0:00:33 > 0:00:37This week we've come to the childhood home of the Queen Mother.
0:00:37 > 0:00:41This is Glamis Castle, about ten miles north of Dundee.
0:00:41 > 0:00:45But the castle's royal associations go back hundreds of years.
0:00:49 > 0:00:54All hail, Macbeth. Hail to thee, Thane of Glamis.
0:00:54 > 0:00:59All hail, Macbeth! Thou shalt be king hereafter!
0:00:59 > 0:01:02CACKLING
0:01:02 > 0:01:04"Is this a dagger which I see before me?
0:01:04 > 0:01:08"The handle turned toward my hand?" Yes, it is.
0:01:08 > 0:01:11But Macbeth was never Thane of Glamis - he lived 200 years
0:01:11 > 0:01:14before the title was invented.
0:01:14 > 0:01:17The setting of Glamis was a bit of Shakespearean licence.
0:01:17 > 0:01:22In fact, Macbeth DID kill Duncan, but 100 miles away in Elgin.
0:01:22 > 0:01:26Glamis Castle wasn't built for battle, but as a hunting lodge.
0:01:26 > 0:01:28It's been adapted and extended over the years,
0:01:28 > 0:01:33but most of what can be seen today was completed in the 17th century
0:01:33 > 0:01:35by the Third Earl of Kinghorne.
0:01:35 > 0:01:38The Old Pretender - James Edward Stuart -
0:01:38 > 0:01:40Bonnie Prince Charlie's father,
0:01:40 > 0:01:44stayed here during the first Jacobite Rebellion in 1715.
0:01:44 > 0:01:48In the chapel, the Old Pretender laid hands on people suffering
0:01:48 > 0:01:52from scrofula, or king's evil... apparently, they were all cured.
0:01:52 > 0:01:56The locals needed no further proof that he was the rightful king -
0:01:56 > 0:01:59only a true sovereign "had the power".
0:01:59 > 0:02:02When the Queen Mother came here as a child,
0:02:02 > 0:02:07she loved to explore the old rooms with her younger brother, David,
0:02:07 > 0:02:11and she would have known all about the secret room behind these walls.
0:02:11 > 0:02:15The story goes that one Lord of Glamis and his friend,
0:02:15 > 0:02:17the Tiger, Earl of Crawford,
0:02:17 > 0:02:21once played cards here on the Sabbath - taboo, of course,
0:02:21 > 0:02:26and it's said that the devil himself joined in, and dealt himself a hand.
0:02:26 > 0:02:30For years afterwards, so many strange disturbances and sounds
0:02:30 > 0:02:31were heard around here,
0:02:31 > 0:02:35that, eventually, the room was sealed up behind here.
0:02:36 > 0:02:38Hear it not, Aspel.
0:02:40 > 0:02:44We shall learn more about the Queen Mother's early life
0:02:44 > 0:02:45at Glamis next week,
0:02:45 > 0:02:48but today we're in the Italian Garden at the invitation of
0:02:48 > 0:02:50her great-nephew, Lord Strathmore.
0:02:50 > 0:02:54So let's find out what the people of Angus have brought to lay
0:02:54 > 0:02:56before the Roadshow experts.
0:02:56 > 0:02:58When did you last wash these pieces?
0:03:00 > 0:03:03- You'll have to ask my mum! - They're grubby.
0:03:03 > 0:03:05Tell her that they need a good wash,
0:03:05 > 0:03:10particularly because they're really of wonderful quality.
0:03:10 > 0:03:14- They're part of a larger service. Have you got some other pieces?- Yes.
0:03:14 > 0:03:16There's another two plates,
0:03:16 > 0:03:20and there's another soup tureen with the small plates to go with it.
0:03:20 > 0:03:24- So this has a stand?- Yes.- And there are two more dishes?- Two more, yes.
0:03:24 > 0:03:28- What happened to the other bits? - How do you mean?
0:03:28 > 0:03:32There would have been many more - probably 18 plates and other dishes.
0:03:32 > 0:03:36I don't know. She got them gifted to her.
0:03:36 > 0:03:40- They're the sort of quality you'd find in a big house like this.- Yes.
0:03:40 > 0:03:44And they really are lovely bits of George IV china.
0:03:44 > 0:03:49She'd always liked them and so they were passed on to her.
0:03:49 > 0:03:55Well...they were made at Coalport in Shropshire...
0:03:55 > 0:03:58in about 1822.
0:03:58 > 0:04:01- Mm-hm.- The inspiration for this moulded pattern
0:04:01 > 0:04:04actually comes from Sevres porcelain,
0:04:04 > 0:04:06but they didn't do it like this.
0:04:06 > 0:04:09This beautiful white relief here
0:04:09 > 0:04:12and then - the test of really good early porcelain -
0:04:12 > 0:04:15the thickness of the gilding - absolutely magnificent.
0:04:15 > 0:04:20And then we've got... not merely flowers, but fruit.
0:04:20 > 0:04:25Flowers and fruit together are a very special combination.
0:04:25 > 0:04:29Now, I know it's Coalport because here on the back,
0:04:29 > 0:04:32there is actually an impressed "6",
0:04:32 > 0:04:36and that impressed number 6, always in the middle, is a Coalport mark.
0:04:36 > 0:04:41Really beautiful quality. These two with their stands,
0:04:41 > 0:04:45er...are worth...
0:04:46 > 0:04:50- ..between £1,200 and £1,500.- Gosh!
0:04:50 > 0:04:54And each dish is worth...
0:04:54 > 0:05:00- between £400 and £500. - Uh-huh. Very good.
0:05:00 > 0:05:03And they'd look even better if they had a wash.
0:05:03 > 0:05:06Not your fault, you know.
0:05:06 > 0:05:10- You go home and sort your mother out!- I just brought them along!
0:05:10 > 0:05:14I have to say, when you first handed me this package,
0:05:14 > 0:05:17I wondered, whether in fact, you were in the right queue!
0:05:17 > 0:05:20But luckily all is revealed. Here we have the Forth Bridge
0:05:20 > 0:05:25in its various stages of construction. Very appropriate.
0:05:25 > 0:05:29I was driving over the road bridge and looking at the Forth Bridge
0:05:29 > 0:05:34and thinking how magnificent it was. Here is a record of it being built.
0:05:34 > 0:05:37Do you know when it was built?
0:05:37 > 0:05:42- 1892, I believe.- 1892, yes. And here are wonderful views -
0:05:42 > 0:05:45these lovely loose plates in this particular volume.
0:05:45 > 0:05:48Here we have the Queensferry vertical columns,
0:05:48 > 0:05:52showing the girders and platforms after the first and second lifts,
0:05:52 > 0:05:56- Here they are, showing this amazing piece of Victorian engineering.- Yes.
