Antiques Roadshow 2025 – Unseen Treasures 1

Unlocking the Vault: Antiques Roadshow 2025 – Unseen Treasures 1

Imagine opening a dusty attic trunk and finding pure gold. That is the thrill of watching Antiques Roadshow. For decades, this beloved program has celebrated our collective history. Now, Antiques Roadshow 2025 – Unseen Treasures 1 takes us deeper into the archives. This special episode reveals the gems that didn’t make the initial cut. Consequently, viewers are treated to a fresh collection of remarkable finds from the summer.

From the Scottish highlands to the industrial heart of England, we travel far. Every object tells a story. Some stories are tragic, while others are triumphant. Leading us on this journey is the incomparable Fiona Bruce. Her enthusiasm brings every location to life. Together, we will uncover cultural heritage hidden in plain sight. Let’s peel back the layers of the past.

Our journey begins at the majestic Hill of Tarvit Mansion in Scotland. The scenery is breathtaking. However, the real magic happens at the valuation tables. Expert Mark Hill encounters a fascinating piece of pop culture history. It isn’t a grand painting or a diamond ring. Instead, it is a simple telegram.

Yet, this paper carries the weight of a musical legend. It was sent by Beatles drummer Ringo Starr. The recipient was Rab Noakes, one of Scotland’s foremost folk singers. The connection between these two musicians sparks intrigue. It serves as a reminder of how small the world can be.

Meanwhile, the mood shifts to something more solemn. Specialist Mark Smith examines a set of military medals. These brave decorations belonged to two members of the same family. They served in both the Boer War and the First World War. Holding these medals is like shaking hands with ghosts. They represent sacrifice, duty, and honor. Through Antiques Roadshow 2025, their quiet heroism speaks loudly once again.

Next, we travel south to the National Maritime Museum in Swansea. The sea air seems to bring out the unexpected. Here, Eric Knowles spots two intriguing figures. These female figurines were crafted in the Czech Republic during the 1930s. They possess an Art Deco elegance that is simply timeless.

Furthermore, they capture the artistic spirit of a turbulent era. But the biggest surprise of the day belongs to Rupert Maas. A guest presents a Victorian watercolour. The owner bought it for a mere £3 in a charity shop. It seems like a modest purchase.

However, Rupert reveals a stunning truth. This thrift store find is actually worth up to £800. It is the classic Antiques Roadshow dream come true. We all hope to find such treasures amidst the bric-a-brac. This segment proves that keen eyes are often rewarded.

The roadshow then rolls into Stephens House & Gardens in north London. Here, the atmosphere turns regal. Ronnie Archer-Morgan inspects a fragile, beautiful object. It is a parasol made of black silk, satin, and lace.

The craftsmanship is exquisite. But the provenance is what stops us in our tracks. This accessory may have belonged to Queen Victoria herself. Specifically, she might have used it while in mourning. It is a tangible piece of royal grief. You can almost feel the history in the fabric.

Nearby, Gordon Foster finds himself entranced by silver. He examines a set of intricate spice towers. These are used in the Jewish Havdalah ceremony. They signal the end of the Sabbath. The detailing is nothing short of miraculous.

Additionally, the literary world gets a moment in the spotlight. Justin Croft peeks inside a rare book. It is a first edition of The Grapes of Wrath. But there is more. The book is signed by its author, John Steinbeck. For book lovers, this is the holy grail.

Also at this location, Cristian Beadman uncovers a spiritual artifact. He evaluates a linden wood carving of St Paul. The wood has aged gracefully. It stands as a testament to faith and artistry.

Our tour continues at Shuttleworth House in Bedfordshire. Here, comedy meets drama. Rupert Maas and Mark Smith team up for a delightful discovery. They view a drawing of a television icon. The sketch depicts Arthur Lowe as Captain Mainwaring.

