfully quiet and his lip was quivering a little bit.'
The guest told the Roadshow team: 'And I managed to get out - blurt out - the fact that Richard Price had said "Oh in its present state it's worth £20,000." But when I got to the £30,000 mark, I was getting a bit too excited and a bit emotional.'
Determined to give the timepiece a second life, the couple enlisted expert John Jillings – though the process was not without its challenges.
John explained: 'It was obviously rather worrying, the fact that it had been in the attic for such a long time and there may have been a little bit of damp there but considering, it's survived very, very well.
'When we removed the springs from the barrels, they were actually signed and dated by the manufacturer for February 1754. So this is exciting, because it's another thing we can use to date the clock quite accurately.'
When the restored antique was unveiled, the wife was overwhelmed: 'Oh that's fantastic. Oh you've done a great job.'
She then embraced John and gave him a kiss on each cheek as a thank you for transforming the once 'ugly' item into a masterpiece.
Revelling in its new look, she gushed: 'Oh it's beautiful, it really is. You would never have believed that it would have looked as good as this. No, it's absolutely marvellous. Now it's not quite so ugly.'
Antiques Roadshow is available to watch on BBC One and to stream on iPlayer.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

My 11-year-old son and I like a lot of the same films and songs. Am I doing parenthood wrong?
My 11-year-old son and I like a lot of the same films and songs. Am I doing parenthood wrong?

The Guardian

time42 minutes ago

  • The Guardian

My 11-year-old son and I like a lot of the same films and songs. Am I doing parenthood wrong?

Some things you know without being told. Kids reached peak summer holiday boredom last week – on 12 August to be precise – according to a survey. If you're a parent you may have laughed hollowly there, in the unlikely event you still have enough energy. Exhausted and bankrupt after standing in endless queues for more wholesome activities, we've started Cinema Club, which is totally different from just watching a film on the sofa, in ways I'll explain, er, later. I was excited to share a particular childhood favourite of mine with my son, who turned 11 a fortnight ago, although this can be a risky business (ooh, is he too young to watch Risky Business?). Showing your offspring movies you remember fondly but haven't seen in decades is often disappointing. Sometimes, they are so slow to get going that everyone loses interest, and many have aged astonishingly badly and are now problematic, to put it lightly. Luckily, the 1988 body-swap comedy Big was a hit straight away – fast paced, funny and poignant. The giant piano dance routine completely holds up. The only issue? A sex scene I'd forgotten. The protagonist has an adult form but is really 13 years old, and that wasn't even why it was awful. I recall the excruciating experience of enduring these kind of TV moments with my mum and dad all too well. How two onscreen minutes could feel as if they lasted roughly nine millennia. Cheeks burning, buttocks clenched, dying inside. I'd never considered if it was as embarrassing for them as for me, which I now presume it must have been because boy-oh-boy did that part of Big go on for ever. Oddly, it felt exactly the same as it did back then, despite being on the other side, the grownup. Being a parent is different now; 40 is the new 30, so we feel younger than our parents did at this age. The only involvement my parents had in the music I was listening to was yelling, 'Turn it down!' up the stairs. However, my son and I share a love of the pop star Lola Young. I'm not sure if that's OK, for a few reasons. There are clean mixes of her songs, but you have to ask Spotify, or whatever you're using, for them specifically, or you're treated to lyrics that make you long for the comparatively tame lovemaking of Tom Hanks. But worse than the awkward conversations some of the spicy versions have provoked is the uncomfortable feeling all is not right with the world. The title of Young's second album, released last year, is a bit too on the nose: This Wasn't Meant For You Anyway. Maybe she has a point. I'm not sure if my kid and I are allowed to like the same things, if I should be disapproving rather than singing along. Have the times a-changed or am I doing parenthood wrong? The traditional role of the parent here is to be terminally uncool and not get it. To suspect that the Beatles are bad influences because of their hairstyles, to get outraged over Madonna's antics. Not to be vogueing around the kitchen in a conical bra, like the 'I'm not a regular mom, I'm a cool mom' from Mean Girls. It isn't just Young, I am also a huge fan of YouTuber Ryan Trahan. My kid and I learned the viral Charli xcx Apple dance together (not to post on social media, I hasten to add). My husband is a dab hand at Mario Kart on the Nintendo Switch and they race regularly. These are not pastimes we grin and bear, like watching Frozen again, or the lengthy train obsession that meant we spent most weekends standing on cold platforms, waving our blue hands at drivers as they passed by. This is all of us genuinely enjoying what we're doing, nobody faking it or making any kind of sacrifice. It goes the other way too – our boy's first proper late nights were due to the wait for the next episode of The Traitors being unbearable. He accidentally overheard a podcast I love, Dax Shepard's Armchair Expert, and now listens every week with me on purpose. And recently he joined us down a Sean Hayes wormhole that culminated in a Will & Grace marathon in which he demonstrated admirable stamina. Maybe the secret is not to question it. Perhaps this is actually the sweet spot. The teenage years are fast approaching, in about five minutes, us thinking that anything is good will probably be the kiss of death. I can only pray, when that dark day comes, I get custody of Lola Young.