0:05:56 > 0:06:00And here we have the cantilevers, almost complete,
0:06:00 > 0:06:05looking extremely good here, looking as though it had already been done.
0:06:05 > 0:06:09So where did you get it from? Where has this book come from?
0:06:09 > 0:06:14- It was in our family as long as I can remember.- A family of engineers?- No.
0:06:14 > 0:06:18No family background in engineering or bridge-building at all.
0:06:18 > 0:06:20It was kept in our sitting room,
0:06:20 > 0:06:24- on the top shelf of a cupboard - a press, as we called it.- Yes.
0:06:24 > 0:06:28- We were only allowed in that room on Sundays.- You looked at it on Sundays?
0:06:28 > 0:06:32Sometimes. Either my mother played the piano, or we looked at books.
0:06:32 > 0:06:37- Wonderful.- And I took particular interest in this book over the years,
0:06:37 > 0:06:41- and I ended up in shipbuilding, actually.- Oh, really?
0:06:41 > 0:06:46- Yes. This is the history of the building of the bridge.- With photos.
0:06:46 > 0:06:51- They're incredibly clear, aren't they?- They are.- Beautiful.- Yes.
0:06:51 > 0:06:55Now, about condition. The trouble with a book like this is it's loose,
0:06:55 > 0:07:00but you have looked after it extremely well.
0:07:00 > 0:07:05It's contained in a portfolio - which seems to be the original.
0:07:05 > 0:07:10- It was incredibly popular, so they had to go to a second edition.- Yes.
0:07:10 > 0:07:13Do you have any idea of its value?
0:07:13 > 0:07:17Not really. £200 or £300, something like that.
0:07:17 > 0:07:20I think we could do better.
0:07:20 > 0:07:25I would say about £500 to £600. It's an extremely important book,
0:07:25 > 0:07:30and one that collectors anywhere - not just Scotland -
0:07:30 > 0:07:32- would love to have.- Yes.
0:07:32 > 0:07:37- It's a great thing and thank you so much for bringing it in.- Thank you.
0:07:37 > 0:07:41Stonehaven's not far from Glamis. Is that why you have this poster?
0:07:41 > 0:07:43Not really no.
0:07:43 > 0:07:47- My younger daughter, Elaine, was at university in Aberdeen...- Right.
0:07:47 > 0:07:51And one of her favourite spots at weekends was Dunnottar Castle -
0:07:51 > 0:07:54halfway between Aberdeen and home.
0:07:54 > 0:07:56And so you bought it for her?
0:07:56 > 0:07:59That was the plan. The bid was more than I thought,
0:07:59 > 0:08:04so I've got it, but she may eventually get it.
0:08:04 > 0:08:07- You're the custodian for the time being?- Absolutely.
0:08:07 > 0:08:10- It's a famous local view, isn't it? - Yes, it is.
0:08:10 > 0:08:12The date is the late 1930's,
0:08:12 > 0:08:16a period when railway and motoring posters,
0:08:16 > 0:08:21- were at a very, very avant-garde state of development.- Yes.
0:08:21 > 0:08:26And a number of companies went to leading artists and said,
0:08:26 > 0:08:30"Do us an image," which they then converted into a poster.
0:08:30 > 0:08:32It's a great period to collect,
0:08:32 > 0:08:35because some of these views are by great names.
0:08:35 > 0:08:38They were all originals. This is from an oil painting - 1938,
0:08:38 > 0:08:42- so one suspects a painter was commissioned to do this.- Yes.
0:08:42 > 0:08:47- Now here we've got McIntosh Patrick. - Yes.- Do you know about him?
0:08:47 > 0:08:51Oh, indeed. If you're from this area you must know about McIntosh Patrick,
0:08:51 > 0:08:55a Dundonian artist, lived to his 90's, died two or three years ago.
0:08:55 > 0:08:57Yes, he was a very important figure.
0:08:57 > 0:09:01The language of Scottish painting is about colour and light -
0:09:01 > 0:09:04"a Scottish colourist" is a familiar phrase.
0:09:04 > 0:09:09He was a later generation, but he was carrying that tradition forward.
0:09:09 > 0:09:13To anyone who's been to Scotland, and I'm a mere southerner,
0:09:13 > 0:09:16the light is as magic as it can be.
0:09:16 > 0:09:19- Yes.- You get this extraordinary intensity of colour,
0:09:19 > 0:09:21this extraordinary luminosity -
0:09:21 > 0:09:26that phrase "Scottish colourist" is something that would apply to this.
0:09:26 > 0:09:28It's a wonderful image.
0:09:28 > 0:09:32- So you bought it at auction quite recently?- About two years ago.
0:09:32 > 0:09:37- Expensive?- I think it was about £900.- It's a fair price.
0:09:37 > 0:09:40I'd say now we've moved on a bit.
0:09:40 > 0:09:43I was going to say £1,000-£1,200, that sort of thing. I hope, one day,
0:09:43 > 0:09:47- your daughter comes to enjoy it as well.- I'm sure she will,
0:09:47 > 0:09:52- but she's not getting it yet! - Not yet. Thank you very much.
0:09:52 > 0:09:57- If I may say so, that ring appears too big.- It's much too big, yes.
0:09:57 > 0:09:59What's the story of that, then?
0:09:59 > 0:10:03Um, it's a ring that my fiance's family have had for generations.
0:10:03 > 0:10:08It dates from...about 1700, when an ancestor of his
0:10:08 > 0:10:13was supposed to be dead. She died from the Black Plague
0:10:13 > 0:10:17and they took her to the tomb, tried to get the ring off,
0:10:17 > 0:10:21but she was rather a large woman, and it wouldn't come off,
0:10:21 > 0:10:25and the butler decided that he would go down there on his own account
0:10:25 > 0:10:30cut off her finger with the ring on, when he wasn't able to get it off,
0:10:30 > 0:10:33at which point she sprang to life.
0:10:33 > 0:10:37- And it's come down through the family.- And she survived?
0:10:37 > 0:10:40- She survived and she had two children.- Good Lord!
0:10:40 > 0:10:44So this label here, "export licence" relates to that bit of paper.
0:10:44 > 0:10:48This bit of paper which was granted by the government of Cyprus.
0:10:48 > 0:10:52- Showing it was imported on April 1937.- Yes.
0:10:52 > 0:10:57As a glass beaker. That sort of provenance is so important,
0:10:57 > 0:11:00especially now in the world of antiquities.
0:11:00 > 0:11:03There's much controversy about whether pieces can be exported,
0:11:03 > 0:11:05and from Cyprus especially nowadays.