Antiques Roadshow 2025 – Unseen Treasures 1

Fans of the popular TV series Dad’s Army will instantly recognize the character. The artist adds another layer of charm. It was sketched by fellow cast member Clive Dunn. He played the hapless Lance Corporal Jones. This drawing captures the camaraderie of a golden age of television.

Conversely, the tone turns dramatic with Stephen Lane. He is thrilled to see a famous theatrical prop. It is a mask said to be worn by Michael Crawford. Crawford famously originated the role in the stage version of Phantom of the Opera. This white half-mask is an icon of modern theatre. It symbolizes romance, mystery, and music.

Finally, we arrive in Stoke-on-Trent. This city is the spiritual home of British pottery. In 2025, Stoke celebrates a major milestone. It is the centenary of its status as a city. To honor this, Fiona Bruce pays a special tribute.

She visits the world-renowned V&A Wedgwood Collection. The archives here are staggering. In fact, they comprise over 175,000 artworks and ceramics. It is a library of clay. Before diving in, Fiona faces a challenge. Asian art specialist Alexandra Aguilar invites her to play a game. It is an “odd-one-out” challenge. It proves that even experts must stay sharp.

Subsequently, Fiona gets a private view of the company’s history. She learns about Josiah Wedgwood. He was a true pioneer. We discover how he became ‘Potter to Her Majesty’. This title was granted after he designed a creamware set for Queen Charlotte.

Antiques Roadshow 2025 – Unseen Treasures 1

Antiques Roadshow 2025 – Unseen Treasures 1 brings viewers a curated selection of remarkable items that, due to the overwhelming volume of discoveries, did not appear in earlier broadcasts. Every year, the production team travels across the country, inviting members of the public to present their cherished possessions to a team of seasoned experts. The sheer popularity of these summer events often results in a surplus of fascinating material, necessitating special editions that delve back into the archives. Consequently, this episode serves as a vessel for those hidden gems, offering a fresh look at the memorable venues and the unique stories attached to objects that almost missed their moment in the spotlight.

The significance of these unseen compilations lies in their ability to broaden the narrative of our cultural heritage. While standard episodes inevitably leave material on the cutting room floor, these dedicated specials ensure that the scope of history presented remains comprehensive. Fiona Bruce, the programme’s presenter, guides the audience through a journey that spans from the manicured gardens of Scotland to the industrial heartlands of the Potteries, and finally to the historic estates of London and Bedfordshire. Through this format, the show highlights that treasures are not always defined by monetary value alone but often by the personal and historical narratives they embody.

In this specific edition, the scope of inquiry is vast, ranging from rock and roll memorabilia to ancient carving techniques. Antiques Roadshow 2025 – Unseen Treasures 1 creates a tapestry of British social history, weaving together tales of Victorian royalty, World War I sacrifice, and the enduring legacy of ceramic craftsmanship. Viewers are invited to witness the emotional responses of owners as they learn the true worth of items that have languished in drawers or been displayed on mantelpieces for decades. The episode underscores the idea that significant history is often hidden in plain sight, waiting for an expert eye to unlock its secrets.

The historical backdrop for this episode is particularly rich, touching upon the centenary of Stoke-on-Trent’s city status and the intricate manufacturing processes of the 18th and 19th centuries. By visiting locations such as the Hill of Tarvit Mansion in Fife and the V&A Wedgwood Collection, the programme contextualizes the objects within the environments that produced or housed them. This attention to setting enhances the viewer’s understanding of the items, transforming them from mere commodities into artifacts of a specific time and place. The interplay between the object, the setting, and the expert analysis forms the core of the show’s enduring appeal.

Transitioning from the general to the specific, the episode is structured geographically and thematically to maximize the impact of these revelations. From the windswept east coast of Scotland to the bustling capital, each segment reveals a different facet of collecting. Whether it is a telegram from a Beatle or a delicate piece of Irish porcelain, the consistent thread is the surprise and delight of discovery. The following sections will detail these findings, reconstructing the conversations and valuations that define this special edition of the roadshow.