Mary, Queen of Scots review – bold ballet brings the royal courts bang up to date
Mary, Queen of Scots review – bold ballet brings the royal courts bang up to date

The Guardian

time42 minutes ago

  • The Guardian

Mary, Queen of Scots review – bold ballet brings the royal courts bang up to date

The second half of this show is much better than the first. It's often the way in (loosely) narrative ballet. There's all the scene-setting and character introductions before you can get to the guts of it – the relationships, the tension, the betrayal. Scottish Ballet's new Mary, Queen of Scots, created by choreographer Sophie Laplane and director James Bonas, stumbles in the setup. Sometimes it's just helpful to know where we are and who's who. How would we know this scene where the men have porky prosthetic bellies protruding from their jackets is the French court, for example? The central conceit is that this is Mary's story told through her cousin Elizabeth I's eyes and the creators have set themselves a challenge there: in literature, one person can easily tell another's story, but you can't dance someone else's dance. Older Elizabeth (Charlotta Öfverholm), however, is the most distinctive presence on stage, frail and losing her dignity, with a sense of confusion around her. The other knotty problem is to tell the relationship of two women who never actually met in real life. This sense of distance permeates the first half of the ballet: there's a coldness. It's in Mikael Karlsson and Michael P Atkinson's ominous music, mixing Scottish folk and minor-key electronics. It's in aloof young Elizabeth I (Harvey Littlefield) who arrives on stilts, looming above her court – but even without props, the character's movement remains stilted. It's in the courting of Mary (Roseanna Leney) and Lord Darnley (Evan Loudon), dancing like two sexy, powerful people who know they're being admired, and in the presence of Walsingham's spies, wearing bug-like masks, making life lonely and unsafe for a young queen. Choreographically, Laplane avoids some of contemporary ballet's typical display of the female body, legs up by the ears and show-off lines. She doesn't do pretty for pretty's sake, and weaves quirky and vernacular movement into her language. The ballet is full of surreal touches. In the second act, Mary gives birth to a balloon. The jester picks up a black pen and writes 'James' on it. (Where was this clear messaging in the first act when we needed it?) While Mary dances with her baby/balloon, the old Elizabeth picks up her own balloon, but it has no name (for she had no child) and pathos pierces the scene. We're finally getting to the nub of things. The ballet lifts off the stage when Laplane and Bonas manufacture a meeting of the two queens, Mary and Elizabeth standing in two side-by-side wardrobes (part of Soutra Gilmour's minimal, multifunction set) that look like confessional booths, while their proxies dance together. In one scene we see their bond, but also the faltering of their loyalty, and the dramatic denouement begins. This is a bold production, full of imagination and rightly determined not to be just another period drama but something genuinely contemporary. There is a lot of richness here, but it takes a long time to invest in, and a little more clarity could make all the difference. At Festival theatre, Edinburgh, until 17 August, then touring All our Edinburgh festival reviews

Channel 5 revives BBC's Play for Today to ‘help shape future of British drama'
Channel 5 revives BBC's Play for Today to ‘help shape future of British drama'

The Guardian

time42 minutes ago

  • The Guardian

Channel 5 revives BBC's Play for Today to ‘help shape future of British drama'

It was one of the most influential British television series of the last century, renowned for exploring thorny societal issues and bringing the work of emerging talent, such as Ray Winstone, Alison Steadman, Helen Mirren and Dennis Potter, to mass audiences. Now Play for Today is being revived on Channel 5, to give young writers, actors and producers from lower-income backgrounds a way into TV, helped by established talent. Continuing the series' history of politically charged social realism, the first four productions cover a failing Adolescence-style school in special measures, celebrity and historical abuse, ageing and money, and feature appearances from stars including Anita Dobson, Nigel Havers, Sue Johnston and Alan Davies. The Channel 5 commissioning editor Paul Testar said Play for Today was 'synonymous with high-quality standalone television dramas'. Its revival would help 'shape the future of British drama', he added, providing an 'opportunity to support emerging talent behind the scenes – from writers and directors to production teams – especially those from lower-income backgrounds who haven't always had clear pathways into the industry'. Play for Today was a BBC One anthology drama series that ran from 1970 until 1984, designed 'to rattle the cages of the establishment' and famed for bringing Abigail's Party and Rumpole of the Bailey to the small screen. It featured more than 300 productions, the most controversial of which was Scum – a prison drama starring Winstone that was considered so harrowing it was banned from broadcast and later remade as a film. The drama in which Dobson stars, Never Too Late, is about ageing, rebellion and independence. She told the Guardian it would resonate because '[we] live in a society now where older people are living much longer, so it's really important, I think, that their voices are heard as much as young people's voices'. 'I hope it makes lots of people feel positive and hopeful that life is never over until the last bell rings.' She praised Channel 5, for 'teaching people new skills', and the young crew she worked with on the show, some of whom were on their first production. 'The joy they brought to work was just fantastic. They were willing; they were eager. Nothing was too much trouble.' Dobson said Play for Today was 'a wonderful institution' and lauded Channel 5 'for actually getting this kind of stuff on the screen'. 'More of that in TV would be wonderful, where you've got something really great to say about society and life, which is important.' Sign up to What's On Get the best TV reviews, news and features in your inbox every Monday after newsletter promotion Although TV drama has become increasingly expensive and glossy, Channel 5 has received plaudits for attracting audiences with homegrown series, such as All Creatures Great and Small and the working-class period drama The Hardacres. Its slate for this year includes more than 100 hours of original drama, compared with a handful a few years ago. Channel 5's chief content officer, Ben Frow, said reviving Play for Today 'not only underlines our commitment to being a public service broadcaster, but also enables us to tackle subject matters that reflect some of the thornier issues affecting our audience, like the films in this first slate on a school under pressure from an Ofsted inspection, or the challenges of ageing. 'Just as importantly, as the original Play For Today helped establish the careers of some of Britain's best writers, directors and producers, so we want to do the same – with a particular emphasis on talent from lower-income backgrounds.' The first in the series will air later this year.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store