0:00:33 > 0:00:39'..Malin, Hebrides - north-east four or five, becoming cyclonic, then south-west six to gale eight,
0:00:39 > 0:00:42'perhaps severe gale nine later.
0:00:42 > 0:00:45'Rain. Moderate or good.'
0:00:47 > 0:00:51Well, as you might've gathered, the Roadshow is a long way from home
0:00:51 > 0:00:55on one of the most remote, windswept parts of the British Isles.
0:00:55 > 0:00:59a place known best to us as a fixture on the shipping forecast.
0:00:59 > 0:01:05So welcome, on a mercifully sunny day, to the largest island of the Outer Hebrides - Lewis.
0:01:08 > 0:01:12The Hebridean landscape is sometimes beautiful, sometimes forbidding,
0:01:12 > 0:01:18but the islands boast a world heritage site, four national nature reserves
0:01:18 > 0:01:22and no less than 55 sites of special scientific interest.
0:01:22 > 0:01:30The coastline offers dramatic cliff views, secluded sandy coves and mystical standing stones.
0:01:30 > 0:01:34The Celts and Vikings both left their mark on these Western Isles,
0:01:34 > 0:01:39and a traditional way of life still flourishes among the 26,000 people who live here.
0:01:39 > 0:01:4770% of them are native speakers of Scots Gaelic, an ancient Celtic language.
0:01:47 > 0:01:51Fortunately, they also speak English, making life easier for our experts.
0:01:51 > 0:01:56Now, until recently, there wasn't a venue here big enough to hold the Antiques Roadshow,
0:01:56 > 0:02:01then we heard they were building a new leisure centre in the principal town of Stornoway.
0:02:05 > 0:02:12In fact, we're due to be the first public event in the new complex, assuming its finished, of course.
0:02:12 > 0:02:17Like the Olympic Stadium in Athens, it's showing every sign of being a close-run thing.
0:02:17 > 0:02:22Our experts are hoping for some interesting finds, though, and up here that wouldn't be unknown.
0:02:22 > 0:02:28During a particularly violent storm in 1831, a local crofter, who was rounding up his cows
0:02:28 > 0:02:34in these sand dunes near Ardroil, came across a stone chamber unearthed by the force of the wind.
0:02:34 > 0:02:38He broke into the chamber and discovered, to his amazement,
0:02:38 > 0:02:41what looked like a gathering of gnomes and elves.
0:02:43 > 0:02:49There were 78 little people in all, dressed as churchmen, royalty and warriors.
0:02:49 > 0:02:56Wise people at the British Museum finally concluded that they were 12th-century Norse chessmen
0:02:56 > 0:02:58carved from walrus tusk.
0:02:58 > 0:03:04Many regard the original Lewis figures as the finest early chess pieces in the world.
0:03:04 > 0:03:08Lo and behold, come the day and all the pieces are in place here in Stornoway,
0:03:08 > 0:03:13where they've finished enough of the building for our opening gambit. So, on with the first event to be held
0:03:13 > 0:03:20in the brand new Lewis Sports Centre and the first ever Antiques Roadshow from the Outer Hebrides.
0:03:20 > 0:03:22Two classic views of the Highlands painted on porcelain.
0:03:22 > 0:03:24Are these scenes you've grown up with?
0:03:24 > 0:03:28Eh, yes, I've been in Scotland all my life.
0:03:28 > 0:03:33So you can picture the highland cattle there by a loch. Yes. And the sheep amongst the heather. Indeed.
0:03:33 > 0:03:39These are scenes I'VE grown up with, because these are from Worcester, they're Royal Worcester plaques. Ah!
0:03:39 > 0:03:44And nice to see them in their original frames. This is how they left the Worcester factory.
0:03:44 > 0:03:48Yes. And the Worcester always had a little cut-out on the back.
0:03:48 > 0:03:53When we look around...inside the frame, there's a little hole showing the factory mark. That tells us...
0:03:53 > 0:03:56the Royal Worcester sign, and this little code system,
0:03:56 > 0:04:01they've got little tiny dots around the factory mark, 25 dots there, that's the year 1916.
0:04:01 > 0:04:04So that's when they were made. Oh!
0:04:04 > 0:04:08And they're by two of the greatest china painters of all time, really,
0:04:08 > 0:04:13this one by John Stinton and this one here by Harry Davis.
0:04:13 > 0:04:19Yes. John Stinton specialised in the cattle. And during his very long life - he lived to be over 100...
0:04:19 > 0:04:25during his whole life at Worcester, he painted the highland scenes with the cattle by the loch there.
0:04:25 > 0:04:30Yes. Though they're not scenes that he ever saw himself. Oh, he never...? During that time...
0:04:30 > 0:04:34His son said that John Stinton never went further north than Droitwich,
0:04:34 > 0:04:39which is only a few miles up the A38 north of Worcester. He never came to Scotland at all. Didn't he?
0:04:39 > 0:04:45Neither did Harry Davis, here painting sheep. And you can sort of smell the heather in the atmosphere!
0:04:45 > 0:04:50Yes, yes. I knew Harry Davis when I was a young lad at Worcester, growing up. Oh.
0:04:50 > 0:04:54He was in his 80s, still painting at Worcester - he lived there all his life -
0:04:54 > 0:04:59painting the sheep in the landscapes. When I was ten years old, I would watch him paint,
0:04:59 > 0:05:04still painting highland scenes, doing it from memory! And I thought, "How did you do this?"
0:05:04 > 0:05:08He'd never seen the sheep themselves. Didn't know...
0:05:08 > 0:05:13And he showed me little picture postcards that friends had sent him of Highland scenes. Uh-huh?
0:05:13 > 0:05:16He did it all from that. He just imagined the scenes.
0:05:16 > 0:05:20Neither Stinton or Davis ever went there. Where did these come from?
0:05:20 > 0:05:26Have they always been in your family? No, my husband bought them at a house sale in Greenock.
0:05:26 > 0:05:29And...? I think he didn't pay very much for them.
0:05:30 > 0:05:34£2.10/- in old money, somewhere about there.
0:05:34 > 0:05:39Porcelain lovers know the Highlands from the work of Stinton and Davis,
0:05:39 > 0:05:44and they pay very big money for them nowadays indeed.
0:05:44 > 0:05:46This one here, by John Stinton,
0:05:46 > 0:05:52is probably worth, today, something round about £3,000. Mm-hmm.
0:05:52 > 0:05:57and this one by Harry Davis, probably £4,000. Oh.
0:05:57 > 0:06:03Harry's work is...is just so special. And a plaque like that has got everything.
