0:00:47 > 0:00:51According to John Betjeman, the Edwardian age was the last
0:00:51 > 0:00:55in which a rich man could afford to build himself a new and enormous
0:00:55 > 0:01:00country house with formal gardens, a lily pond and clipped hedges.
0:01:03 > 0:01:09The man who had this fine old house rebuilt at the turn of the last century
0:01:09 > 0:01:12was certainly rich. Fabulously rich.
0:01:12 > 0:01:17He was Sir James Miller, and his family had made their money selling hemp and herring to Russia.
0:01:17 > 0:01:22The Miller mansion, called Manderston, lies just inside Scotland,
0:01:22 > 0:01:2612 miles from the border town of Berwick-upon-Tweed.
0:01:26 > 0:01:29On the outside it's classical Georgian, but the real treasure
0:01:29 > 0:01:33lies inside, a wonderful example of Edwardian craftsmanship.
0:01:36 > 0:01:40Sir James, or Lucky Jim as he was known, wanted to create a home
0:01:40 > 0:01:43whose splendour would reflect his wealth and status.
0:01:43 > 0:01:47He employed a young Scottish architect, John Kinross,
0:01:47 > 0:01:53and when Kinross asked how much he could spend on the project, he was told, "It simply doesn't matter."
0:01:53 > 0:01:56With money no object, Kinross went to work.
0:01:58 > 0:02:02How many houses can boast a staircase made of silver?
0:02:02 > 0:02:06So far as I know, just the one - Manderston.
0:02:06 > 0:02:09Apparently it took three fit men a full three weeks
0:02:09 > 0:02:15to dismantle the silverwork, polish it to perfection and then put it all back together again.
0:02:20 > 0:02:25On the other hand, there are probably not many places that have a dairy made entirely of marble...
0:02:31 > 0:02:36..a head gardener's house that has a feel of a modest chateau,
0:02:36 > 0:02:41or come to that, a boathouse in the style of an Alpine chalet.
0:02:41 > 0:02:43This was a gift from Sir James to his wife, Evelyn.
0:02:45 > 0:02:51The family motto is Omne Bonum Superne, which means all good comes from above,
0:02:51 > 0:02:56which is a bit ironic considering they made their fortune with herring from below.
0:03:00 > 0:03:04It's exactly 100 years since Manderston was recreated
0:03:04 > 0:03:07and to celebrate a whole series of events has been planned.
0:03:07 > 0:03:11From our point of view, the main event is today's Antiques Roadshow,
0:03:11 > 0:03:14which is taking place here on the south lawn.
0:03:22 > 0:03:28These are what we call majolica, they're tin-glazed earthenware and these come from Stoke-on-Trent.
0:03:28 > 0:03:37The Victorian potters were obsessed by the ceramics of the Renaissance period
0:03:37 > 0:03:43and one of the people they admired hugely was called Bernard Palissy,
0:03:43 > 0:03:46a Frenchman working around 1600.
0:03:46 > 0:03:51And he developed a technique of making dishes and jugs
0:03:51 > 0:03:55which he applied with lizards,
0:03:55 > 0:04:01- snakes, frogs, shells, and he actually cast them from the real thing.- Oh, right.
0:04:01 > 0:04:04- So they look incredibly realistic. - They do, yes.
0:04:04 > 0:04:08One factory stands out amongst the makers of those -
0:04:08 > 0:04:16a factory in Portugal called Mafra, and they almost exactly copied the Palissy pieces.
0:04:16 > 0:04:21There's a wonderful diary written...a journal written by Lady Charlotte Schreiber,
0:04:21 > 0:04:28who was a sort of ceramic hoover of the Victorian era, and she went all around Europe buying up ceramics.
0:04:28 > 0:04:32And she visited Mafra and she saw these things,
0:04:32 > 0:04:38and there's this wonderful scathing note in her journal saying they're the most awful objects ever made,
0:04:38 > 0:04:43but these are in fact...not the Portuguese ones but very similar to,
0:04:43 > 0:04:45these are in fact made by a factory called George Jones.
0:04:45 > 0:04:51- Right.- Now, George Jones worked for Minton and then left and set up his own factory.
0:04:51 > 0:04:55These date from the 1860-'70s.
0:04:55 > 0:04:57Where did they come to you from?
0:04:57 > 0:05:01My grandmother was a bit like your lady, she was a bit of a hoover.
0:05:01 > 0:05:05She'd go round antique shops in the early...early last century.
0:05:05 > 0:05:09She would be picking things up like this.
0:05:09 > 0:05:13She had a fantastic collection of just bits she fancied.
0:05:13 > 0:05:16Well, we've got on this one, we've got a...
0:05:16 > 0:05:18Ah!
0:05:18 > 0:05:21Grandfather's ashes! Erm...
0:05:21 > 0:05:24We've got....
0:05:24 > 0:05:28Eugh! I'm covered in it, erm...this mottled effect on here,
0:05:28 > 0:05:34which is typical of George Jones, and a reserve and the pattern number.
0:05:34 > 0:05:36Whereas this one...
0:05:37 > 0:05:44..has got the full pad mark, GJ monogram for George Jones
0:05:44 > 0:05:51and the pattern number up there and a more typical rich colouring on the mottling, the tortoiseshell effect.