Scottish Discoveries in Antiques Roadshow 2025 – Unseen Treasures 1

The journey begins in July, amidst the stunning landscapes of Fife on the east coast of Scotland. The venue is the Hill of Tarvit Mansion and Garden, a family home originally belonging to Dundee businessman Frederick Sharp. Little has changed in this Edwardian estate since its construction in the early 1900s, providing a perfect atmospheric backdrop for the appraisal of vintage items. In the landscaped gardens, the experts encountered a diverse array of objects, ranging from star-studded music memorabilia to exquisite jewellery.

One of the most striking finds at the Hill of Tarvit was a piece of paper that connected a local family to one of the most famous bands in history. The item was a telegram, sent from Monaco by Ringo Starr, the drummer of the Beatles. The recipient was Rab Noakes, a singer-songwriter born in St Andrews and raised in Cupar. The current owner, Noakes’s brother-in-law, discovered the telegram while clearing out the house after Noakes passed away.

The message was warm and appreciative, thanking Rab for a “fine album.” The expert illuminated the connection, noting that Noakes was instrumental in the early days of the band Stealers Wheel, although he departed before their massive hit “Baker Street.” This tangible link between a Fife musician and a global superstar surprised the owner, who had been unaware of the connection. The valuation of £300 to £500 was received with pleasure, marking a successful start to the day.

Moving from paper to precious stones, the Scottish leg of Antiques Roadshow 2025 – Unseen Treasures 1 also featured a stunning example of Art Deco jewellery. A guest presented a ring box which, when opened, elicited a gasp of delight from the specialist. The focal point was a bluish-green emerald, a colour tone highly sought after by collectors, distinct from the darker or grassier greens often found in lesser stones. The cut was elongated, suggesting the original crystal was narrow, a shape perfectly suited to the geometric aesthetics of the Art Deco period.

The ring’s construction demonstrated the meticulous design choices of the era. Step-cut diamonds flanked the central emerald, utilizing the high lustre of the stones, while old-cut brilliant diamonds were set in the four corners to reflect light and add life to the piece. The setting was primarily white metal, likely platinum, which was a hallmark of Art Deco jewellers. However, the expert noted that the band transitioned to yellow gold and was stamped “18 carat,” indicating it had likely been resized or reformed at some stage.

The guest explained that the ring had been inherited from her mother-in-law, who had worked as a housekeeper for the original owner for decades. Upon evaluation, the piece was estimated to fetch between £2,500 and £3,500 at auction, a valuation that prompted the owner to agree it needed to be kept somewhere safe.

Rare Porcelain and Literary Hidden Gems

The diversity of items in Fife continued with a piece of ceramics that bore a deep connection to rural Ulster. A guest presented a jug made by the Belleek factory, located in County Fermanagh. The expert, herself from Ulster, expressed joy at seeing such a piece. Belleek is traditionally known for its unglazed Parian porcelain, but this specific item was an unusual departure from the standard recognition. The factory was founded by John Caldwell Bloomfield in 1858 to provide employment for local workers and tenant farmers following the Great Famine, utilizing the area’s rich deposits of kaolin and feldspar.

The jug in question featured a design heavily influenced by Japanese aesthetics, a style popular in the late 19th century. It was decorated with curved panels in a tapering form and featured moulded decoration of prunus blossom, thorns, and branches, all highlighted in a vivid turquoise glaze. The piece bore the “first period” black stamp, depicting an Irish Wolfhound, a round tower, and a harp, without the word “Fermanagh” which appeared on later marks.

The owner revealed that her mother had received the jug as a bequest from a woman who had cared for her during an illness in the 1930s. The expert valued the piece at approximately £300, confirming its status as a desirable example of early Belleek production.

Another fascinating discovery in Scotland involved a book that appeared, at first glance, to be a standard edition of the classical works of Horace. Bound in dark blue Morocco goatskin with gilt tooling, the book was published in Edinburgh in 1806. The owner’s grandmother, a bookbinder with an interest in antiquarian texts, had originally purchased it. While the book itself was considered niche and not commercially explosive, it contained a hidden secret known as a fore-edge painting.