0:06:03 > 0:06:06Oh, I shall look at them in a different light!
0:06:06 > 0:06:11"The Peter Pan portfolio by Arthur Rackham, from Peter Pan in Kensington Gardens by J. M. Barrie."
0:06:11 > 0:06:13Now, why do you like this?
0:06:13 > 0:06:19I bought it because I love... I like anything about Peter Pan, I like the stories and...
0:06:19 > 0:06:21Never-never land. And Never-never land.
0:06:21 > 0:06:23Yes. And where did you buy it?
0:06:23 > 0:06:26I bought it in Inverness at an auction.
0:06:26 > 0:06:28At an auction? Yes.
0:06:28 > 0:06:31I mean, just look at that!
0:06:31 > 0:06:38Yes, it's beautiful. It looks absolutely...absolutely glorious. And this lovely attention to detail!
0:06:40 > 0:06:43This one I've always loved because it's got this...
0:06:43 > 0:06:46This is Kensington Gardens. There you've got all the fairies.
0:06:46 > 0:06:50In fact, you probably have beer bottles down here today.
0:06:50 > 0:06:54But they've got fairies. And this lovely sort of twilight...
0:06:54 > 0:06:56That's the Serpentine.
0:06:57 > 0:07:04And here's another one, look at the movement in those. I mean, they are just absolutely tremendous.
0:07:04 > 0:07:08And...autumn fruit, I suppose, coming in there,
0:07:08 > 0:07:10and all that. And this little chap.
0:07:10 > 0:07:17Well, Arthur Rackham, as you know, obviously a very famous artist, started working for magazines
0:07:17 > 0:07:24in the late 19th century. And then, by about 1900-1904, I think,
0:07:24 > 0:07:29he started to bring out coloured illustrated books
0:07:29 > 0:07:35of other people's texts and, you know, possibly Christmas wasn't Christmas without a Rackham in it.
0:07:35 > 0:07:38Now, you'll have to tell me how much you paid for this.
0:07:38 > 0:07:43I can't really remember correctly, but it was £300 or £400, I think it was. 300 or 400.
0:07:43 > 0:07:47I couldn't be quite... Couldn't be quite sure? That was quite... that was quite a punch.
0:07:47 > 0:07:52I thought it was, yes. Yes, very bold. My husband was saying, "Oh!"
0:07:52 > 0:07:57Was he absolutely horrified? I love this one of this chrysanthemum as a man.
0:07:57 > 0:07:59Yes. Isn't he tremendous?
0:07:59 > 0:08:03Gorgeous. And he's got a monocle. I suppose he looks like Joseph Chamberlain, doesn't he?
0:08:03 > 0:08:05I mean, you know, of the period.
0:08:05 > 0:08:08And this child, the expression on its face!
0:08:08 > 0:08:15Well, look, there are various things wrong with this. The binding itself is not in bad condition.
0:08:15 > 0:08:22The vellum - obviously people have been putting fingers all round there. But it could be tidied up
0:08:22 > 0:08:25and really made to look absolutely very special.
0:08:25 > 0:08:28Oh. In fine condition,
0:08:28 > 0:08:34the Peter Pan portfolio is worth somewhere between £1,500 and £2,000. I see.
0:08:34 > 0:08:40So if you care to - and I think it would be worthwhile - spend a bit more money on it. Uh-huh, yes.
0:08:40 > 0:08:44And put it into apple-pie order. That's lovely.
0:08:44 > 0:08:47This is your table, isn't it? It's my table.
0:08:47 > 0:08:52The chair however, we have borrowed from the Cabost collection in the local museum.
0:08:52 > 0:08:56Oh, yes. And that is of interest here, but let us actually concentrate on your table. Right.
0:08:56 > 0:09:02What can you tell us about it? Well, it's been in my family... I mean, first knew about it
0:09:02 > 0:09:06when we came here to visit my grandparents in the '30s. Right.
0:09:06 > 0:09:10And it was there then. And your grandparents were local people?
0:09:10 > 0:09:12My grandfather was. Right. But my grandmother was a New Zealander.
0:09:12 > 0:09:15But do you think they acquired it or made it, or what?
0:09:15 > 0:09:19No, it was made by my great grandfather. Right. He made this.
0:09:19 > 0:09:21That's actually very interesting.
0:09:21 > 0:09:25Is it? Because, in fact, furniture of this sort, made on the island,
0:09:25 > 0:09:29was almost certainly made from either driftwood...
0:09:29 > 0:09:33Ah. ..or fragments of wood that were left over from other construction projects. Because there was so...
0:09:33 > 0:09:37there's no indigenous wood on the island. Everything had to be imported then and now.
0:09:37 > 0:09:44That's right, yes. But your great grandfather had obviously seen fashionable pieces of furniture
0:09:44 > 0:09:48on the mainland, and tried to recreate it, without the...
0:09:48 > 0:09:53without the real knowledge OR the technology to do it.
0:09:53 > 0:09:58This stem - he had no access to a lathe so he simply carved it. Uh-huh.
0:09:58 > 0:10:04The legs themselves are shaped, to a degree, as a fashionable one would have been,
0:10:04 > 0:10:11but it is likely he tried to find pieces of wood that had that natural shape in them.
0:10:11 > 0:10:16Ah. Now, he made the base, but the top is a different kettle of fish altogether.
0:10:16 > 0:10:21This is made of oak. It is also a reclaimed piece of wood.
0:10:21 > 0:10:28But you can see in the joint here that it's a very sophisticated joint, a tongue-and-groove joint.
0:10:28 > 0:10:30Yes, yes, you can see that, yes.
0:10:30 > 0:10:35And that was made, almost certainly on a machine.
0:10:35 > 0:10:38So it is likely that this was maybe a door once.
0:10:38 > 0:10:42Ah. You know. A ship got wrecked and that's a door of one of the cabins.
0:10:42 > 0:10:48Yes. And that's as big a top as he was able to salvage from this piece of wood.
0:10:48 > 0:10:54So that's fascinating. The other wonderful thing about these two bits of furniture,
0:10:54 > 0:10:56now we've put them together. Ah?
0:10:56 > 0:10:59Is the size of them. What do you use this for?
0:10:59 > 0:11:04Oh, I just use it as a coffee table. As a little coffee table, absolutely.
0:11:04 > 0:11:10But have you ever wondered why it was so low? They didn't have coffee tables in the 19th century. No.
0:11:10 > 0:11:16Well, they had very low ceilings and very small places to live in. That's exactly right.