0:05:53 > 0:05:55A little bit of damage here and there.
0:05:55 > 0:05:58Have you had them valued?
0:05:58 > 0:06:01Not recently, no, it's a while since, to be fair.
0:06:01 > 0:06:05Erm...I think with the market as it is at the moment,
0:06:05 > 0:06:11majolica's still holding up pretty well, unusual to have two of them.
0:06:11 > 0:06:16I wonder whether one would sell them as a pair, or perhaps one would think of them as individuals.
0:06:16 > 0:06:19I think I probably would, erm...
0:06:19 > 0:06:22What would they make? They would make £2,000-3,000 apiece.
0:06:22 > 0:06:24Jeez...
0:06:24 > 0:06:27OK, I'll try not to break them.
0:06:27 > 0:06:31- I think I wouldn't. Thank you very much.- Thank you.
0:06:33 > 0:06:36And you've brought us two gorgeous diamond jewels here.
0:06:36 > 0:06:40They're kind of...surrealist dolphins, aren't they?
0:06:40 > 0:06:47They're certainly dolphins. They can be together as one brooch, or they can be separate on each lapel.
0:06:47 > 0:06:51I'm very fond of them and I'd like to know a little more about them.
0:06:51 > 0:06:56Well, I think the first thing to say is that they're classical dolphins.
0:06:56 > 0:07:01And they seem to be supported on some sort of webbing of laurel leaves
0:07:01 > 0:07:05and hidden lurking in there, in their form, in their design,
0:07:05 > 0:07:11is a little message of love, to be perfectly honest, because the dolphin is one of the attributes of Venus.
0:07:11 > 0:07:12Ah, yes, yes, yes.
0:07:12 > 0:07:18Adding up a little bit? And then at the back, here are the laurel leaves, and so this is an emblem
0:07:18 > 0:07:24of the triumph of love, the laurels being for triumph and the dolphins for love, with little sapphire eyes.
0:07:24 > 0:07:29And they appear to be brooches, but have you thought a little bit about the fixtures on the back?
0:07:29 > 0:07:33I had, and I wondered whether they had been part of a tiara or something similar.
0:07:33 > 0:07:35I'm sure they were part of a tiara.
0:07:35 > 0:07:39They would have sat on either side of the girl's temples
0:07:39 > 0:07:47and swirl around in candlelight with her hair set with diamonds, and that's the context of these things.
0:07:47 > 0:07:51- Do you think anybody in your family swirled round that dance floor? - Certainly.- Who was it?
0:07:51 > 0:07:57Well, there was an old aunt who gave them to my husband when he got married, and so I was given them.
0:07:57 > 0:08:03I was asked to choose one of five bits of jewellery, and I didn't realise I would get two.
0:08:03 > 0:08:07- How marvellous, so two for one. - Now, what sort of date are they?
0:08:07 > 0:08:10I think they're about 1890-1900 and they are neo-classical,
0:08:10 > 0:08:14very beautiful and extraordinarily wearable.
0:08:14 > 0:08:17We want to know whether you've worn them swirling round the dance floor.
0:08:17 > 0:08:22Yes, I have, and a lot...and many weddings, but where were they made?
0:08:22 > 0:08:25They're English and it's difficult to say how I know they're English.
0:08:25 > 0:08:30I think it's the way in which the metalwork's phrased. They're mounted in gold,
0:08:30 > 0:08:33set in silver, and, erm...and how do you value them?
0:08:33 > 0:08:36- What do you feel about them? - I have absolutely no idea.
0:08:36 > 0:08:38I think they're hugely desirable.
0:08:38 > 0:08:44I think everybody behind us rather wants them badly actually, don't look now, just keep them in the front.
0:08:44 > 0:08:50I think if one can get home safely through this crowd somehow or another,
0:08:50 > 0:08:55one can ring up the insurance company and say something like £8,000-10,000.
0:08:55 > 0:08:59- I'll have to be careful getting home.- If you get home at all!
0:09:02 > 0:09:07I really want to know how we have the connection of an egg
0:09:07 > 0:09:10and a little piece of furniture.
0:09:10 > 0:09:14It's come through my family. I think it was my great-grandmother's sister
0:09:14 > 0:09:20worked in the Royal household, and she looked after Princess Louise
0:09:20 > 0:09:23who was the sixth child of Queen Victoria.
0:09:23 > 0:09:26- What was she doing there? - She was a dresser, I think.
0:09:26 > 0:09:29So perhaps these were given to her by Princess Louise.
0:09:29 > 0:09:33It could have been, or maybe she outgrew them and passed them on
0:09:33 > 0:09:37to this relation of mine, and it's come down through my family.
0:09:37 > 0:09:43Well, let's have a little look at this egg. I've never seen anything quite like it before.
0:09:43 > 0:09:44It's an...
0:09:44 > 0:09:51egg sitting in this gold metal nest, and the egg is made of opaque glass.
0:09:51 > 0:09:57And looking inside there is a little necessaire, a little box for keeping all those useful things
0:09:57 > 0:09:59that you might need for sewing.
0:09:59 > 0:10:04So this beautiful velvet, this purple was an incredibly new colour
0:10:04 > 0:10:07when it came out in the late 1840s,
0:10:07 > 0:10:11and then you've got a little pair of scissors, a thimble,
0:10:11 > 0:10:17a tiny little bodkin case for putting your needles in and a little thing for unpicking tangles in your sewing.