When the text block of the book was twisted and fanned open, a concealed watercolour scene of Trinity College, Cambridge, appeared on the page edges. This technique has been used by bookbinders and artists for centuries to embellish volumes. The expert analyzed the painting and concluded that it was likely a later addition, perhaps executed by an enthusiastic bookseller or binder in the early 20th century, rather than being contemporary with the 1806 publication.

If the painting had been original to the early 19th century, the value could have reached £2,000 to £3,000. However, as a later addition, the valuation was placed at £300 to £400. The owner remained delighted, appreciating the craftsmanship and the novelty of the hidden artwork.

Poignant Military History in Fife

The final major segment from the Scottish venue provided a sombre reminder of the cost of conflict. A guest brought a small laundry box containing medals that she had dismissed as “ordinary.” However, the military specialist, Mark Smith, quickly identified them as a significant archive documenting the service of an uncle and a nephew across two brutal wars. The collection told the story of a family at war, spanning the Boer War in South Africa and the trenches of World War I.

The uncle’s medals included a Queen’s South Africa Medal with a clasp for the “Defence of Kimberley” and a Kimberley Star, a specific award given by the town’s mayor to its defenders. This set documented his survival through the siege against Boer forces. The nephew’s story, however, ended in tragedy. His collection included the 1914-15 Star, the British War Medal, and the Victory Medal—known collectively as the trio. Crucially, the set also included the Memorial Plaque, a bronze disc issued to the next of kin of those killed in action.

The expert identified the soldier as Private Robert Smith of the Canadian Mounted Rifles. Historical records revealed he was killed in action on June 2, 1916, at Mont Sorrel. War diaries described a devastating German bombardment that killed nine-tenths of the battalion in the first thirty minutes. Private Smith has no known grave and is commemorated on the Menin Gate. Included in the collection was the original cardboard shipping tube for the Memorial Scroll, a rare survival as most were discarded.

The tube was postmarked 1921, addressed to the soldier’s mother. Tragically, the mother had died in 1919, meaning she never received her son’s medals, explaining why they remained pristine and boxed. The collection also featured the Memorial Cross, issued to families of Canadian fallen. The expert valued the uncle’s Boer War medals at £1,000 and the nephew’s World War I group at £500, transforming a box of “ordinary” items into a £1,500 legacy of sacrifice.

The Ceramic Legacy of Stoke and Antiques Roadshow 2025 – Unseen Treasures 1

Leaving Scotland, the programme travelled south to Stoke-on-Trent. In 2025, the city celebrated its centenary of city status, granted by King George V a century prior in recognition of its vital contribution to the national economy. The region is synonymous with pottery, having once employed half the local working-age population across six towns. Iconic names such as Spode, Moorcroft, Royal Doulton, and Burleigh all established their bases here. However, in this episode, the focus turned to the most famous name of all: Wedgwood.

Fiona Bruce visited the V&A Wedgwood Collection, an archive housing over 175,000 artworks and ceramics. There, she met archivist Lucy Lead to discuss the life and work of Josiah Wedgwood. Born in Burslem in 1730 into a family of potters, Wedgwood was an apprentice to his brother before striking out on his own at age 29. His success was attributed not just to his business acumen but to his scientific curiosity. He meticulously recorded thousands of experiments, aiming to become the “Vase Maker General to the Universe.”

The archive displayed “trial trays,” small ceramic samples used to test minute changes in ingredients and kiln positioning. One of Wedgwood’s early triumphs was creamware, a British alternative to Chinese porcelain. Queen Charlotte was so impressed by a tea set presented to her that she allowed Wedgwood to rename the line “Queensware,” a marketing coup that allowed him to style himself as “Potter to Her Majesty.” Yet, despite this success, Wedgwood is perhaps best remembered for Jasperware, the matte, unglazed stoneware often produced in a signature blue.