0:11:16 > 0:11:20The original blackhouses, and do you know why they're so low?
0:11:20 > 0:11:23It's not necessarily the height of the ceilings,
0:11:23 > 0:11:28it's the level of the smoke that gathered in the roof. Oh. Yes! And if you're low down here,
0:11:28 > 0:11:33you're below that smoke level. Yes. A lovely, lovely local detail.
0:11:33 > 0:11:38And you only find that sort of thing in local, vernacular furniture. Yes. It's absolutely fabulous.
0:11:38 > 0:11:46What's it worth? No idea. I haven't a clue. Not a lot. The curious thing is, this local blackhouse furniture
0:11:46 > 0:11:49is so rare - it is SO rare!
0:11:49 > 0:11:54And you can value it in many, many hundreds of pounds,
0:11:54 > 0:11:59possibly over £1,000. Really? Yeah. My aunt wanted to buy it, but I wouldn't sell it.
0:11:59 > 0:12:06How much did she offer you? £10,000. TEN thousand? Yes, she offered me... Yes. She's American. A lot of money.
0:12:06 > 0:12:10That's exactly the point. And I said "No, I'd rather keep it".
0:12:10 > 0:12:13When... When you find somebody who really wants it, in America...
0:12:13 > 0:12:17I said "over £1,000". I wasn't dreaming of £10,000, but it doesn't surprise me! That's what she said.
0:12:17 > 0:12:22She said "I'll give you £10,000 for it," and I said "No, I'll keep it." That is absolutely brilliant.
0:12:26 > 0:12:30Well, I think anyone watching with a nervous disposition might well be obliged to switch off now,
0:12:30 > 0:12:33before we explain what this rather gruesome object is.
0:12:33 > 0:12:38How did it come into your possession? I inherited it from my father. From your father, right.
0:12:38 > 0:12:42Was he a doctor? He was indeed. That gives us a clue as to what it is.
0:12:42 > 0:12:46Well, in fact it's a tonsil extractor. That's right. And how it worked
0:12:46 > 0:12:49was that this was put in the mouth,
0:12:49 > 0:12:54covering the tonsils. You push this forward...
0:12:54 > 0:12:58and the sharp blade here underneath cuts off the tonsils
0:12:58 > 0:13:02which then attach themselves to the barbed points
0:13:02 > 0:13:06and you pull this back, and the tonsils come with it.
0:13:06 > 0:13:11It must've been a pretty horrendous business. Oh, these days it wouldn't be allowed.
0:13:11 > 0:13:15I think something like this probably dates from around 1900.
0:13:15 > 0:13:20It's made of steel, it's a bit pitted, not in the best of conditions,
0:13:20 > 0:13:24certainly wouldn't pass modern hygiene regulations.
0:13:24 > 0:13:25Um, any idea as to its value?
0:13:25 > 0:13:27None at all, no.
0:13:27 > 0:13:32Well, if it came up at auction, I think it would probably fetch between £200 and £250.
0:13:32 > 0:13:34Really, would it? Extraordinary.
0:13:34 > 0:13:40So this is for making biscuits. Yes. What, sweet biscuits or oatmeal biscuits? Oatmeal.
0:13:40 > 0:13:42Oatmeal, ah, the best sort.
0:13:42 > 0:13:44Can you read backwards? Yes.
0:13:44 > 0:13:49What does it say? "Playtime." And does this one have a name on it?
0:13:49 > 0:13:53"Ness." Ness. That sounds very Scottish.
0:13:53 > 0:13:58That's where they were made. So these are for making monster biscuits!
0:13:58 > 0:14:03The thing is that this is not Dom Perignon. No.
0:14:03 > 0:14:07And because it's not Dom Perignon 1921
0:14:07 > 0:14:10and it's Guinard 1923,
0:14:10 > 0:14:15it's only going to be worth £50 to £60!
0:14:15 > 0:14:17After all that! Yes.
0:14:19 > 0:14:25I was talking to one of my fellow experts on the Roadshow today about Clarice Cliff,
0:14:25 > 0:14:30who told me their mother received a Clarice Cliff dinner service as a wedding present in the 1930s,
0:14:30 > 0:14:35and she was so disgusted and appalled with it, she thought it was so common and downmarket,
0:14:35 > 0:14:40that she threw it away. What do you think about it? Same. Don't like it at all, no. Same?
0:14:40 > 0:14:44But you haven't thrown it away. No, I haven't. Put it in the loft.
0:14:44 > 0:14:48You put it up in the loft and then it's been resurrected.
0:14:48 > 0:14:52Well, Clarice Cliff is generally a very famous ceramic designer.
0:14:52 > 0:14:59She was working in the '20s and '30s and producing things in this wonderful Art Deco style.
0:14:59 > 0:15:06I think, you know, when one looks at a jug like that, which is the most extraordinary, even bizarre shape,
0:15:06 > 0:15:12in many ways totally impractical... Not nice at all. There's no way to put your finger through the handle.
0:15:12 > 0:15:19You have to grip it, hold on to it for dear life, otherwise you'll drop it. Similarly, the cups.
0:15:19 > 0:15:24Can you imagine a cup full of scalding hot tea...? She must have had a lot of designs, though.
0:15:24 > 0:15:29She did. We looked on the Internet and couldn't find that design. We found other designs but not that. Ah.
0:15:29 > 0:15:34It's interesting you should mention the design. There are two aspects to a piece of Clarice Cliff tea ware.
0:15:34 > 0:15:39There's the design, the pattern, which in this instance is called "Sunshine". Yes.
0:15:39 > 0:15:42And there's the shape. You didn't find this one?
0:15:42 > 0:15:46No. It's not actually a particularly rare one.
0:15:46 > 0:15:51The shape, however, is the thing I like about this set, and it's called the "conical shape",
0:15:51 > 0:15:57Conical shape is what everybody wants because of this wonderful, stylish Deco design.
0:15:57 > 0:16:00But the pattern is, perhaps, not so good.
0:16:00 > 0:16:05Some of the Clarice designs are really strong, bold geometric designs. Yes.
0:16:05 > 0:16:11Although this is clearly of the period, it's a more naturalistic, floral pattern.
0:16:11 > 0:16:17So how old is this one, then? This, interestingly, is dated. It's easy for me to tell you when it was made.
0:16:17 > 0:16:22Some of the Clarice Cliff pieces have...
0:16:22 > 0:16:26impressed, just inside the foot-rim, the date.
0:16:27 > 0:16:30And there we have "30" for 1930.