0:11:05 > 0:11:08There's great restrictions on any antiquities coming out, to protect
0:11:08 > 0:11:11the old sites, quite rightly.
0:11:11 > 0:11:13Looking at the rim here
0:11:13 > 0:11:17and seeing that this iridescence goes right the way over it,
0:11:17 > 0:11:22it's covered by signs of burial, which is so crucial.
0:11:22 > 0:11:26So many pieces of Roman glass are reproduced, and so many pieces,
0:11:26 > 0:11:29in spite of their licences, are wrong,
0:11:29 > 0:11:31so one needs to see reasons why this is old.
0:11:31 > 0:11:36The signs of burial, the iridescence over the chipped-in antiquity,
0:11:36 > 0:11:41so the piece IS Roman - not quite 600BC as the label says -
0:11:41 > 0:11:43that's a bit of a generous claim.
0:11:43 > 0:11:47- I think we're looking at about 1AD, 2AD...- Oh, right.
0:11:47 > 0:11:50..but a totally genuine piece of ancient glass
0:11:50 > 0:11:52for drinking your wine in Cyprus.
0:11:52 > 0:11:57Centuries old, yet, surprisingly, the value is...
0:11:57 > 0:12:00- only £150.- Oh, really?
0:12:00 > 0:12:04More pieces of Roman glass survive than one thinks,
0:12:04 > 0:12:08but, I think, at that sort of value, they're great things to collect.
0:12:08 > 0:12:12- One can feel history in a piece of glass like that.- Yes.
0:12:12 > 0:12:17You can picture it - he cuts the finger off and she leaps up...
0:12:17 > 0:12:19Yes, in her grave clothes.
0:12:19 > 0:12:23So poor man - it would have been the most terrible experience for him,
0:12:23 > 0:12:25but lucky for her. He saved her life.
0:12:25 > 0:12:30Who got the biggest shock, do you think? The butler or the husband?!
0:12:30 > 0:12:35- I don't like to think about it!- In equal amounts, I should think.- Yes.
0:12:35 > 0:12:41Well, the ring itself is not just a wedding ring.
0:12:41 > 0:12:45It's called a gold posy ring and inside it's got this inscription,
0:12:45 > 0:12:51- "God increase love and peace..." - Yes.
0:12:51 > 0:12:52..which is a little poem,
0:12:52 > 0:12:57and they were called posy rings and they were very much of that period -
0:12:57 > 0:12:591680 to the next 30, 40 years,
0:12:59 > 0:13:04and because it's a posy ring and with this fantastic provenance,
0:13:04 > 0:13:08- I think it must be worth in the region of £400 to £600.- Wonderful.
0:13:08 > 0:13:12I've never in my life come across such an amazing story.
0:13:12 > 0:13:16- It is very strange.- Fantastic.
0:13:16 > 0:13:22- It belongs to my father-in-law. - Right. And do you like it?- Yes.
0:13:22 > 0:13:25It's a very soft painting, it's easy to look at,
0:13:25 > 0:13:30- and...- It's got charm.- Yes. - What do you think they're poking?
0:13:30 > 0:13:35- I thought they could be fishing.- Yes, I thought so, with a little net.
0:13:35 > 0:13:39- But it's quite good, it's caught the light well.- Yes.
0:13:39 > 0:13:44- It's a silvery seaside light.- Yes. - Very Impressionistic, really.- Yes.
0:13:44 > 0:13:48Now, this little painting is by Robert Gemmell Hutchison,
0:13:48 > 0:13:53and Hutchison was a man who wanted to get away from a certain kind
0:13:53 > 0:13:57of Victorian sentimentality that he noticed in the work of his
0:13:57 > 0:14:02teachers and the people who had come before him, the generation before.
0:14:02 > 0:14:08And he began to put more light into his paintings than had been the case
0:14:08 > 0:14:13and wanted to be more naturalistic. Later in his life - and this seems -
0:14:13 > 0:14:14although it's not dated -
0:14:14 > 0:14:18to be a late Hutchison - he began to be influenced
0:14:18 > 0:14:23by the Dutch naturalist and landscape painters painting then,
0:14:23 > 0:14:25people like Jozef Israels,
0:14:25 > 0:14:28who was also quite popular in England and Scotland.
0:14:28 > 0:14:33- And, of course, Hutchison was a Scottish artist.- Oh, was he?- Yes.
0:14:33 > 0:14:37His later pictures, I think, suffer slightly from being caked.
0:14:37 > 0:14:39If you look at this picture,
0:14:39 > 0:14:44it's quite vigorously worked and the paint is dry and dusty,
0:14:44 > 0:14:48and although that does generate an effect,
0:14:48 > 0:14:52I've seen others where the background is simply too unresolved.
0:14:52 > 0:14:56But there's a huge following for his work. It's very sought after.
0:14:56 > 0:15:02- Have you any idea what it might be worth?- Haven't a clue, no idea.- Ah.
0:15:02 > 0:15:06- I know he bought it about 20 years ago.- Oh, really?- Uh-huh.
0:15:06 > 0:15:10- And he can't remember. - Presumably, he just liked it.
0:15:10 > 0:15:12He has an eye for nice things.
0:15:12 > 0:15:16Clearly, because you'll have to tell him that the picture's worth
0:15:16 > 0:15:19- between £10,000 and £15,000.- No!
0:15:20 > 0:15:23- Yes.- Oh, well, that's...wonderful.
0:15:23 > 0:15:26- £10,000 or £15,000?!- Absolutely.
0:15:26 > 0:15:30- That's lovely.- Yes.- Uh-huh.
0:15:30 > 0:15:32It's actually my brother's pot.
0:15:32 > 0:15:35He inherited it from a member of the family
0:15:35 > 0:15:39who was very keen at buying at auction, in Glasgow. Other than that,
0:15:39 > 0:15:43- I really don't know anything about it.- No?- Well, it came into
0:15:43 > 0:15:45our family just a couple of years ago.
0:15:45 > 0:15:51But prior to that, I'm not quite sure how long he's had it. Not long.
0:15:51 > 0:15:56It's a piece of Carlton Ware and a very striking design, called Jazz,
0:15:56 > 0:15:58and it's rather an unusual design.
0:15:58 > 0:16:03All the colours have been bordered by gold lines,
0:16:03 > 0:16:07and the fish scales here, little guilloche fish scales.