0:10:17 > 0:10:20Ah, that's what it's for, I was wondering what it was for.
0:10:20 > 0:10:25Undoing the knots - most useful if you sew like me, this would be what I would use all the time.
0:10:27 > 0:10:30- Well, the story to it makes it special.- Yes.
0:10:30 > 0:10:34And it's a lovely object. I think just on its own,
0:10:34 > 0:10:38- I would think somewhere around £600-800 for the egg.- Oh, goodness!
0:10:38 > 0:10:43- Let's have a look at the wardrobe. So you think this was Princess Louise's as well?- It was, yes.
0:10:43 > 0:10:46I always wanted it when I was a little girl
0:10:46 > 0:10:52and when my grandparents died, I said please could I have this wardrobe...
0:10:52 > 0:10:55- So this was the thing that you really wanted.- I really coveted this.
0:10:55 > 0:11:01- Well, it is a really nice small wardrobe, I think for a doll's house. - Ah, right.
0:11:01 > 0:11:05And you would have had pieces of furniture made specially for that.
0:11:05 > 0:11:08What I love about this, and what is so clever,
0:11:08 > 0:11:11is that there are all sorts of different pieces of wood
0:11:11 > 0:11:17incorporated in the construction, which I'm sure Prince Albert would have really approved of,
0:11:17 > 0:11:21- because he was absolutely pro educating his children.- Oh, really?
0:11:21 > 0:11:25"Darling Papa" is how the children used to know him.
0:11:25 > 0:11:28This is absolutely beautifully made.
0:11:28 > 0:11:30There's a drawer at the bottom.
0:11:30 > 0:11:37You've got a lovely scrolling entablature at the bottom with a little shell in the centre here.
0:11:37 > 0:11:44But what I like at the corners too, they've been marked, incised, so they almost look like bricks.
0:11:44 > 0:11:48If I take this drawer out, we'll just have a look and see...
0:11:48 > 0:11:51The construction is absolutely incredible.
0:11:51 > 0:11:53Tiny little dovetails,
0:11:53 > 0:11:57and also it's dovetailed at the back, so there was no expense spared when this was made.
0:12:00 > 0:12:02All in all, it's in super condition.
0:12:02 > 0:12:07- It's got this lovely red leather inside.- Yes.- And look, there's a little note says here,
0:12:07 > 0:12:13"Wardrobe from doll's house belonging to Queen Victoria's children." There you are.
0:12:13 > 0:12:15Well, my grandmother put the notice in...
0:12:15 > 0:12:17Oh, right, so that you would remember.
0:12:17 > 0:12:21I think this is a rare piece, and I think it's quite valuable.
0:12:21 > 0:12:23- Is it? Yes.- I would put
0:12:23 > 0:12:26a minimum of £3,000 on it.
0:12:26 > 0:12:30Gosh, you see people gulping!
0:12:30 > 0:12:33I just never thought it was worth that. A minimum of that.
0:12:33 > 0:12:35That is amazing.
0:12:40 > 0:12:45Well, it's one of the most popular shapes made by Clarice Cliff, conical sugar sifters.
0:12:45 > 0:12:51- What was it you wanted to know- I wanted to know what pattern it was.
0:12:51 > 0:12:53It's called the Cornwall pattern.
0:12:53 > 0:12:58One of the problems with these, you turn them upside down and you get a cup full of sugar.
0:12:58 > 0:13:00Oh, I see, right.
0:13:00 > 0:13:04They did make the holes smaller as time went by because it was a problem.
0:13:04 > 0:13:07This is Clarice Cliff Bizarre. Any idea what it's worth?
0:13:07 > 0:13:10- No, no idea at all.- Erm...
0:13:10 > 0:13:13It's quite an unusual pattern.
0:13:13 > 0:13:15About £1,500.
0:13:15 > 0:13:17- You're joking.- I'm not joking.
0:13:17 > 0:13:20- £1,500?- £1,500!
0:13:21 > 0:13:28I can see the mark De Bose and an interesting looking box, and what have we got in here?
0:13:28 > 0:13:29When is it going to stop?
0:13:29 > 0:13:31Those wonderful legs!
0:13:31 > 0:13:33- There we are.- And what are they?
0:13:33 > 0:13:35- Condoms.- Good grief!
0:13:35 > 0:13:39- Were they ever used? I don't know. - Well, I should hope not!
0:13:39 > 0:13:43Isn't that fascinating to see those? How on earth did you find them?
0:13:43 > 0:13:47Well, they were really just in a house clearance,
0:13:47 > 0:13:51were going to be thrown away and I just said, "I'll take those,"
0:13:51 > 0:13:54and they've stayed in the drawer 25, 30 years.
0:13:54 > 0:13:56And presumably, as you say, not used.
0:13:56 > 0:14:02- No.- I can see just a trace at the top there of what is probably pig's bladder,
0:14:02 > 0:14:06because it's too early for rubber ones.
0:14:06 > 0:14:13But the history of the condom goes back to Roman times, they too were using condoms of some sort.
0:14:13 > 0:14:18- And in a box which is disguised as a cigarette box.- Cigarettes.
0:14:18 > 0:14:22So every man could wander around with these
0:14:22 > 0:14:25and the lady might not know until, erm...