0:16:30 > 0:16:33Ah. So it was made in 1930, not all the pieces are dated in this way
0:16:33 > 0:16:36but the teapot, being the most important piece...
0:16:36 > 0:16:41Well, I never noticed that before. ..is obviously the one thing to date. And you've no idea...?
0:16:41 > 0:16:46Perhaps your father bought it? No, probably my mother bought it, I would imagine, yeah.
0:16:46 > 0:16:51Or it might have been in her family. She must've been rather avant-garde and stylish. Yes, she was. She was.
0:16:51 > 0:16:56You know, had a bit of a sparkle. Yeah. I can imagine - these sort of things, she would've gone for.
0:16:56 > 0:16:59She did well and, despite the less commercial design
0:16:59 > 0:17:04but because of the wonderful shapes and the completeness of the set,
0:17:04 > 0:17:09we're looking at a value probably about £800 to £1,000 at auction
0:17:09 > 0:17:14and you should insure it for a little bit more than that. Wow. But it's a really good set. Yeah.
0:17:14 > 0:17:21That must've been one gigantic whale! What's the story? Yes, it was over 80 feet long, I believe.
0:17:21 > 0:17:27The story is that it came ashore in a bay on the west side of Lewis
0:17:27 > 0:17:32and it had been wounded by the harpoon, like you see hanging there.
0:17:32 > 0:17:35And whales make for shore when they're wounded.
0:17:35 > 0:17:39And the local people, of course, took a great deal of interest in it.
0:17:39 > 0:17:45They took all the blubber and used it, in fact, as oil and for various other reasons -
0:17:45 > 0:17:53because this was 1920. And leaving... And they left this. All the bones, in fact. This is its lower jawbone?
0:17:53 > 0:17:56This is the lower jawbone. And how high is it?
0:17:57 > 0:18:01Eh, about 22 feet high and 14 across.
0:18:01 > 0:18:07And this was the harpoon that it dragged with it? Yes. And have you any idea what distance it travelled?
0:18:07 > 0:18:09We don't know exactly,
0:18:09 > 0:18:13but it may have... There was a whaling station in Harris,
0:18:13 > 0:18:18but it may have come from anywhere in the North Atlantic. What a difficult job getting it here!
0:18:18 > 0:18:21They had two horses and a lot of men -
0:18:21 > 0:18:24I think, over 20 young men fresh from the war -
0:18:24 > 0:18:27to drag it out the whole length of...
0:18:27 > 0:18:30the mile from the shore up to here.
0:18:30 > 0:18:33And here it stands, looking like the entrance to a film studio!
0:18:33 > 0:18:36A landmark. A landmark indeed.
0:18:37 > 0:18:41I think you know what this is. Yes. I knew it was a scarifier,
0:18:41 > 0:18:45I knew it was used as a skin incisor,
0:18:45 > 0:18:50but I wasn't very sure as to its date. I wasn't sure whether it succeeded the leech,
0:18:50 > 0:18:56whether it was a mechanical leech or what. I'd be interested to hear. In a way, it's a mechanical leech.
0:18:56 > 0:18:59In the bottom, here, are hidden some blades.
0:18:59 > 0:19:03And you hold it against the skin
0:19:03 > 0:19:09and fire it, and those blades will come out and cut the skin.
0:19:09 > 0:19:14Bloodletting in that way was meant to relieve things like high blood pressure.
0:19:14 > 0:19:20I can see on this it's got a name, it's got a maker's name.
0:19:20 > 0:19:25It probably dates from the first 20 or 30 years of the 19th century.
0:19:25 > 0:19:29That early? Now, we ought to see how this works. Indeed.
0:19:29 > 0:19:35I've already worked the trigger to load it, so it's ready to spring,
0:19:35 > 0:19:40I don't suppose you want to try it on yourself, do you? I do not, thank you very much.
0:19:40 > 0:19:43It just so happens that I have a balloon handy.
0:19:43 > 0:19:47Very convenient! And you can see there are no blades showing.
0:19:47 > 0:19:51This is how it would work. You would've rested it on the balloon...
0:19:51 > 0:19:55LOUD BANG Oh! And fired and that's what would have happened. Very quick action.
0:19:55 > 0:19:57The blades have gone again.
0:19:57 > 0:20:03That on your leg, or wherever it was held, will have done the scarifying. And blood would be flowing even now.
0:20:03 > 0:20:06Yes, nasty. Nasty, really nasty!
0:20:06 > 0:20:08So this has some value.
0:20:08 > 0:20:14I mean, no medical connections or anything like this in the family?
0:20:14 > 0:20:19No, but the ground floor of our house was leased out as a doctor's consulting room,
0:20:19 > 0:20:23and when the lease expired and my husband wanted to use the rooms,
0:20:23 > 0:20:29he of course ended up clearing out some of the cupboards, and he discovered this amongst other things.
0:20:29 > 0:20:31A rather nice find to have. Really?
0:20:31 > 0:20:34They're now wonderfully valuable today. No, no.
0:20:34 > 0:20:40But old medical antiques, before anaesthetics and before antisepsis, are collected. Right.
0:20:40 > 0:20:44And such a collector would pay between £100 and £150 for this. Oh!
0:20:47 > 0:20:52I'd like to begin by confessing that this artist is completely unknown to me,
0:20:52 > 0:20:56but I think it's an absolutely beautiful image. Can you help me identify the artist?
0:20:56 > 0:21:00Well, John Hunter, he's an artist who worked in Northern Ireland.
0:21:00 > 0:21:05He was born in China. I believe his mother was Russian...
0:21:05 > 0:21:07Missionaries in China.
0:21:07 > 0:21:10This particular painting is of the Mull of Kintyre
0:21:10 > 0:21:13And it's rather stylised,
0:21:13 > 0:21:17but it emphasises the wildness and bleakness of the landscape.
0:21:17 > 0:21:21Indeed. particularly like the way he...
0:21:21 > 0:21:26We have sort of conflicting planes of both curving lines and angular...
0:21:26 > 0:21:31this sort of angular profile of the hills. It's all very geometric, there's a wonderful design to it.
0:21:31 > 0:21:36Yes. When I first saw this picture, it reminded me very much of another Irish artist called John Luke.
0:21:36 > 0:21:40Now, he worked, essentially, in tempera. Yes.
0:21:40 > 0:21:45Um, but his pictures are altogether more colourful than this.
0:21:45 > 0:21:50Now, do we know much about when John Hunter was active?
0:21:50 > 0:21:54Well, he died in, I think, 1951. And he was born 1875, so...