The programme highlighted the immense effort required to perfect Jasperware, which celebrated its 250th anniversary during the filming year. Wedgwood spent years experimenting with barium sulphate to achieve the material’s unique properties. The popularity of the blue colour was linked to the Neoclassical interior design trends of the late 18th century, popularized by architects like Robert Adam. Grand country houses required ceramics that complemented their decor, and Wedgwood’s vases fit the niche perfectly.

The pinnacle of Wedgwood’s career was the recreation of the Portland Vase. The original was a Roman cameo glass vessel from roughly AD 50. Wedgwood dedicated four years to replicating this masterpiece in black Jasperware. The challenges were immense, from modelling the relief figures to firing a large piece without it warping or bubbling. Wedgwood considered this his “magnum opus.” Upon its completion, he displayed the vase in London, restricting entry to ticket holders, which resulted in queues lining the street. The vase was even sent on a European tour, cementing its status as the “rock star” of the pottery world.

Modern Design and Maritime History in Swansea

The tour continued to Wales, visiting the National Waterfront Museum in Swansea. Amidst the maritime history, ceramics expert Steven Moore examined a piece that bridged the gap between traditional craft and modern design. A guest presented a vase that had belonged to her late mother. The mother had always intended to bring the item to the Antiques Roadshow, and her daughters were fulfilling that wish in her memory.

The vase was identified as a piece of Dutch Delft pottery, dating specifically to 1932. While Delft is often associated with traditional, old-fashioned blue and white patterns, this piece represented a departure towards modernism. It was designed by Jacobus Wilhelmus Giddings, a freelance designer brought in during the 1920s and 30s to revitalize the factory’s output. The design reflected the changing tastes of the interwar period, moving away from historicism toward something fresher and more contemporary.

The expert consulted with a colleague from the Dutch version of the Antiques Roadshow to confirm the valuation. The piece was deemed very collectable, with a market value estimated between £800 and £1,200. The owners were pleasantly surprised by the figure, noting that their mother would have been proud of the outcome. They admitted the vase was unlikely to go back on display due to the risk of damage, hinting that they might sell it to fund a family activity, a fitting tribute to their mother’s legacy.

Also in Swansea, another guest presented a glass bowl purchased by her mother at a car boot sale some 25 years prior. The purchase price had been a mere 50 pence. The glass expert immediately recognized the signature “R Lalique” in the centre of the bowl. René Lalique was a master of French glass design. The presence of the “R” in the signature was significant, as it indicated the piece was made during Lalique’s lifetime; after his death, the “R” was dropped from the factory mark.

Despite the prestigious name, the bowl had suffered from use, sustaining three noticeable chips to the rim. The expert humorously remarked on how the designer had “designed these chips into it,” lightening the mood regarding the damage. While a pristine example would command a high price, the damage significantly impacted the value. Nevertheless, the expert valued the bowl at £150. While not a fortune, it represented a substantial return on the original 50 pence investment, proving that sharp eyes at a car boot sale can still yield dividends.

Treasures of Stephens House, London

In June, the show arrived in London at Stephens House in Finchley. This 19th-century mansion was built by Henry Stephens, an ink entrepreneur who invested his fortune in creating a self-sufficient estate. The grounds, which once featured ponds for fresh fish, now served as the setting for the appraisal of high-value jewellery and unique historical artifacts.

One of the standout items was a brooch presented to expert Ronnie Archer-Morgan. The piece was an emerald and diamond bow, set in gold and mounted in platinum. The guest explained that her husband had bought it for her, though she had only worn it twice in four years. The brooch came in a fitted case from “Mersmann,” with calligraphy on the satin lining indicating a date between 1900 and 1920. The listing of premises in Switzerland on the box provided further provenance.