0:14:25 > 0:14:28Well, anyway, we won't go there, we won't go there.
0:14:28 > 0:14:32But there can't be so many survivors of this period,
0:14:32 > 0:14:35which I suppose is the mid-19th century.
0:14:35 > 0:14:40I'm sure that I would pay a couple of hundred pounds for these,
0:14:40 > 0:14:47simply because they're so rare and each time you bring them out, you make someone laugh, so that's great.
0:14:49 > 0:14:52Time now for a nice cup of tea and a biccie
0:14:52 > 0:14:56and this week's featured collection literally takes the biscuit.
0:14:56 > 0:15:00The collector is our host and the owner of Manderston, Lord Palmer.
0:15:00 > 0:15:04Thanks very much for having us. What's the biscuit connection?
0:15:04 > 0:15:06Well, people always get rather confused.
0:15:06 > 0:15:11My name is Palmer so they assume that it was biscuit money which built this house, but it wasn't.
0:15:11 > 0:15:16I inherited the house from my mother's side of the family, who had made a lot of money
0:15:16 > 0:15:19selling hemp and herrings to the Russians during the Crimean War.
0:15:19 > 0:15:23My father's side of the family made Huntley and Palmers biscuits.
0:15:23 > 0:15:28Now, that's a name that I was brought up with. That was one of the really big companies, wasn't it?
0:15:28 > 0:15:33Well, at the turn of the last century we were the 48th largest company in Great Britain
0:15:33 > 0:15:40and, er...sadly, though, anybody really born after 1970 wouldn't know the name, but most people
0:15:40 > 0:15:43of our generation, yes, it is still a very famous name.
0:15:43 > 0:15:47But they made their way all over the world in all kinds of circumstances.
0:15:47 > 0:15:51Yes, we sold at one point to 137 different countries
0:15:51 > 0:15:57and we were often asked to provide biscuits for Scott's trip to the Antarctica, for example.
0:15:57 > 0:16:04Somebody was sort of excavating in the Pole area and they came across a sort of disused camp,
0:16:04 > 0:16:09and allegedly they found a tin of biscuits,
0:16:09 > 0:16:13the biscuits looking remarkably fresh, next to Scott's actual body,
0:16:13 > 0:16:20and one was sold about five years ago for just over £7,000 for one biscuit.
0:16:20 > 0:16:23It's quite extraordinary to think of.
0:16:23 > 0:16:25Your collection started when?
0:16:25 > 0:16:29Well, I was sent off to work in Belgium and Luxembourg
0:16:29 > 0:16:37as a travelling salesman for Huntley and Palmers, and I came across this tin here called Sledge,
0:16:37 > 0:16:42which was made by Huntley and Palmers in 1898. I came across this in almost the first shop I went to
0:16:42 > 0:16:47and I paid 100 Belgian francs for it, which in those days was about a pound.
0:16:47 > 0:16:52And I'm particularly attached to that because it was the first one I actually bought.
0:16:52 > 0:16:56They changed to making things that looked like things, didn't they?
0:16:56 > 0:16:58Not just simply ornate boxes.
0:16:58 > 0:17:02Yes, indeed, and you've got quite a good collection here.
0:17:02 > 0:17:08This one here is called Cabinet. It was made in 1911 and it's in fantastic condition.
0:17:08 > 0:17:13That is one of my favourite tins because it was given to me by a visitor
0:17:13 > 0:17:18who said, "Oh, I think I've got one at home, I'll send it to you."
0:17:18 > 0:17:24It's that type of thing, which is so kind of people to add to our collection.
0:17:24 > 0:17:26Is that how you get a lot of them?
0:17:26 > 0:17:30No, sadly most of them we have to buy, and it's slightly irksome
0:17:30 > 0:17:34that my family sold these lovely tins full of biscuits for shillings
0:17:34 > 0:17:38and we're now buying them back empty for hundreds of pounds.
0:17:38 > 0:17:40And how many have you bought back so far?
0:17:40 > 0:17:44Oh, we must...we've got about 260 in the collection altogether
0:17:44 > 0:17:49and I should think that 230 of them have actually been purchased.
0:17:49 > 0:17:51This doesn't look like any kind of biscuit tin, really.
0:17:51 > 0:17:54You'd never guess what that was for.
0:17:54 > 0:17:57Well, funny enough, it is actually called Biscuit Barrel.
0:17:57 > 0:18:03It was found in the disused railway line at the bottom of the drive which was used as a rubbish dump.
0:18:03 > 0:18:08One of the chaps who worked on the farm was scavenging to see what he could take out of the tip.
0:18:08 > 0:18:14He came across this, and it was in a terrible state. He cleaned it up and presented it to me with great pride.
0:18:14 > 0:18:19And that was made in 1934 and is actually in quite good condition,
0:18:19 > 0:18:23- despite its provenance in a disused railway line.- It's as old as me!
0:18:23 > 0:18:26Now, which is your favourite?
0:18:26 > 0:18:29Without a doubt, the favourite is the grandfather clock,
0:18:29 > 0:18:34and the particular thing about it is that the hands actually go round.
0:18:34 > 0:18:39This was made in 1929 and it was the last Christmas present
0:18:39 > 0:18:45that my parents jointly gave me before my father died and, again, it's in good condition.