0:21:54 > 0:22:00So he was a contemporary of Luke. So it might be that they'd have known each other? I'm sure they did.
0:22:00 > 0:22:02There's distinct similarities.
0:22:02 > 0:22:05I just... I love this picture.
0:22:05 > 0:22:10I think... Collectors are always looking for new opportunities,
0:22:10 > 0:22:14for new artists whose work they may not previously be familiar with.
0:22:14 > 0:22:21And this picture has all the elements of different styles in British painting in the 20th C -
0:22:21 > 0:22:28the suggestion of Cubism in the foreground, with this very angular approach to the rocks...
0:22:28 > 0:22:31and this wonderful diagonal line here,
0:22:31 > 0:22:35which reminds us of vorticism. It's just got everything in it!
0:22:35 > 0:22:38Have you had the picture valued? No, not at any stage.
0:22:38 > 0:22:43It has some sentimental value because it came to me through my mother,
0:22:43 > 0:22:47who was married, at one stage, to one of the sons of the artist.
0:22:47 > 0:22:50Ah, right, that's very interesting.
0:22:50 > 0:22:53In saying all that, it's not a valuable picture,
0:22:53 > 0:22:58but I would think, at auction, it would probably fetch in the region of about £2,000 to £3,000. Yes.
0:22:58 > 0:23:01Well, you've got a nice little stash
0:23:01 > 0:23:05of early 19th-C Chinese porcelain in here.
0:23:05 > 0:23:09But it's not really that that caught my eye, it's actually the container.
0:23:09 > 0:23:13Tell me the history of this extraordinary box.
0:23:13 > 0:23:18Well, I bought it about 12 years ago from a dealer in the North of Scotland.
0:23:18 > 0:23:24I saw it in the shop. It was a fantastic object - damaged, like most of the things I buy.
0:23:24 > 0:23:30And I had...a thought that at some point I might restore it myself, and I bought it.
0:23:30 > 0:23:34Did you have any idea where it was from? Did he say?
0:23:34 > 0:23:37I spoke to him about it because, obviously, it's very unusual,
0:23:37 > 0:23:43and he said that it had come to Scotland from a Norwegian family who owned a shipbuilding line.
0:23:43 > 0:23:47Yeah. Well, of course, there are huge contacts between Scotland and Scandinavia,
0:23:47 > 0:23:48in particular Norway.
0:23:48 > 0:23:55it's easier to get to Norway if you're living north of the wall than it is to get down south to London.
0:23:55 > 0:23:59How do we actually work out which part of the world this comes from?
0:23:59 > 0:24:04I think that the beautiful little cartouches of these animals
0:24:04 > 0:24:08are beginning to give me a clue, especially the elephant.
0:24:08 > 0:24:12The elephant does figure enormously in Danish and Norwegian art
0:24:12 > 0:24:16because the elephant represents the Danish state,
0:24:16 > 0:24:20the Order of the Elephant - a Danish equivalent of the Order of the Garter. Yeah?
0:24:20 > 0:24:23So the elephant is very popular in Denmark.
0:24:23 > 0:24:27It's a very interesting box, this, so let's have a look inside.
0:24:27 > 0:24:32First, there's a bit of a mystery. "What on earth are we looking at?"
0:24:32 > 0:24:36The wood seems to have been used once before, before it became a box.
0:24:36 > 0:24:43You've got various lines, you've got oak, you've got pine and then, on the top surface, a bit of mahogany.
0:24:43 > 0:24:46Three types of wood. Now, what about the decoration? Well...
0:24:46 > 0:24:52you've got almost everything you could throw at a box! You've bone...
0:24:52 > 0:24:55running all the way along the edges
0:24:55 > 0:24:58and across the bands here.
0:24:58 > 0:25:01You've got stained ivory...
0:25:01 > 0:25:04this is green stained ivory.
0:25:04 > 0:25:07You've got an ivory panel in the middle.
0:25:07 > 0:25:11And behind that panel there's this little twinkle which suggests...
0:25:11 > 0:25:16That LOOKS like silver foil behind a transparent... Well, it could be mica,
0:25:16 > 0:25:18something trying to look like tortoiseshell.
0:25:18 > 0:25:26Mm. On the front we have what appears to be a courting couple. Now, that could be the clue.
0:25:26 > 0:25:28I think, I think there is...
0:25:28 > 0:25:31this has a weddingy feel to it.
0:25:31 > 0:25:35If we go round the box, there's a lion standing in a heraldic scroll,
0:25:35 > 0:25:42again, a courting couple on the back...and then another lion.
0:25:42 > 0:25:48Now how do we date an object like this? Well, I suppose the biggest clue is in scrollwork,
0:25:48 > 0:25:52in all of these cut-out panels you've got fragmentary scrolls,
0:25:52 > 0:25:55c-scrolls cos they're a "c" shape. Yeah, right.
0:25:55 > 0:26:01And with those sort of fragmentary rococo scrolls, I'm going to push it towards 1740-1750,
0:26:01 > 0:26:03the middle 18th C. Right.
0:26:03 > 0:26:06It's a gorgeous little thing and...
0:26:06 > 0:26:12Well, how much did you pay for it? I paid £50 for it. £50? Do you think you got a deal?
0:26:12 > 0:26:14I think I did.
0:26:14 > 0:26:16Well, you have to bear in mind it is actually quite badly damaged.
0:26:16 > 0:26:20I mean you've got these missing parts of the ivory on there,
0:26:20 > 0:26:25but otherwise it's in reasonable shape. And I think you've got something there, for £50,
0:26:25 > 0:26:27which might today fetch between...
0:26:27 > 0:26:32let's say £1,200 and £1,800. ..That's quite nice!
0:26:32 > 0:26:38I don't think I'll part with it, though, it's a beautiful object. It was a very good buy. Yes.
0:26:39 > 0:26:45And so to our dedicated collector. If anyone in the hall gets a touch of the vapours today,
0:26:45 > 0:26:51help will be at hand, because we're going to meet a gentleman who claims to be a gatherer of almost anything,
0:26:51 > 0:26:56but specialises in items of a pharmaceutical nature, Sandy Matheson.
0:26:56 > 0:26:58Sandy, you have a professional interest in this, don't you?
0:26:58 > 0:27:05Yes, indeed. I am a pharmacist. I qualified some 40 years ago, came home to work in the family business.
0:27:05 > 0:27:08And when I did my apprenticeship to be a pharmacist, in Aberdeen,
0:27:08 > 0:27:12I was taught by an apprentice-master who was very much a traditionalist.