The expert praised the meticulous craftsmanship, noting that despite being handmade at a bench, the surface showed almost no sign of human struggle or tool marks—a testament to the skill of the jeweller. Although a tiny kite-shaped emerald was missing near the knot, the flaw was deemed negligible due to the overall beauty and “concise” design of the piece. The valuation was placed comfortably between £2,500 and £3,000, confirming the husband’s good taste and the enduring value of high-quality period jewellery.

The London venue also produced a fascinating collection of Judaica. A guest brought in a series of silver spice towers, used in the Havdalah ceremony which marks the end of the Sabbath and the distinction between the holy day and the working week. The towers are designed to hold spices, such as cloves, which are smelled as part of the ritual. The collection had been started by the guest’s late father-in-law, who brought the first piece with him when he left Poland.

The expert analyzed the hallmarks and styles, identifying a diverse range of origins. The earliest piece, dating to around 1820, was from Dresden, Germany. It featured intricate filigree openwork, constructed from individual silver wires. Another tower was identified as Russian, while two others were surprisingly made in London, dating to the late 19th century (specifically 1892). The expert identified the Dresden filigree tower as the most desirable, valuing it at £2,000 to £2,500. The other towers were estimated at around £1,000 each. Collectively, the group was valued at £6,000 to £8,000, representing not just a financial asset but a rich history of faith and migration.

Literary and Royal Connections in London

Continuing the exploration of Stephens House in London, the experts encountered a significant piece of 20th-century literature. A guest presented a first edition copy of The Grapes of Wrath by John Steinbeck, published in the USA in April 1939. The book retained its original dust jacket and was in very good condition, a rarity for a volume of its age. However, the true value lay on the front endpaper, which bore the neat signature of John Steinbeck himself.

The owner explained that her late husband had purchased the book for her birthday many years ago, knowing it was her favourite novel. The expert and the owner discussed the power of the narrative, which details the plight of a displaced family from the Oklahoma Dust Bowl traveling west on Route 66 during the Great Depression. The emotional weight of the story was matched by the financial weight of the object. The expert estimated that if the book were to come up for auction, it would command a price of £8,000 to £1,000. This valuation underscored the premium collectors place on signed, first-edition copies of seminal American literature.

The grandeur of the London venue was further matched by an item with a direct link to the British monarchy. Ronnie Archer-Morgan examined a black silk satin and lace parasol that had languished in a drawer for sixty years. The current owner’s father had collected parasols in the 1960s, buying them at various London markets. He had always suspected this specific item might be connected to Queen Victoria, but lacked definitive proof.

Upon inspection, the expert confirmed the father’s suspicions. The parasol was a “mourning parasol,” dating to the period after the death of Prince Albert in 1861. The handle was designed like a mace, featuring regal symbols. When opened, the lace border revealed the monogram “VR” (Victoria Regina) repeated around the circumference.

The design incorporated the floral emblems of the United Kingdom: the English rose, the Scottish thistle, the Irish shamrock, and the Prince of Wales feathers. Despite some perishing of the 150-year-old silk due to stress, the condition was described as remarkable. The expert concluded that no one other than the Queen would have carried a parasol with such specific royal insignia. He valued the item at £3,000 “and rising,” validating the long-held belief of the collector who saved it from obscurity.

High Value Finds in Antiques Roadshow 2025 – Unseen Treasures 1

The jewellery experts at Stephens House were presented with another exceptional brooch, one that epitomized the glamour of the mid-20th century. This piece was a complex assembly of rubies and diamonds set in 18-carat yellow gold. The owner had inherited it from his mother, who had received it as a wedding present from her own mother. Despite its beauty, it had only been worn twice in recent memory—once at a son’s wedding and once by the owner’s wife.

The expert was captivated by the brooch, specifically noting the “movement” in the design. Even when static, the piece suggested fluidity and motion. While the setting dated to the late 1940s or early 1950s, the stones told a different story. The diamonds were cushion-shaped, cut around 1890, and the central stone dated to roughly 1910-1915.