0:18:45 > 0:18:50There are very few around that still actually have the hands working.
0:18:50 > 0:18:53This is your favourite, is it also the most valuable?
0:18:53 > 0:18:56Well, some of your experts here might possibly disagree with me,
0:18:56 > 0:18:59but I would be disappointed if that didn't fetch about £1,100.
0:18:59 > 0:19:02It's all part of our history.
0:19:02 > 0:19:05I think that's what people find interesting about it, yes.
0:19:07 > 0:19:11Do I detect from your accent that you're not from round here?
0:19:11 > 0:19:13- Absolutely.- Come along, tell us.
0:19:13 > 0:19:15New Zealand.
0:19:15 > 0:19:18You haven't come all the way from New Zealand to visit this show, surely?
0:19:18 > 0:19:26Well, I was coming, and I saw on the internet that it was going to be here, so we made sure we came.
0:19:26 > 0:19:31Well, I don't think we've had a visitor from as far as New Zealand ever.
0:19:31 > 0:19:37I mean, I travelled up from the south and 500 miles, as far as I was concerned, was quite enough,
0:19:37 > 0:19:42and halfway across the world, you bring us something that is so completely English.
0:19:42 > 0:19:48I know we've done Beatrix Potter, but I just had to ask you all the questions that these throw up.
0:19:48 > 0:19:54This one here is a Christmas card, "To Mrs Hadfield, Christmas 1925 from Beatrix Potter."
0:19:54 > 0:19:59And this one here, which is signed on the inside, which is almost nicer.
0:20:01 > 0:20:07"With all good wishes from Peter Rabbit to Barry, Christmas 1931."
0:20:07 > 0:20:09I've never seen a Peter Rabbit signature before.
0:20:09 > 0:20:11But here is one. That's incredible.
0:20:11 > 0:20:15Now first of all, who is Mrs Hadfield and who is Barry?
0:20:15 > 0:20:19Barry is my father, he's now 80.
0:20:19 > 0:20:23Mrs Hadfield was my great-grandmother.
0:20:23 > 0:20:27Right, and how long have you been in New Zealand?
0:20:27 > 0:20:29Or how long have the Hadfields been in New Zealand?
0:20:29 > 0:20:33- Since about 1838 or 1839.- Yes.
0:20:33 > 0:20:38My great-great-grandfather came to New Zealand from the Isle of Wight
0:20:38 > 0:20:41and became the Second Bishop of Wellington
0:20:41 > 0:20:44and the First Primate of New Zealand in the Church of England.
0:20:44 > 0:20:48Well, that's absolutely fantastic, and all the way from New Zealand.
0:20:48 > 0:20:51So how did they know Beatrix Potter?
0:20:51 > 0:20:56Well, we're not quite sure exactly how they met, but my great-grandparents
0:20:56 > 0:21:02were in England for some time seeking medical treatment for the cancer that my great-grandfather had
0:21:02 > 0:21:08and it has to have been during that time, which would have been the early part of the 20th century.
0:21:08 > 0:21:11- Would they have got up to the Lake District?- They could well have.
0:21:11 > 0:21:19- They could have gone up to the Lake District to recuperate.- Possibly.- Was he successfully treated?- No, sadly.
0:21:19 > 0:21:21Oh, I'm sorry to hear it,
0:21:21 > 0:21:25but to have a friendship with Beatrix Potter -
0:21:25 > 0:21:30albeit one quite late in her life, she died in 1942 - is rather nice.
0:21:30 > 0:21:33Now, you have put this one, I'm sure, into a frame.
0:21:33 > 0:21:35Because it's faded.
0:21:35 > 0:21:40It's faded, so in some ways it's not quite as good as this one.
0:21:40 > 0:21:45This one's not faded because it's been closed up, but they're both absolutely fantastic.
0:21:45 > 0:21:49- What about values? Have you gone in for values of Beatrix Potter?- No.
0:21:49 > 0:21:53Well, this side of the world, and in fact I think in Japan too,
0:21:53 > 0:21:57people are really, really very keen on Beatrix Potter.
0:21:57 > 0:22:02To get a whole Beatrix Potter signature, to get a Peter Rabbit signature is just wonderful.
0:22:02 > 0:22:08- So values, what do you think?- Really, honestly, I haven't got any idea.
0:22:08 > 0:22:10- Right.- I guess they're in hundreds of pounds probably.
0:22:10 > 0:22:14Oh, they most certainly are. I'm going to put £500 on each.
0:22:14 > 0:22:16- Oh, really?- Yes.- Oh, wonderful.
0:22:16 > 0:22:18- Does that surprise you?- Yes, it does.
0:22:18 > 0:22:21Thank you so much for coming all the way from New Zealand.
0:22:21 > 0:22:23You're welcome, thank you.
0:22:23 > 0:22:26When one comes to an Antiques Roadshow -
0:22:26 > 0:22:30I'm talking about the experts now -
0:22:30 > 0:22:33we like to feel that we're going to get something that day
0:22:33 > 0:22:35that's going to make our day,
0:22:35 > 0:22:38and today it's happened for me.
0:22:38 > 0:22:40Here we have
0:22:40 > 0:22:46a naval General Service Medal with the Trafalgar Bar. Wonderful!
0:22:46 > 0:22:49Now come on, tell me all about it.