0:27:12 > 0:27:20He taught me how to do things like make pills and so forth, all of which are gone, obsolescent and past now.
0:27:20 > 0:27:27I always, because of this gentleman, maintained a great interest in pharmaceutical memorabilia.
0:27:27 > 0:27:32It was an art almost more than a science. Indeed. And you made the medicines by hand?
0:27:32 > 0:27:38That was it, made the medicines by hand, if I can show you for instance, "tincture of opium..."
0:27:38 > 0:27:42If you were going to...pour it out,
0:27:42 > 0:27:46you would take it like this and you would pour it in there.
0:27:46 > 0:27:54And then you would put the stopper back like that - part of the art - then you would pour this into your...
0:27:54 > 0:27:58into your medicine mortar for making the pill.
0:27:59 > 0:28:04And you would then make it into a mass...
0:28:04 > 0:28:08like that, which you would place on there.
0:28:08 > 0:28:12And you would...you would roll it into a roll like that.
0:28:13 > 0:28:14then you would...
0:28:16 > 0:28:20cut it, and you would get your pills.
0:28:20 > 0:28:21And that is the birth of a pill?
0:28:21 > 0:28:25That is a birth of a pill, then having got them nice like that,
0:28:25 > 0:28:27you would want to round them,
0:28:27 > 0:28:30make sure they were nice and spherical.
0:28:33 > 0:28:37Once they were spherical you would put them in this, a pill-coater,
0:28:37 > 0:28:42to coat them with, sometimes, gold leaf, silver leaf, sugar...
0:28:42 > 0:28:47the coating actually changes the characteristics of the pill inside, you know.
0:28:47 > 0:28:51So you... In those days, I don't think they had music to go with this,
0:28:51 > 0:28:55but maybe this is where the maracas came from!
0:28:55 > 0:29:00When they were nice and round, you would put them in a pill bottle. And there, the finished article -
0:29:00 > 0:29:05which have been coated. These have been coated with chocolate. What about this bottle? I noticed,
0:29:05 > 0:29:10when you lifted up the opium bottle, that it's got this ridge. Is that significant?
0:29:10 > 0:29:16Yes, very much so. First, it's a green bottle, and that is to change the characteristics of light.
0:29:16 > 0:29:23If light got onto the tincture of opium in here, it would speed up its decay.
0:29:23 > 0:29:30We call this a "ribbed" bottle and, of course, this is to give you a tactile as well as a visual reminder
0:29:30 > 0:29:35that this stuff is poisonous. And these things, being poison, had to be very carefully recorded.
0:29:35 > 0:29:43Oh, yes. Pharmacy was institutionalised, or put on statute, in 1841.
0:29:43 > 0:29:46In the course of it, one had to take careful notes.
0:29:46 > 0:29:52The pharmacist had a responsibility to know to whom he was selling certain drugs and for what purpose,
0:29:52 > 0:29:57so they had a register. And this is over a hundred years old, isn't it?
0:29:57 > 0:30:02This is just a hundred years old, but in terms of original pharmacy, I have this book
0:30:02 > 0:30:06that goes back to 20th November 1863.
0:30:06 > 0:30:14And I can see that a Mr John McLean was given a tonic made up by Mr McPherson, the pharmacist,
0:30:14 > 0:30:21according to one of his own particular recipes. Wonder if it did the trick? Oh, I'm sure it did!
0:30:23 > 0:30:28Well, I suppose we get used to looking at these in glass cabinets or in galleries,
0:30:28 > 0:30:33but the joy of a pot like this is holding it, the feel of it, isn't it? Yes, yes.
0:30:33 > 0:30:36Of course these are by one of our greatest modern potters, Lucy Rie.
0:30:36 > 0:30:41How come you've got two? More important, when did you get them?
0:30:41 > 0:30:47Well, I got them in the 1960s, when I was teaching out in Africa and came through London and went to Primavera
0:30:47 > 0:30:50and bought these two things - 4/6d each -
0:30:50 > 0:30:54and had them with me in Africa from then on, and used them.
0:30:54 > 0:31:01They used to come camping with me, they used to be slung into the chock box along with the pots and pans,
0:31:01 > 0:31:06and they survived. Well, it's nice to think that the potters who made them
0:31:06 > 0:31:11was creating objects to be used. She wanted you to use her pots. Absolutely, yes.
0:31:11 > 0:31:16These things have given me more pleasure than almost anything else, so I wrote to her and told her
0:31:16 > 0:31:21about using them in Africa. So this is the letter that she sent me. Oh, she wrote back to you!
0:31:21 > 0:31:24She was 92, I think.
0:31:24 > 0:31:29She's heard about your adventures with her pots and they were, after all, meant to be functional.
0:31:29 > 0:31:33Yes. She was a grand old lady. She'd had a great tradition of making pottery by hand
0:31:33 > 0:31:38and she was creating a new style in modern pottery. Yes. When you look at the simplicity of that...
0:31:38 > 0:31:44It's beautiful. Look at this sgraffito work. Just scratched them through - controlled very well
0:31:44 > 0:31:48so it gives a light pattern to the rim. Just really so successful!
0:31:48 > 0:31:54But these are so very different pieces of pottery indeed. Yes. These, you presumably you got...
0:31:54 > 0:32:00when you were in Africa? Yes, at the pottery at Abuja that was started by Michael Cardew
0:32:00 > 0:32:03after he came from the other West African countries.
0:32:03 > 0:32:07Michael Cardew was a British potter who went over to set up a pottery at Abuja.
0:32:07 > 0:32:12He was learning from their traditions and introducing British traditions to them.
0:32:12 > 0:32:15This is the famous African tradition of Abuja pottery...
0:32:15 > 0:32:20this, much more European, yet it still works with the traditional African figures,
0:32:20 > 0:32:25That's something you got at the same time? Yes, though from further south. It's from the Yoruba people.
0:32:25 > 0:32:30You know, they do go together, they have the same sort of... So you're collecting the tribal arts? Yes.
0:32:30 > 0:32:35And also bringing back pottery to go with your more modern pottery traditions here.
0:32:35 > 0:32:39And of course, these ARE domestic pieces, still, but most of Abuja...
0:32:39 > 0:32:44You can actually collect Abuja quite affordably now. It hasn't yet reached crazy prices.
0:32:44 > 0:32:49That tureen is going to be a few hundred pounds today. It's becoming collected.
0:32:49 > 0:32:57Well, I hope, I hope. Indeed, but of course, by Lucy Rie, domestic or not, is now serious money, isn't it?
0:32:57 > 0:33:01Probably is but I'll be keeping those. Those are very, very precious.