0:16:07 > 0:16:11It's reminiscent of Chinese or Japanese cloisonne where the enamels
0:16:11 > 0:16:13were encased in metal banding,
0:16:13 > 0:16:19and we have the lustreware of the main body in this mottled background
0:16:19 > 0:16:23with a...it's almost a marine subject. These remind me
0:16:23 > 0:16:25of little bits of seaweed
0:16:25 > 0:16:30with little bubbles coming up, and these flashes, almost, of lightning.
0:16:30 > 0:16:35There's been a very big growth of interest in Carlton Ware
0:16:35 > 0:16:39and ceramics of this very dramatic 1930's style.
0:16:39 > 0:16:43Carlton factory opened in the late 19th century,
0:16:43 > 0:16:48but the collectable pieces really were made from 1910 on,
0:16:48 > 0:16:52and the factory closed in the early 1960's.
0:16:52 > 0:16:57Increasingly, Carlton Ware has become a collector's market
0:16:57 > 0:17:01and they now have specialised sales of it in the auction rooms.
0:17:01 > 0:17:04It has one or two firing faults in the glaze,
0:17:04 > 0:17:09but nothing major and no damage. I think if you were to sell this now,
0:17:09 > 0:17:15- you could expect to fetch upwards of £1,000 for it.- Oh, my goodness.- Yes.
0:17:15 > 0:17:20- Lovely.- That's it. - Oh, well, I'd be pleased. Lovely!
0:17:20 > 0:17:25Well, she's been in the family all my life. She belonged to my grandmother,
0:17:25 > 0:17:30and she used to be kept in the back of a very dark, cluttered cupboard,
0:17:30 > 0:17:34and, once a year, if my sister and I played our cards right,
0:17:34 > 0:17:35she would be brought out
0:17:35 > 0:17:40- and my grandmother would wind her up. And off she'd go.- She'd do her thing.
0:17:40 > 0:17:45She's dressed beautifully in this silk, which is...deteriorating,
0:17:45 > 0:17:47but it's inevitable,
0:17:47 > 0:17:52when you think that she was probably made in around 1890-1900.
0:17:52 > 0:17:57The fact that your grandmother kept her in a cupboard, I'm sure
0:17:57 > 0:17:59was not to keep her out of your way,
0:17:59 > 0:18:03she merely wanted to conserve the fabric,
0:18:03 > 0:18:05and that, I'm sure, helped.
0:18:05 > 0:18:10You can see it's beginning to go into tatters here.
0:18:10 > 0:18:14She's standing on a little velvet-covered box,
0:18:14 > 0:18:19which contains all the gubbins. It contains the musical movement
0:18:19 > 0:18:23- and it will contain all the cams and the cogs to set her going.- Yes.
0:18:23 > 0:18:29But what I want to do is to turn her round, and just see...
0:18:29 > 0:18:33if there is anything that might be revealed on the back of her head,
0:18:33 > 0:18:35and there is.
0:18:35 > 0:18:39The letters S.H. and the number 1,300.
0:18:39 > 0:18:43That tells me that she was made by a company called Simon & Halbig.
0:18:43 > 0:18:48The 1-3-0-0 is actually the mould number of her particular face,
0:18:48 > 0:18:50so I would have said
0:18:50 > 0:18:55that she is probably dating from about 1900 or so, from the head.
0:18:55 > 0:18:58People say, "How come that they made
0:18:58 > 0:19:02"these very fragile toys for children?"
0:19:02 > 0:19:04And the answer is,
0:19:04 > 0:19:08they weren't for children at all, they were actually made for adults
0:19:08 > 0:19:13as after-dinner entertainment pieces, a sort of rich man's toy.
0:19:13 > 0:19:19They were originally made in Paris - there were a number of top makers,
0:19:19 > 0:19:21and she was made by Leopold Lambert.
0:19:21 > 0:19:26She would have been dressed for a particular market, in this case,
0:19:26 > 0:19:29for Spain, exported and sold down there.
0:19:29 > 0:19:33The market for these is really very strong,
0:19:33 > 0:19:36and the more that the automaton does,
0:19:36 > 0:19:40the more movements that it has, the more expensive they tend to be.
0:19:40 > 0:19:44And looking at her, she's got movements to her...
0:19:44 > 0:19:48Oh, this bee obviously thinks that she's a very delicate flower!
0:19:48 > 0:19:52I'm just going to...blow him away. There we go.
0:19:52 > 0:19:56So move the tambourine, her head moves and so on.
0:19:56 > 0:20:00So she's got several movements there, and I think that at auction,
0:20:00 > 0:20:05we'd talk about a figure of between £1,800 and perhaps just over £2,000.
0:20:05 > 0:20:08- Oh, very good.- So she's lovely.
0:20:08 > 0:20:12I'd like, if we may, just to play her, so I'm going to give her
0:20:12 > 0:20:15a bit of a wind at the back there.
0:20:15 > 0:20:17Turn the knob...
0:20:17 > 0:20:19TINNY MUSIC
0:20:26 > 0:20:30Mother used to refer to it as an Irish coffin table
0:20:30 > 0:20:32and it's been in the family as long as I know.
0:20:32 > 0:20:35That's about as much as I can tell you about it.
0:20:35 > 0:20:37Well, that is absolutely right.
0:20:37 > 0:20:39These pieces of furniture
0:20:39 > 0:20:42are usually only found in Ireland these days.
0:20:42 > 0:20:46It is for putting the six-foot coffin here,
0:20:46 > 0:20:50so the body stays in the family until it goes off to be buried.
0:20:50 > 0:20:54It's an ancient Celtic tradition. When somebody died,
0:20:54 > 0:20:58there was this worry that an evil spirit would take not only the soul,
0:20:58 > 0:21:02but the body with it, and the family didn't want that.
0:21:02 > 0:21:08As time went on, the bodies were sat with until they were buried,
0:21:08 > 0:21:13and so these coffin tables - or wake tables, as they're known -
0:21:13 > 0:21:16are very much part of an Irish family,
0:21:16 > 0:21:20and you'll often see them in the big country houses still.
0:21:20 > 0:21:23This is a particularly nice table.
0:21:23 > 0:21:28It's a nice piece of mahogany, which, if we just put this leaf up,
0:21:28 > 0:21:31extends the table into a large oval,
0:21:31 > 0:21:36which, of course, nowadays can be used in a different way.
0:21:36 > 0:21:40This is a particularly popular shape and size for a dining table.
0:21:40 > 0:21:44It's a fantastic piece of mahogany of the George III period,
0:21:44 > 0:21:48but, at some stage, the top colour has gone,
0:21:48 > 0:21:51it's got this matt finish.
0:21:51 > 0:21:54- Well, it had always had a felt covering.- Ah.
0:21:54 > 0:21:58And when I was small, I was dared to go near it, Sunday lunch only
0:21:58 > 0:22:00and it was well protected all the time.