0:22:49 > 0:22:52Well, it was awarded to my great-great-great-grandfather
0:22:52 > 0:22:57- who was press-ganged into the Navy as a boy.- Really?
0:22:57 > 0:23:03And he...we don't know really where he went until he ended up on the Temeraire at Trafalgar.
0:23:03 > 0:23:11And sadly he lost his arm in the battle, was invalided out after the battle and went teaching,
0:23:11 > 0:23:18and the students and the pupils knew him as Hook, so it was Hook Cowell.
0:23:18 > 0:23:20Really? And when did he die, do you know?
0:23:20 > 0:23:24He died in the 1860s and was buried in the Isle of Man.
0:23:24 > 0:23:25- So quite a long life.- Yes.
0:23:25 > 0:23:30It's a good job that he did have a long life, because, you see...
0:23:30 > 0:23:36this medal was awarded in 1847, 1847-48.
0:23:36 > 0:23:40What happened was, the Battle of Waterloo was in 1815
0:23:40 > 0:23:45and they gave, or awarded, a Waterloo medal in 1816.
0:23:45 > 0:23:52Everybody in the Navy that had fought in the Napoleonic Wars and all those chaps in the Peninsular War said,
0:23:52 > 0:23:56"These fellows have fought for one day and they've got a silver medal.
0:23:56 > 0:24:01"We fought for six years and haven't got anything." So there was a lot of bad feeling.
0:24:01 > 0:24:06Now, from 1815 it rumbled on into the 1820s, they grumbled and grumbled -
0:24:06 > 0:24:14the veterans - into the 1830s, into the 1840s, and Queen Victoria was on the throne by this time.
0:24:14 > 0:24:22Then in 1847, they decided to award an Army General Service Medal and a Naval General Service Medal,
0:24:22 > 0:24:26but the twist in the tail was you had to be a survivor.
0:24:26 > 0:24:29Your next of kin couldn't claim it.
0:24:29 > 0:24:36- So you see, your ancestor was alive and he managed to get his Trafalgar medal.- Goodness me.
0:24:36 > 0:24:38- So that's the way it worked. - Goodness.
0:24:38 > 0:24:43Round the edge here we have the name of the ship, the Temeraire.
0:24:43 > 0:24:47Now, the Temeraire was the ship that saved Victory,
0:24:47 > 0:24:52because when the Victory broke the line,
0:24:52 > 0:24:57she got on her starboard side the French ship, the Redoutable,
0:24:57 > 0:25:00and that's where the bullet came from that killed Nelson.
0:25:00 > 0:25:05The Temeraire came up on her starboard side
0:25:05 > 0:25:08and took the heat off the Victory,
0:25:08 > 0:25:11so that was an important ship.
0:25:11 > 0:25:15Now, how much do you think this is worth?
0:25:15 > 0:25:20I honestly don't know, obviously it's been in our family for now...
0:25:20 > 0:25:25around 200 years, and to be quite frank, it will hopefully stay for another 200 years,
0:25:25 > 0:25:29but I would be very, very curious to know what it would be worth.
0:25:29 > 0:25:31Well, I can tell you.
0:25:31 > 0:25:37This medal, if it was put on the market today, and heaven forbid that you did it,
0:25:37 > 0:25:40- would fetch £5,000.- Wow... Really?
0:25:40 > 0:25:42- Yes.- That's fantastic.
0:25:42 > 0:25:46I know it's a well-worn phrase, but you've made my day.
0:25:46 > 0:25:48Well, you've made mine, thank you.
0:25:56 > 0:25:59Well, they said it was going to be changeable
0:25:59 > 0:26:04and it is changing into something horribly familiar - rain. So I'm afraid it's off to the marquee.
0:26:04 > 0:26:09Well, I can just about make the signature under here. Do you know what it says?
0:26:09 > 0:26:13- I've no idea. - You haven't looked at it?- No.
0:26:13 > 0:26:16Guilleman, a French sculptor, Emile Guilleman, working in Paris
0:26:16 > 0:26:21around the turn of the 19th century, so 1890-1910, that sort of thing.
0:26:21 > 0:26:24It's a wonderful figure, where did you get it from?
0:26:24 > 0:26:29Well, we've just always had it in the family, I've no idea where it came from originally.
0:26:29 > 0:26:33I think it's just spectacular, I love the expression on his face,
0:26:33 > 0:26:39but do you know why he's got a spot on his nose? Do you think it's acne or bronze disease or something?
0:26:39 > 0:26:44No, somebody once said maybe it had a fly on his nose.
0:26:44 > 0:26:47Well, that's exactly what it was.
0:26:47 > 0:26:51I've only seen one of these before with the fly actually intact, and if you look at his expression,
0:26:51 > 0:26:57I don't know if we can see it, but he's looking with his right eye here, he's trying to look at the...
0:26:57 > 0:27:01fly on his nose, and his left eye, he's looking to the left,
0:27:01 > 0:27:07trying to look at the frets here. So he's trying to continue playing with this fly on his nose going...
0:27:07 > 0:27:10- And he can't...- He can't do it.
0:27:10 > 0:27:13Now, there's one critical thing with this, and when I first saw you
0:27:13 > 0:27:17bringing it in, I thought, "It's a bronze banjo boy."