0:33:01 > 0:33:06As, as you should, but it's best not to use them too much now when, to a collector...
0:33:06 > 0:33:10But I do use them, I get tremendous pleasure from using them.
0:33:10 > 0:33:12It's a privilege, in a way.
0:33:12 > 0:33:16That's nice. But they're probably worth, what, £3,000 each.
0:33:16 > 0:33:19Oh, don't say things like that.
0:33:19 > 0:33:22No, I doubt it very much, not as much as that. Anyway, they're actually used.
0:33:22 > 0:33:27Lucy Rie from the '60s is serious art now, but it's also great pottery,
0:33:27 > 0:33:30A lovely story. Great meeting you. Thank you very much. Thank you.
0:33:33 > 0:33:39Now, I don't come from a maritime or sea family, but all my life I've liked things to do with the sea,
0:33:39 > 0:33:45I don't know why it is. I've always admired these three-dimensional but rather primitive models of ships
0:33:45 > 0:33:48and I've always wanted one, but never had one.
0:33:48 > 0:33:50This is a particularly nice one.
0:33:50 > 0:33:53It's a barque - I suppose the end of the 19th century -
0:33:53 > 0:33:57three-masted barque. Tell me about it, what's the connection with you?
0:33:57 > 0:34:02This is my grandfather. He was a captain at sea in the late '80s.
0:34:02 > 0:34:05This is his ship. He made this himself.
0:34:05 > 0:34:11So this old story one hears so often of the sailors in their idle moments making models is true?
0:34:11 > 0:34:16It's true yes, he made this himself, the cage, everything. So we've got a model of your grandfather's ship.
0:34:16 > 0:34:20Now, what was he doing? Was he in the grain trade or general cargo?
0:34:20 > 0:34:26Probably general cargo and passengers. Ships like this were sailing to Australia for grain
0:34:26 > 0:34:29and were still carrying cargoes like tea.
0:34:29 > 0:34:32There was a lot of activity of this sort of ship.
0:34:32 > 0:34:37Now this box...? This box belonged to my grandfather as well. Right. And he had all his documents in there.
0:34:37 > 0:34:40Right, so there we've got the same ship. Same ship yeah.
0:34:40 > 0:34:42And he painted that? He painted that himself.
0:34:42 > 0:34:46So again, we add to the story. So not only does he make ship models, he also paints.
0:34:46 > 0:34:51Yeah. Because again, the old mythology is that sea captains would have their special box
0:34:51 > 0:34:55with a portrait of their ship. Yes. I've always believed it,
0:34:55 > 0:34:59but I've never known it to be absolutely accurate. But here... Oh, it is. ..you can guarantee it. Yes.
0:34:59 > 0:35:01If we move on...
0:35:01 > 0:35:06Now we've moved on a generation, in shipping terms, we're in the 1930s I imagine. So who is this?
0:35:06 > 0:35:08This is my father's ship,
0:35:08 > 0:35:14a yacht owned by Sir Thomas Sopwith of aircraft fame. Wait a minute! So Tommy Sopwith owned this yacht?
0:35:14 > 0:35:18He owned this yacht, yeah. This is the Vita, Royal Thames Yacht Club.
0:35:18 > 0:35:21That's right. And what was your father to do with that?
0:35:21 > 0:35:27He was a sailor, an able seaman on that yacht. They used to go across to America for the Americas Cup.
0:35:27 > 0:35:30They used to tow the yachts. So the yachts were towed across the Atlantic.
0:35:30 > 0:35:36The racing yachts, yeah, and the crew of these yachts would stay in these...accommodations
0:35:36 > 0:35:39on the way across the Atlantic.
0:35:39 > 0:35:45Right, and then... Then they'd be fit and ready when they got there. Then they would race the yachts.
0:35:45 > 0:35:51And which is your father? This is my father, that's my father. Right. He went to sea at probably 14, 15.
0:35:51 > 0:35:58Right. And the captain of these ships was a local man called McKillop, Captain McKillop. Right.
0:35:58 > 0:36:02And he took the young boys to sea. So a lot of these people came from...?
0:36:02 > 0:36:07Most of these people are islanders. These two linking together I think is wonderful!
0:36:09 > 0:36:14If you think in terms of value, it's much more to do with the family story - this is your grandfather -
0:36:14 > 0:36:17but just to put it in market terms,
0:36:17 > 0:36:22a model like that now fetches between £400 to £600.
0:36:22 > 0:36:28A painted box like that will be a bit less, but in the same sort of area.
0:36:28 > 0:36:32But much... The value is greatly added to by the fact that you can identify who did it.
0:36:32 > 0:36:38Again we're looking at slightly less for that. The Sopwith connection makes it important.
0:36:38 > 0:36:42Normally that would be about £200 or £300. I think, because of the Sopwith link,
0:36:42 > 0:36:45again one can say probably about £600 or £700.
0:36:51 > 0:36:57Now, these are very unusual cards. They date from the Cromwellian period - 1649, when he came to power
0:36:57 > 0:37:02and chopped Charles' head off and then declared himself Protector.
0:37:02 > 0:37:08And just looking through, they all appear to me to be pro the King and anti-Cromwell.
0:37:08 > 0:37:13As a Puritan, Oliver Cromwell would not have approved of these cards at all,
0:37:13 > 0:37:19Because Puritans...obviously, gaming and all this sort of thing is not on,
0:37:19 > 0:37:22so these were an act of rebellion, really,
0:37:22 > 0:37:25and they are quite incredible! They're all political. Here,
0:37:25 > 0:37:30"A free state, or a toleration of all sorts of villainy."
0:37:30 > 0:37:33Here, "Oliver seeking God,"
0:37:33 > 0:37:37and there's obviously the king having his head chopped off
0:37:37 > 0:37:39in the background there.
0:37:39 > 0:37:42They're wonderful! And they're copperplate engravings.
0:37:42 > 0:37:50They'd do, I don't know, about a whole page of them at one time and then cut them out later. Yes.
0:37:50 > 0:37:52But it's a remarkable collection.
0:37:52 > 0:37:56Unfortunately, you don't have a complete collection.
0:37:56 > 0:38:00Yes. I don't know where the others disappeared to.
0:38:00 > 0:38:04Can I ask you where they came from? Because I think that's important. What is their provenance?
0:38:04 > 0:38:06Just don't know. You don't know.
0:38:06 > 0:38:11My wife's great-grandmother had them at one stage,
0:38:11 > 0:38:16we know that much, but other than that, I'm afraid, we just don't know how they appeared in her family.