0:22:00 > 0:22:04- And it's always been kept covered. - It needs polish on it...- Uh-huh.
0:22:04 > 0:22:09..and it'll be fantastic - a really, really nice dining table.
0:22:09 > 0:22:13And because it's very popular, very expensive. If you wanted
0:22:13 > 0:22:17- to buy one of these you're talking about £8,000 to £10,000.- Grief!
0:22:17 > 0:22:19Very nice.
0:22:19 > 0:22:21Thank you.
0:22:21 > 0:22:26This belonged to my wife's grandmother
0:22:26 > 0:22:29and was passed from her through my mother-in-law
0:22:29 > 0:22:35- to my wife.- Right, because we have on the cover an inscription which says,
0:22:35 > 0:22:40"from the Honourable Sir Rupert George Bt to James Stewart Esq,"
0:22:40 > 0:22:45- so this is principally a gentleman's travelling toilet service.- Yes.
0:22:45 > 0:22:47Let's go through the fittings -
0:22:47 > 0:22:53we've got silver-mounted glass jars, toilet jars, and so on, inkwell,
0:22:53 > 0:22:58and this is a shaving jug, with a detachable ivory handle
0:22:58 > 0:23:01and with a glass jar inside as well.
0:23:01 > 0:23:04- How did that work? Was it on a stand or...?- That was on a stand.
0:23:04 > 0:23:08Often you have a burner to keep the water hot.
0:23:08 > 0:23:11Let's have a look and see what date it is.
0:23:11 > 0:23:13Let's find a big piece.
0:23:13 > 0:23:17There are the hallmarks on the inside of the cover -
0:23:17 > 0:23:211839 is the date that the service was made.
0:23:21 > 0:23:25All the covers are decorated with this engine turning
0:23:25 > 0:23:29and with a crest of a stag.
0:23:29 > 0:23:31- Is there a secret drawer?- Yes.
0:23:31 > 0:23:34Let's get it open... There we are. Fabulous. Look at those fittings.
0:23:34 > 0:23:37Beautiful.
0:23:37 > 0:23:39Here we have a medicine spoon.
0:23:39 > 0:23:44The interesting thing about that is that is dated 1887...
0:23:44 > 0:23:49and I can see Victorian hallmarks on virtually all these pieces,
0:23:49 > 0:23:53so I think what we have is a toilet service
0:23:53 > 0:23:57- which has been added to over the years.- Yes.
0:23:57 > 0:24:01- These are much more for a lady than for a gentleman...- Yes.
0:24:01 > 0:24:03..so we have a slightly mixed set.
0:24:03 > 0:24:07But it's absolutely fantastic, beautiful quality.
0:24:07 > 0:24:10Rosewood case, inlaid with brass work.
0:24:10 > 0:24:14Travel was very much part of one's education
0:24:14 > 0:24:16in the 18th and 19th century,
0:24:16 > 0:24:20and these were made in quite large numbers, but very rarely do you
0:24:20 > 0:24:22see one as complete as this.
0:24:22 > 0:24:27It's not an easy thing to value because it's of two different dates,
0:24:27 > 0:24:31but, nevertheless, a lot of these items individually
0:24:31 > 0:24:36are worth several hundred pounds - certainly the shaving jug and stand.
0:24:36 > 0:24:39That's £500 or £600 on its own.
0:24:39 > 0:24:43The inkwell is worth probably £300 on its own. The medicine spoon
0:24:43 > 0:24:47is a collector's item on its own - that's worth a few hundred pounds.
0:24:47 > 0:24:50And also we have this wonderful rosewood box,
0:24:50 > 0:24:53- which is easily worth £1,000. - Really?
0:24:53 > 0:24:57Bearing in mind, it's such a wonderful thing, it must be worth
0:24:57 > 0:24:59£3,000 to £4,000, maybe even £5,000.
0:24:59 > 0:25:02- Thank you very much.- Great pleasure.
0:25:04 > 0:25:06Hey, look at that!
0:25:09 > 0:25:13That's fabulous. How long have you had it?
0:25:13 > 0:25:18It's probably been in my family for about 60, 70 years, I would think.
0:25:18 > 0:25:23I have had it for 45 years, but I think my father had it before me.
0:25:23 > 0:25:24Right, right.
0:25:24 > 0:25:28So I'm guessing it's dating from the 1920's, but I'm not sure about that.
0:25:28 > 0:25:31- You're spot on.- Yeah.
0:25:31 > 0:25:36It's a German toy make. Actually, S&D is the maker
0:25:36 > 0:25:40and I believe they abbreviated the name as it was a wonderfully
0:25:40 > 0:25:42- unpronounceable German name.- I see.
0:25:42 > 0:25:47So they abbreviated it to S&D. Made for the commercial market, of tin,
0:25:47 > 0:25:49so for the export market,
0:25:49 > 0:25:53and consistent with German toys of the time.
0:25:53 > 0:25:56I just love the novelty of it, it's fabulous.
0:25:56 > 0:26:01- Yes, yeah.- Any idea of the value? - I'm guessing - £50 or thereabouts?
0:26:01 > 0:26:07- No, it's about £300 to £500. - Amazing! Can I have that in writing?
0:26:09 > 0:26:13Two very interesting coffee cans and saucers.
0:26:13 > 0:26:18People call them cups, but with the straight sides they're called cans.
0:26:18 > 0:26:22- Where did you get them from? - They were my grandfather's.
0:26:22 > 0:26:27As far as I'm aware, they were gifted to my grandfather, I know not when.
0:26:27 > 0:26:29Any other history?
0:26:29 > 0:26:34They were given, I think, by a Lord Kinnaird who lives at Rossie Priory
0:26:34 > 0:26:36- in the Carse of Gowrie.- Oh?- Yes.
0:26:36 > 0:26:41- We've got a mark which simply says "Paris".- It's different writing.
0:26:41 > 0:26:45It's different writing and it's clearly belonging together.
0:26:45 > 0:26:50Now, at this date, and we're talking about 1800, somewhere around there,
0:26:50 > 0:26:54there were a large number of factories in Paris,
0:26:54 > 0:26:56and we don't know a lot of them,
0:26:56 > 0:26:59and they've left no real records as to who did what,
0:26:59 > 0:27:03so it's quite probable one will never be able to track down
0:27:03 > 0:27:05- which factory made it.- Yes.
0:27:05 > 0:27:10- But it is unusual to have just the word "Paris" on.- Yes.- That's rare.
0:27:10 > 0:27:14This one has got revolutionary Napoleonic symbols on it -
0:27:14 > 0:27:17a sort of Imperial eagle on there,
0:27:17 > 0:27:21and trophies of war - typical of Napoleonic times.