0:27:17 > 0:27:20The problem is, when you actually touch it and you feel it,
0:27:20 > 0:27:28you can see, if you like, the acne again, especially on the guitar and the greyness of the little tuning...
0:27:28 > 0:27:32button there. That greyness and the roughness indicate that it's spelter.
0:27:32 > 0:27:36- Ah.- So it's an alloy, it's not...well, it's a softer metal.
0:27:36 > 0:27:40It's therefore easier to cast, therefore it's cheaper,
0:27:40 > 0:27:42and that's going to affect our value.
0:27:42 > 0:27:46- Oh, dear.- But I still think it would cost you,
0:27:46 > 0:27:51just cleaned up and refreshed on this lovely wooden stand, which I think is totally original...
0:27:51 > 0:27:53- Is it? Oh.- Lovely beech stand,
0:27:53 > 0:27:55Guilleman, well-known sculptor...
0:27:57 > 0:28:00..as only spelter, £3,000.
0:28:00 > 0:28:04Really? Gosh, I wish he'd been bronze!
0:28:07 > 0:28:12It was a piece that I chose from my aunt's attic when she asked me if there was anything I'd like.
0:28:12 > 0:28:18It caught my eye because it was very ornately carved and, when I'd chosen it,
0:28:18 > 0:28:21she said, "Well, there's a story that goes with this desk,"
0:28:21 > 0:28:28- and it turned out that the desk belonged to an explorer called Joseph Thomson.- Right.
0:28:28 > 0:28:34Who's probably the most famous explorer you've never heard of. He explored Africa,
0:28:34 > 0:28:37walked 15,000 miles to Africa and maybe...
0:28:37 > 0:28:41Can I say Thomson's Gazelle? Is that...am I in the right area?
0:28:41 > 0:28:46That's the right area, and a waterfall I believe named after him as well.
0:28:46 > 0:28:50- What date are we dealing with - for him?- Turn of the century.
0:28:50 > 0:28:57- 1880-1890, that sort of thing. - Yes, he died very young actually.
0:28:57 > 0:29:03- So this desk presumably was brought back from one of his travels. - Are these his as well?
0:29:03 > 0:29:09- These are his as well.- So we've got a Japanese sword, which is of about the 1880s, so therefore that fits in.
0:29:09 > 0:29:13This, as I say, is about the 1870s, so we're beginning to see a man
0:29:13 > 0:29:17who likes exotic things. Do we know what he looks like?
0:29:17 > 0:29:21- We do, we have this biography that was written by his brother.- Yes.
0:29:21 > 0:29:23His photograph is in the beginning.
0:29:23 > 0:29:25So there he is.
0:29:25 > 0:29:29Well, he looks a very sort of straight, upright, late-Victorian gentleman.
0:29:29 > 0:29:34- He's obviously had a taste for the exotic.- Why?- Because later on there's a photograph of him...
0:29:34 > 0:29:37In here? Oh, look.
0:29:37 > 0:29:41So he was...he was a man of sort of distinctive taste.
0:29:41 > 0:29:43Indeed, indeed, he was obviously very exuberant.
0:29:43 > 0:29:46So there we have him in Moorish costume.
0:29:46 > 0:29:48Now, that again is actually very fashionable, dressing up
0:29:48 > 0:29:52was fashionable, and dressing up in what they called Oriental style,
0:29:52 > 0:29:56which meant Middle Eastern, was very much something that people did at that time.
0:29:56 > 0:29:59So you chose it from this lady?
0:29:59 > 0:30:03- I did.- Why did she have it? She had it because her aunt had a large house
0:30:03 > 0:30:09in Edinburgh, and Joseph Thomson lodged with Alexander Anderson.
0:30:09 > 0:30:10- Ah, now, who's he?- He's a poet.
0:30:10 > 0:30:15He was a surfaceman on the railway, self taught,
0:30:15 > 0:30:20and he called himself Surfaceman when he wrote his poems...
0:30:20 > 0:30:24And these are his books? He had a prodigious output.
0:30:24 > 0:30:29He certainly did, for a self-taught railway worker. Thomson and Anderson were great friends...
0:30:29 > 0:30:32What was the nature of their friendship, how great were they?
0:30:32 > 0:30:36- Well, the book records him as an intimate friend.- Right.
0:30:36 > 0:30:38So an interesting story of Victorian life.
0:30:38 > 0:30:42- Now, this is Anderson. - This is Anderson, yes,
0:30:42 > 0:30:46who was painted by the third man in the triumvirate, if you like.
0:30:46 > 0:30:51- Did they all live together?- I think there was a spell where they were all together in Edinburgh
0:30:51 > 0:30:53when this artist was exhibiting.
0:30:53 > 0:30:58- So here we have Anderson painted by...?- James Paterson.
0:30:58 > 0:31:03James Paterson, a very well-known Scottish artist, so we've got an artist, a poet and an explorer.
0:31:03 > 0:31:05- All together.- Living together.
0:31:05 > 0:31:11I suppose in conventional terms we think of these things as having some value, which they do,
0:31:11 > 0:31:15but really the value of it to me is this extraordinary...
0:31:15 > 0:31:20spotlight into a certain type of intellectual, demi-monde,
0:31:20 > 0:31:25slightly risque life in late-Victorian Scotland.