0:38:16 > 0:38:19But look here, the "High Court of Justice or Oliver's Slaughter House"
0:38:19 > 0:38:26I mean what could be more anti-Cromwell? These would have been hidden and, you know, you would...
0:38:26 > 0:38:32I'm sure this was a treasonable act, to be caught playing with these.
0:38:32 > 0:38:38Yes. Anyway I would need further and better particulars from a history book of some sort,
0:38:38 > 0:38:43but I'm sure we could get to the bottom of them. But they are, I am sure, incredibly rare.
0:38:43 > 0:38:48Just as engravings themselves, I think that they would be worth
0:38:48 > 0:38:54somewhere between, what, £800 and £1,000. But as an incomplete deck of cards,
0:38:54 > 0:39:01I think possibly they might be worth even more than that. This is subversion - great stuff.
0:39:01 > 0:39:05Yes. That's been my life, I think! Strange that I've got them here.
0:39:05 > 0:39:09Subversion's why you've come to live in Lewis, is it? In Lewis, yes.
0:39:09 > 0:39:14Well, I bought this picture about 15 years ago and, since I bought it,
0:39:14 > 0:39:17I've seen in various places,
0:39:17 > 0:39:21in card shops and in buildings, similar prints.
0:39:21 > 0:39:25Subjects that are close to it. Yes, I was wondering what the original...
0:39:25 > 0:39:28Where it had been sourced from. Right.
0:39:28 > 0:39:33Not a print, actually. This is in fact an oil painting by Jack Hoggan,
0:39:33 > 0:39:38signed down here. Interesting man, actually, because he worked as a mining engineer in Fife
0:39:38 > 0:39:40until, well, well into his 20s.
0:39:40 > 0:39:46and then his girlfriend, when he was about 21, gave him a set of watercolour paints
0:39:46 > 0:39:52and he set about trying to teach himself to paint, and became surprisingly successful,
0:39:52 > 0:39:54moving on to oils.
0:39:54 > 0:39:58He didn't really use many subjects that he made up from his own mind,
0:39:58 > 0:40:00he would look at other pictures
0:40:00 > 0:40:06and make pastiches, really, you'd have to call them, of subjects from other artists.
0:40:06 > 0:40:12I think here he borrowed heavily from an artist called John Lavery - this is typical
0:40:12 > 0:40:19of his sunlit garden scenes with a pretty girl wearing an 1890s costume, sitting in a deck chair -
0:40:19 > 0:40:24but he would then alter them quite considerably so that they became his own,
0:40:24 > 0:40:28and really became more generic rather than specific.
0:40:28 > 0:40:33Well, I actually bought it... It was in Elie in Fife that I bought the painting. Oh, was it?
0:40:33 > 0:40:37That's interesting. So, where he lived I suppose? And when was this?
0:40:37 > 0:40:40About 15 years ago. And what did you pay for it?
0:40:40 > 0:40:44I don't remember. I wasn't out looking for a painting, I was actually out grocery shopping,
0:40:44 > 0:40:49and it was in a window of a bric-a-brac second-hand shop. And I liked it.
0:40:49 > 0:40:53Saw it, loved it, bought it. Yes. Yes, that's so often the way. I thought a couple of hundred pounds...
0:40:53 > 0:40:57You didn't find anything out about the artist then? No, just bought it.
0:40:57 > 0:41:03I didn't think about anything other than I really liked the picture. Well, that's interesting, you know,
0:41:03 > 0:41:09because if the story ended there, this picture would probably be worth considerably more than that,
0:41:09 > 0:41:13something in the region of £2,000, something like that.
0:41:13 > 0:41:17Very pretty picture. But, you see, the story doesn't end there, really.
0:41:17 > 0:41:20in 1988, he changed his name.
0:41:20 > 0:41:23And I won't tell you what to,
0:41:23 > 0:41:27not yet, but I will tell you what his most famous picture is now.
0:41:27 > 0:41:28Um, you may have noticed it.
0:41:28 > 0:41:33it's a picture of a butler with an umbrella standing on the seashore, do you know what I mean?
0:41:33 > 0:41:38Yes. Very modern one. Very modern. It's called The Singing Butler.
0:41:38 > 0:41:41And this artist changed his name in 1988
0:41:41 > 0:41:44to Vettriano, Jack Vettriano.
0:41:44 > 0:41:48so it's very interesting in that respect because, of course,
0:41:48 > 0:41:52Jack Vettriano's pictures do sell for rather more money than that.
0:41:52 > 0:41:55And, in fact, "The Singing Butler" sold earlier in this year
0:41:55 > 0:41:59for £744,000. Is that so?
0:41:59 > 0:42:02Yes, it's a lot of money, I know.
0:42:02 > 0:42:06Now he's been called the "people's painter", Jack Vettriano,
0:42:06 > 0:42:12because the art establishment tends to turn its nose up at his pictures somewhat -
0:42:12 > 0:42:15some would say rightly -
0:42:15 > 0:42:21but the people love him, his prices show you that. The two markets are HELD very distinct -
0:42:21 > 0:42:24those for Hoggan, those for Vettriano -
0:42:24 > 0:42:28and it's said that the Vettrianos, that is, those painted after 1988,
0:42:28 > 0:42:33are those that have HIS ideas in them, and the ones pre-'88 are the pastiches, you see.
0:42:33 > 0:42:35Um, that line does become blurred.
0:42:35 > 0:42:40Those people that market his pictures would prefer it was extremely clear...
0:42:40 > 0:42:43Hoggan - different market, Vettriano - different market,
0:42:43 > 0:42:49but certainly, I think, when you look at this, you realise that the two, two kinds of painting
0:42:49 > 0:42:51are very, very similar.
0:42:51 > 0:42:55So I really don't think that we can value it
0:42:55 > 0:42:58at less than £15,000 to £20,000.
0:43:02 > 0:43:05Good grief. Wow.
0:43:06 > 0:43:08That's fantastic.
0:43:08 > 0:43:14Well, life is full of wonderful surprises. But here in the top left-hand corner of Great Britain,
0:43:14 > 0:43:20the weather has had the last laugh. after our wonderful day of filming yesterday, today the rains came.
0:43:20 > 0:43:23Luckily, the roof of the new sports centre doesn't leak.
0:43:23 > 0:43:26So thank you very much to the people of Stornoway and round about
0:43:26 > 0:43:29for braving the elements and bringing us their treasures.
0:43:29 > 0:43:33From the Isle of Lewis in the Outer Hebrides, goodbye.