0:27:21 > 0:27:24Well, they were known by a member of the family
0:27:24 > 0:27:27as "my grandfather's Napoleon china".
0:27:27 > 0:27:32- Oh, were they?- Yes.- Oh, so somebody worked it out, right.- Yes, yes.
0:27:32 > 0:27:34This one's very much more unusual
0:27:34 > 0:27:37because we've got a matt-frosted gold,
0:27:37 > 0:27:42which has then been tooled with this figure on horseback in a landscape.
0:27:42 > 0:27:45Now, this is an unusual technique.
0:27:45 > 0:27:48The tooling of gilding was developed at Sevres,
0:27:48 > 0:27:56and when you fire gold...it comes out of the kiln matt, like that.
0:27:56 > 0:28:00And then to get it shiny, you have to burnish it,
0:28:00 > 0:28:04and you burnish it with an agate burnisher,
0:28:04 > 0:28:10but to produce this quality of painting on the gilding,
0:28:10 > 0:28:12they used the hobnail from a boot.
0:28:12 > 0:28:16They set it into a bit of wood and they burnished the design in -
0:28:16 > 0:28:21- extraordinary technique.- Only in certain lights you see the pattern.
0:28:21 > 0:28:28- Absolutely, and when you see it... - Yes.- ..it's breathtakingly good.
0:28:28 > 0:28:31Er, now this one has got a slight crack,
0:28:31 > 0:28:35a hair crack in it, but it's very slight.
0:28:35 > 0:28:38So, values. Do you rate them highly?
0:28:38 > 0:28:42I've always liked them. They've been in the family...
0:28:42 > 0:28:44Er, I don't really have an idea.
0:28:44 > 0:28:49- I suppose...- You have no idea?- No. - Well, this one, despite its crack,
0:28:49 > 0:28:54- we're looking at £800 or so for that one.- Very nice.
0:28:54 > 0:28:58That one, which is in good state - the decoration's not as good,
0:28:58 > 0:29:00but the condition makes up for it,
0:29:00 > 0:29:05so around £800 to £1,000 for that. So they were a nice pressie, really.
0:29:05 > 0:29:10- A very nice pressie!- The laird would be a bit grumpy if he knew.
0:29:10 > 0:29:12I think there was actually more.
0:29:12 > 0:29:15- Really?- But my granny was a bit cavalier with china.
0:29:15 > 0:29:18- Thank you very much.- OK, thanks.
0:29:18 > 0:29:23Here's one of many thousands of pictures of the young Queen Mother,
0:29:23 > 0:29:27with her favourite brother David, the one she had all the pranks with,
0:29:27 > 0:29:29and this distinguished gentleman. Who is that?
0:29:29 > 0:29:34That is my great-grandfather, James "Dancey" Neil.
0:29:34 > 0:29:39He was a dancing master, thus the nickname Dancey, a violin teacher,
0:29:39 > 0:29:43and, I think, a teacher of deportment and general behaviour.
0:29:43 > 0:29:48So how much of their lives would they spend in his company?
0:29:48 > 0:29:52I suspect that it was at least twice a week
0:29:52 > 0:29:56and I understand he rode around Angus on his bicycle
0:29:56 > 0:29:58to all the various grand houses,
0:29:58 > 0:30:03- and had, really, a pretty "upmarket clientele".- Yes.
0:30:03 > 0:30:07Now, your great-granddad looks here like a rather stern
0:30:07 > 0:30:09George Bernard Shaw kind of figure,
0:30:09 > 0:30:12but what are the children dressed up as?
0:30:12 > 0:30:15Well, I think the little boy, David,
0:30:15 > 0:30:20is a jester, while his sister - the Lady Elizabeth -
0:30:20 > 0:30:24with, perhaps, great prescience, is dressed as a princess.
0:30:24 > 0:30:26What else?!
0:30:26 > 0:30:30This is my great, great, great grandfather, John Broadwood,
0:30:30 > 0:30:32and this is his second wife, Mary Kitson.
0:30:32 > 0:30:38- And we're descended from his youngest son, Henry Broadwood.- I see.
0:30:38 > 0:30:42So these have been in your family since the end of the 18th century?
0:30:42 > 0:30:44Since they were painted, yes.
0:30:44 > 0:30:50- And this is the John Broadwood who invented the modern piano?- Yes.
0:30:50 > 0:30:54Well, I think that's an extraordinary combination.
0:30:54 > 0:30:57They're signed with the initials SC,
0:30:57 > 0:31:01but that's not a problem because it's clearly noted on the
0:31:01 > 0:31:03back that they're by Samuel Cotes.
0:31:03 > 0:31:08He was a very prominent miniaturist in the late 18th century.
0:31:08 > 0:31:12He was very successful. It would have been entirely appropriate
0:31:12 > 0:31:15for him to do John Broadwood.
0:31:15 > 0:31:20What's also intriguing is that they're dated. This one of him
0:31:20 > 0:31:26is dated 1784. Now, it's a good year for John Broadwood - 1784.
0:31:26 > 0:31:31He brought out the patent for the new piano just the year before.
0:31:31 > 0:31:36He was 52 when this was painted - he's at the height of his success.
0:31:36 > 0:31:42What he managed to do was to build pianos almost with mass production.
0:31:42 > 0:31:46I mean, it is said that he built thousands of pianos,
0:31:46 > 0:31:50whereas before pianos were just made by craftsmen
0:31:50 > 0:31:53as one-offs for musicians and there were very few pianos in the land.
0:31:53 > 0:31:56By the time of his death, there were thousands.
0:31:56 > 0:32:01That makes him a very important person. In 1814,
0:32:01 > 0:32:05his success was such that he sent one of his pianos to Beethoven,
0:32:05 > 0:32:08which was quite extraordinary, I think.
0:32:08 > 0:32:13Cotes's miniatures themselves aren't really worth a huge amount of money.
0:32:13 > 0:32:17Perhaps a handsome pair like this would be worth £2,000 to £3,000.
0:32:17 > 0:32:22But with the sitters being who they are, I think an estimate could be -
0:32:22 > 0:32:27- a realistic one - £6,000 to £8,000. - Cor!
0:32:27 > 0:32:31That's a lot of money.
0:32:31 > 0:32:34They were given to me by a lady
0:32:34 > 0:32:36who got them when she married into a rather wealthy family,
0:32:36 > 0:32:38about 70, 80, 90 years ago.
0:32:38 > 0:32:44Mm, they're all set with diamonds. All around about 1900, 1905.