The expert explained that this repurposing of older stones was typical of the post-war era, a time when materials were scarce and platinum was restricted for the war effort. The rubies provided a vibrant accent to the diamonds. The expert described the brooch as “to-die-for” and estimated its value at auction to be between £5,000 and £7,000. The owner was pleased but adamant that the heirloom was “not going anywhere.”

In contrast to the sparkle of diamonds, a wooden carving presented a different kind of value. The object was a figure of St. Paul the Apostle, identified by his traditional attributes: a sword in the right hand and a book in the left. The owner’s parents had bought it in a London antique shop 50 or 60 years ago. The expert dated the carving to the mid-18th century based on the drapery and the treatment of the beard.

The material was identified as linden wood, indicating an Austro-German origin. Originally, the figure would have been brightly painted or gilded. However, the piece had suffered over the centuries; it was significantly wormed, the left hand had been broken and restored, and the sword was a replacement. Consequently, the value was estimated at £400 to £600, a modest sum for an object of such age, reflecting the impact of condition on marketability.

The final major find at the London venue was a masterpiece of Japanese craftsmanship. A guest brought in a decorative box that had been gifted to her by a dying friend. The friend had received it from an “old lady friend” and passed it on because the current owner had an interest in Japan. The owner’s sister had correctly identified it as cloisonné enamel from the late 19th century.

The expert confirmed the dating, placing the object in the Meiji period (1868-1912). This era was famous for producing incredible objects specifically for the Western export market. The item was identified as the door to a kodansu, a small cabinet for trinkets. The panel featured ferocious “confronting dragons” at the top and a floral chrysanthemum border on a rich red ground. The enamel work was of exceptional quality, framed in a simulated bamboo case made of silver or silver metal.

The cabinet featured cast handles in the shapes of insects: a grasshopper, a bee, and a dragonfly. Although the hinges were loose, the internal drawers functioned perfectly. The expert was visibly impressed, estimating the value at a staggering £8,000 to £12,000. The owner was shocked by the figure, describing the box as “exquisite.”

The Challenge of Ceramics

Back in Stoke-on-Trent, the programme offered a respite from high-stakes valuations with an educational game. Asian art specialist Alexandra Aguilar set up a “spot the odd one out” challenge using three ceramic bowls decorated with flowers. Two were Chinese, and one was English, made just an hour south of the filming location.

The first bowl was described as famille verte (green family), featuring green enamels typical of 18th-century Chinese porcelain. The second bowl was similar, also famille verte, but featured distinct blue rockwork, a classic symbol in Chinese art. The third bowl was famille rose (pink family), decorated with bright pink enamels, a technique introduced to China by European Jesuits.

Fiona Bruce was invited to guess which bowl was English. After some hesitation and a misleading clue about “smudgy” pink paint, the expert revealed the true differentiator: the material. Chinese porcelain is hard-paste, made from kaolin, while the English bowl in question was made of soapstone, a soft-paste porcelain. Fiona Bruce initially guessed the third bowl based on design, then switched to the second based on ridges. However, the English bowl was actually the third one—the famille rose example.

The valuation revealed the financial implications of these differences. The first Chinese bowl, being a mass-produced, lower-quality example, was valued at £200. The second Chinese bowl, of better quality, was valued at £800. The English soapstone bowl, due to its rarity and quality, was valued at £2,000, making it the most valuable of the trio.

Engineering and Entertainment at Shuttleworth

The final leg of the summer tour took the team to Shuttleworth House in Bedfordshire. Built in the 1870s by Joseph Shuttleworth, an agricultural engineer, the estate is steeped in mechanical history. It was fitting, therefore, that one of the most significant finds here was a masterpiece of precision engineering: an Omega Speedmaster watch.

The watch, purchased by the owner’s father in 1971 for approximately £59, was a “Racing Dial” variant. While the Speedmaster is famous as the “Moonwatch” chosen by NASA, this specific model had no lunar connection. Instead, it was designed for automotive racing. The dial featured orange hands and red markers, with minute markers staggered inside and outside the bezel to improve readability while driving at speed.