0:32:44 > 0:32:48Some of them are a little bit later in manufacture,
0:32:48 > 0:32:52but most of them are typical of the late-Victorian period.
0:32:52 > 0:32:55I particularly like this one,
0:32:55 > 0:32:58mounted in gold. Have a look at the back...
0:32:58 > 0:33:00The Victorians were so practical -
0:33:00 > 0:33:06and there's the facility at the back to screw in a brooch fitting.
0:33:06 > 0:33:11Well, snowflakes and floral clusters were all the rage around 1900,
0:33:11 > 0:33:13and they've silver-set the stones,
0:33:13 > 0:33:17these lovely white diamonds, in this very tight cluster.
0:33:17 > 0:33:23It's such a pretty piece and it's so wearable because of its shape.
0:33:23 > 0:33:28The diamond half-hoop ring is almost the same date, really -
0:33:28 > 0:33:301895-1900, and in this one,
0:33:30 > 0:33:35they've mounted a line of five graduated diamonds
0:33:35 > 0:33:40and they've put it in a scrolling setting - typical of that period -
0:33:40 > 0:33:43mounted in a high-carat yellow gold frame.
0:33:43 > 0:33:47And, of course, the late-Victorian star brooch...
0:33:47 > 0:33:50Stars, crescents and flower sprays
0:33:50 > 0:33:54were the most popular sort of thing. So this is a lady
0:33:54 > 0:33:59who obviously KNEW her jewellery, she wore them. Do you wear them?
0:33:59 > 0:34:03- Yes, I do.- Which pieces do you like wearing?- I like this one,
0:34:03 > 0:34:05because that was rescued.
0:34:05 > 0:34:11- That was stolen and the thieves tried to burn it.- To burn it?- Yes.
0:34:11 > 0:34:14When the police brought it back, it was black.
0:34:14 > 0:34:18- I wonder why?- I've no idea. - Curious thing to do.
0:34:18 > 0:34:21Well, this one was made around 1905.
0:34:21 > 0:34:24It's an example of Edwardian naturalism,
0:34:24 > 0:34:28and it's set with these pale blue sapphires - Montana sapphires -
0:34:28 > 0:34:33this sort of pale blue colour - and little cusps of half natural pearls,
0:34:33 > 0:34:38and then on the back, mounted up in yellow gold,
0:34:38 > 0:34:41probably 15-carat gold, typical for pieces of that period.
0:34:41 > 0:34:47The one item that's a little bit later in manufacture is that,
0:34:47 > 0:34:49which is more a Deco design.
0:34:49 > 0:34:54So, this piece here is probably the most modestly priced,
0:34:54 > 0:34:58- but even that's worth around £500. - That's nice.
0:34:58 > 0:35:03But then, these ones here are more valuable, more commercial,
0:35:03 > 0:35:05- because they're so wearable.- Mm-hm.
0:35:05 > 0:35:10So the cluster star brooch is worth £1,500 to £2,000,
0:35:10 > 0:35:14and the diamond half-hoop ring,
0:35:14 > 0:35:18always the sort of things that people love wearing,
0:35:18 > 0:35:22that ring probably worth about £1,500,
0:35:22 > 0:35:27and the diamond snowflake cluster is worth about £1,500 to £2,000.
0:35:27 > 0:35:30So this is what you could SELL them for,
0:35:30 > 0:35:36- so in total, you've got something in the region of £6,000-£7,000.- Lovely.
0:35:36 > 0:35:40And insurance, you've got to think around £12,000 to £15,000 for them.
0:35:40 > 0:35:43Right. I shan't be selling them.
0:35:43 > 0:35:47It's good to see how well they've survived -
0:35:47 > 0:35:51they're all in good condition, in spite of it being burnt.
0:35:51 > 0:35:53And torpedoed.
0:35:53 > 0:35:55They were actually rescued
0:35:55 > 0:35:59with the lady that owned them from the sea.
0:35:59 > 0:36:03She was escaping from Japan, and she had her jewellery under one arm
0:36:03 > 0:36:07and her one-year-old son under the other and escaped.
0:36:07 > 0:36:11- Well, she sounds a very redoubtable lady.- Yes, but a very lovely lady.
0:36:11 > 0:36:13Thank you very much.
0:36:15 > 0:36:18This lovely elegant piece of furniture has been
0:36:18 > 0:36:20really greatly admired today.
0:36:20 > 0:36:22How long have you had it for?
0:36:22 > 0:36:27I've had it for 25 years. I inherited it from an aunt.
0:36:27 > 0:36:29And where do you keep it?
0:36:29 > 0:36:32- I keep it in the sitting room. - Well...
0:36:32 > 0:36:35one thing that struck me when I first saw it,
0:36:35 > 0:36:40and I think it's the proportions are slightly unbalanced.
0:36:40 > 0:36:44The top and the bottom didn't start off life together -
0:36:44 > 0:36:47a very, very common thing that happens,
0:36:47 > 0:36:53and it could be that the top was too big to go into a low-ceilinged room,
0:36:53 > 0:36:56so they swapped the cabinet for something that fitted better.
0:36:56 > 0:36:59This is a George III cabinet,
0:36:59 > 0:37:03lovely mahogany with these diamond astragals, and then the bottom
0:37:03 > 0:37:05has got a secretaire drawer,
0:37:05 > 0:37:11which if we just pull out, and if you drop the flap your side...
0:37:13 > 0:37:17Very nice, very simple, very pretty interior,
0:37:17 > 0:37:23and then if we go on down the chest, there's something different...
0:37:23 > 0:37:26At the bottom, we've got these two very deep drawers
0:37:26 > 0:37:29and this one is fitted out as a cellaret.
0:37:29 > 0:37:34- Yes.- I have never seen that before in a piece of furniture like this.
0:37:34 > 0:37:38So you've got an absolutely marvellous piece of furniture
0:37:38 > 0:37:40which does everything -
0:37:40 > 0:37:44it could be used as a piece of writing furniture,
0:37:44 > 0:37:47or as a piece of decorative furniture,
0:37:47 > 0:37:50with porcelain at the top,
0:37:50 > 0:37:53and here at the bottom you can store your bottles.
0:37:53 > 0:37:56So that makes it special.
0:37:56 > 0:38:01In style, with the ovals both on the drawer front and down there,
0:38:01 > 0:38:05it's looking to a design of about 1780,
0:38:05 > 0:38:07that might have appeared
0:38:07 > 0:38:11in something like a Sheraton or Hepplewhite design book,
0:38:11 > 0:38:16but have you ever looked at the handles really carefully?
0:38:16 > 0:38:21- Because there's a little inscription that says "Sacred to Nelson".- Gosh!