The expert explained that this configuration was released in incredibly small numbers, with perhaps only five to twenty examples known to exist in this specific case style from the 1970s. Because of this extreme rarity, pricing was difficult to pinpoint. However, the expert referenced a similar model that had sold at auction in December 2024 for just over £50,000. The owner was astounded that his father’s £59 purchase had appreciated so dramatically, though he confirmed the watch would remain in the family.

Shuttleworth also played host to memorabilia from the beloved British sitcom Dad’s Army. A guest presented a pencil drawing of Arthur Lowe as Captain Mainwaring. The artist was none other than Clive Dunn, who played Lance Corporal Jones in the same series. The owner had purchased the sketch for £20.

The experts, Mark Smith and Rupert Maas, discussed the cultural impact of the show, noting how the character of Mainwaring—pompous yet dedicated—embodied the spirit of the Home Guard. They emphasized that while the show was a comedy, the real Home Guard was prepared to die defending Britain. The sketch captured Mainwaring’s “deadpan” expression perfectly. The experts valued the drawing at £1,000 to £1,500, with the potential to go higher for a dedicated fan. The owner laughed, recalling his original £20 investment, to which the expert jokingly offered him £25 on the spot.

Another historical item at Shuttleworth was a silver cigarette box with a royal connection. The owner’s grandfather, Muzaffer Goksenin, had been a Turkish Air Chief Marshal and later the Turkish ambassador to Iraq. When leaving his post in Baghdad, he was gifted the box by King Faisal of Iraq. The box bore the royal seal of Iraq on the lid.

Manufactured by Asprey & Co in London in 1953, the box was of exceptional quality. Unlike standard cigarette boxes which feature a thin skin of silver over wood, this was a heavy gauge metal that could stand alone. The expert suggested removing the wooden liner and replacing it with velvet to convert it into a jewellery box, as cigarette boxes are no longer fashionable. Despite the decline in the utility of the object, the provenance and the Asprey mark ensured it held value. It was estimated at £300, which the expert noted was a “fortune” for a cigarette box in the current market.

The Phantom’s Mask

The final treasure showcased at Shuttleworth was an iconic piece of theatrical history: a mask from The Phantom of the Opera. The owner’s late husband had been an original cast member in the West End production in 1986. He had acquired the mask after Michael Crawford, the original Phantom, left the show.

The collection included a crew jacket, a photo of the husband with Michael Crawford, and a script, all adding to the provenance. The mask itself showed signs of heavy use, with makeup residue and specific paint splashes visible. The expert explained that the value hinged on definitive proof that Michael Crawford had worn this specific mask on stage, as opposed to a stand-in.

As a generic production mask, it was valued at £5,000 to £10,000. However, the expert believed that with further research matching the paint marks to production photographs, the provenance could be solidified. If proven to be Crawford’s stage-worn mask, the value could double to £10,000 or even £20,000. The owner expressed surprise at the high valuation, having cherished it primarily as a memento of her husband’s career.

Conclusion

Antiques Roadshow 2025 – Unseen Treasures 1 concluded by returning to the V&A Wedgwood Collection in Stoke-on-Trent for a final whimsical look at ceramic history. Fiona Bruce showcased a pair of shoe heels made from Wedgwood Jasperware. Produced in 1958 by the British shoe firm Rayne—famous for making shoes for the Queen and the Queen Mother—these heels featured classical cameos and were displayed at the National Shoe Fair in Chicago. They represented a fusion of high fashion and industrial craftsmanship, serving as a fitting end to a programme dedicated to the unexpected and the beautiful.

From the emotional resonance of a WWI memorial scroll to the staggering value of a rare racing watch, this special edition reaffirmed why the show remains a cornerstone of British culture. By exploring the items that didn’t make the first cut, Unseen Treasures 1 proved that the archives are just as rich as the main event, filled with history waiting to be told.

FAQ Antiques Roadshow 2025 – Unseen Treasures 1