0:38:21 > 0:38:24Now, Nelson died in 1805,
0:38:24 > 0:38:29so Nelson memorabilia would have been produced just after his death.
0:38:29 > 0:38:34So we know that this bottom piece couldn't have been made before 1805,
0:38:34 > 0:38:38and so what I think we've got here is a secretaire chest,
0:38:38 > 0:38:41after 1805 - about 1810,
0:38:41 > 0:38:45and maybe the top could be ten or 20 years earlier,
0:38:45 > 0:38:50- but very happily married together. Yes. Do you like it?- I love it.
0:38:50 > 0:38:55- What do you keep in it?- Well, I keep silver in the top.- Right.
0:38:55 > 0:38:58And, obviously, bottles down there.
0:38:58 > 0:39:03- Bottles down here.- And in the drawers, I just keep writing paper.
0:39:03 > 0:39:07- So it's a very useful thing for you? - Oh, extremely, yes.
0:39:07 > 0:39:11I think if you had to replace this - and it would be very difficult
0:39:11 > 0:39:15with this configuration down the bottom, you would have
0:39:15 > 0:39:18- to spend at least £10,000.- Mmm.
0:39:18 > 0:39:21Right, thank you.
0:39:22 > 0:39:25- This is my father.- Right.
0:39:25 > 0:39:29Who was, in the First War, at Calshot most of the time.
0:39:29 > 0:39:33- So he got his pilot's licence in February 1917?- Yes.
0:39:33 > 0:39:38- And so he came and trained as a pilot at that point?- Yes.
0:39:38 > 0:39:40Where did he come from originally?
0:39:40 > 0:39:44He came from the Argentine, where he was a cattle rancher.
0:39:44 > 0:39:49- Right, so he came back to Britain to fight?- Yes.- As a volunteer?- Quite.
0:39:49 > 0:39:55- Yes. Now, this album was assembled by him during his service?- Yes.
0:39:55 > 0:39:57So these are views of him, are they?
0:39:57 > 0:40:03Not all of him. The centre one is him - the two brothers -
0:40:03 > 0:40:08- he and his brother were both together.- This is a wonderful album
0:40:08 > 0:40:12because what it gives us is a complete vision of his daily life.
0:40:12 > 0:40:15Here is a spread of all the types of aeroplanes that he would have seen
0:40:15 > 0:40:17and used at Calshot at the time.
0:40:17 > 0:40:22Calshot was a naval base, so they're mainly flying boats.
0:40:22 > 0:40:25Flying boats or float planes.
0:40:25 > 0:40:30What is extraordinary is the diversity. He'd have to have been
0:40:30 > 0:40:32- familiar with all these.- He was.
0:40:32 > 0:40:37And so this is his life in the sense of his practical service life.
0:40:37 > 0:40:40Moving on, this interested me
0:40:40 > 0:40:44because here we've got everything that was going on around him.
0:40:44 > 0:40:47- Quite, yes.- That's the Olympic -
0:40:47 > 0:40:51the great White Star liner, the sister ship of the Titanic,
0:40:51 > 0:40:53in dazzle camouflage.
0:40:53 > 0:40:56It became a troop ship in World War I.
0:40:56 > 0:41:00He had a camera, he took these photographs, he collected them,
0:41:00 > 0:41:02- he put these little drawings in. - Yes.
0:41:02 > 0:41:06- He was obviously very artistic as well.- He was.
0:41:06 > 0:41:10- He was very neat.- Clearly. I think this is extraordinary,
0:41:10 > 0:41:13because normally, people didn't have cameras
0:41:13 > 0:41:18and they weren't allowed to do it, anyway. It was a forbidden area.
0:41:18 > 0:41:21This is a wonderful image, I think,
0:41:21 > 0:41:25a parade of aeroplanes going along a suburban road.
0:41:25 > 0:41:29Well, the station was built in a sort of suburban setting.
0:41:29 > 0:41:31- A most unsuitable setting.- Most.
0:41:31 > 0:41:37Yeah, you can see the somewhat difficult nature of the land.
0:41:37 > 0:41:41- Of the terrain, yes.- So we've got his life. We've got the mishaps...
0:41:41 > 0:41:47- Was this one of his mishaps? - No, that was...- A colleague's?
0:41:47 > 0:41:51- A colleague, yes. - "Controls jambed," it says here.
0:41:51 > 0:41:54- And that came out of it.- This is the clock from that aeroplane?- Yes.
0:41:54 > 0:41:59- He salvaged that at the time?- Yes.
0:41:59 > 0:42:03- So that was the dashboard clock from that?- Yes, which they used
0:42:03 > 0:42:08- for their patrol work and navigation. - I think it's an extraordinary story.
0:42:08 > 0:42:11We've got his colleagues, friends...
0:42:11 > 0:42:14- That's his brother. - And a wonderful list of Don'ts.
0:42:14 > 0:42:17"Don't worry. Don't be timid. Don't be too sure.
0:42:17 > 0:42:21"Don't loop, spin or stall a short.
0:42:21 > 0:42:24"Don't say you forgot and don't swank."
0:42:24 > 0:42:29- Good rules for today!- Fatal things to do!- "Notice for pupils -
0:42:29 > 0:42:32"Land on the heels of your floats."
0:42:32 > 0:42:37- If you landed otherwise, you'd be dead.- You'd tip over. Great document,
0:42:37 > 0:42:41great part of our history and all the life that went with it.
0:42:41 > 0:42:46Impossible to value, because it's a family document,
0:42:46 > 0:42:52but in collectors' terms, we would be looking at £1,500 - £2,500,
0:42:52 > 0:42:56- because all these images are one-offs.- Quite, yes.
0:42:56 > 0:43:00They're something that he took and preserved and that is a fantastic
0:43:00 > 0:43:02- slice of that period.- It is.
0:43:02 > 0:43:06- I'm glad you've got the clock.- It's very precious. It sits by my bed.
0:43:06 > 0:43:09- Excellent. Thank you very much. - Thank you.
0:43:11 > 0:43:14Well, if you've enjoyed this Roadshow from Glamis
0:43:14 > 0:43:16as much as we have, then I think you'll have had a pleasant time.
0:43:16 > 0:43:19We've had wonderful weather, seen some lovely things -
0:43:19 > 0:43:21the event seemed like a mix
0:43:21 > 0:43:25between a village fete and a royal garden party.
0:43:25 > 0:43:29Join us next week, when I'll take a closer look inside the castle
0:43:29 > 0:43:32and at the times the Queen Mother has spent here. Until next week,
0:43:32 > 0:43:35from glorious Glamis, goodbye.
0:43:49 > 0:43:52Subtitles by Red Bee Media Ltd