0:31:25 > 0:31:31I mean, to deal with the values, it's very simple. The desk would sell for about £1,500.
0:31:31 > 0:31:35The sword is about...£400-600.
0:31:35 > 0:31:40The painting is interesting academically because it's so early for Paterson.
0:31:40 > 0:31:43It's not a great Paterson painting, he went on to become a much better landscape painter.
0:31:43 > 0:31:48Its interest really is within the story, so you're looking at...
0:31:48 > 0:31:52£800-1,000, so collectively it's not huge sums of money,
0:31:52 > 0:31:55but I think that's unimportant.
0:31:55 > 0:31:57Do you know what this item's for?
0:31:57 > 0:31:59- No, I don't. - Do you do anything with it?
0:31:59 > 0:32:02Yes, I've got po...
0:32:02 > 0:32:04- Pot pourri?- Exactly.
0:32:04 > 0:32:12- That's what most people do with them, but in fact it's a koro, which is a Japanese incense burner.- Oh, really?
0:32:12 > 0:32:16But it was never meant for that use.
0:32:16 > 0:32:21That's the form of this, with the pierced cover to let the smoke out,
0:32:21 > 0:32:26but these were made for export, this is a piece of Satsuma ware.
0:32:26 > 0:32:30- Oh.- And I'm sure that what you're doing with it is absolutely right.
0:32:30 > 0:32:35It was... meant for keeping pot pourri in.
0:32:35 > 0:32:41This one is the sort of brocade type and was made around the 1870s.
0:32:41 > 0:32:42Really?
0:32:42 > 0:32:44I love it, it's...
0:32:44 > 0:32:51rich colours, rich enamels, rich gilding and it works beautifully as an object.
0:32:51 > 0:32:56- You like it?- Yes, I do like it. - OK, take great care of it.
0:32:56 > 0:33:00When you put your pot pourri in it and when you change it, try not to damage it.
0:33:00 > 0:33:03- I will.- Cos it's actually worth quite a lot of money.
0:33:03 > 0:33:07- Is it, really?- Yeah, £500 is quite a lot of money, isn't it?- 500?!
0:33:07 > 0:33:10- No, £2,000.- What?!
0:33:10 > 0:33:12£2,000.
0:33:12 > 0:33:14- Oh, never!- Uh-huh.
0:33:14 > 0:33:17£2,000... Oh, goodness.
0:33:17 > 0:33:19Thank you very much for bringing it in.
0:33:19 > 0:33:21Oh, I'm absolutely...
0:33:21 > 0:33:26and it's not often it happens, but I am speechless this time.
0:33:28 > 0:33:32I know we're in farming country here, but the last thing I expected to see
0:33:32 > 0:33:36was three superbly made models of ploughs.
0:33:36 > 0:33:38Where on earth do they come from?
0:33:38 > 0:33:41These were made by my great-grandfather in 1895.
0:33:41 > 0:33:45I come from a long line of blacksmiths and he was a blacksmith,
0:33:45 > 0:33:48as were my ancestors back for at least the past 200 years.
0:33:48 > 0:33:52- Hang on. Made by a blacksmith? - A blacksmith.- Not a silversmith?- No.
0:33:52 > 0:33:55Good heavens. And why would he have made these things?
0:33:55 > 0:34:01Well, being a blacksmith, he will have made full-size versions of these for the farms.
0:34:01 > 0:34:04They would have been pulled by Clydesdale horses,
0:34:04 > 0:34:07and I think in those days that the blacksmiths actually
0:34:07 > 0:34:12wanted to compete amongst each other to see who could make the best miniature ploughs
0:34:12 > 0:34:14and enter them in competitions.
0:34:14 > 0:34:22- I believe that these were entered in a competition and won an exhibition in Aberdeen.- Good heavens.
0:34:22 > 0:34:30Well, as I say, the first thing that strikes me is how superbly they are made. And I notice that this moves
0:34:30 > 0:34:36up and down and everything works as it should do.
0:34:36 > 0:34:39And I imagine this is a perfect scale model of the...
0:34:39 > 0:34:42I've just noticed for the first time today
0:34:42 > 0:34:45that there's actually a spanner here
0:34:45 > 0:34:49and the spanner actually fits every single bolt...
0:34:49 > 0:34:52- Isn't that wonderful? - ..on the actual piece.
0:34:52 > 0:34:54- Attention to detail. - So it all works.- Like that.
0:34:54 > 0:34:58And I notice they've got some signatures on them.
0:34:58 > 0:35:00What does it say? George...?
0:35:00 > 0:35:04That's George Ledingham and then it's got Clatt,
0:35:04 > 0:35:08which is a village by Premnay and Auchleven up in Aberdeenshire.
0:35:08 > 0:35:10- Oh, right. - That's where they were made.
0:35:10 > 0:35:12George, was he your grandfather?
0:35:12 > 0:35:14George was my great-grandfather.
0:35:14 > 0:35:17My grandfather...I almost can't remember his first name
0:35:17 > 0:35:22because he was just, to my knowledge, called the Smith.
0:35:22 > 0:35:28- Were you never tempted to become a blacksmith?- You can see by my hands that I've never done
0:35:28 > 0:35:33a hand's turn of work other than push pens, so I've not been a blacksmith.
0:35:33 > 0:35:40It's actually quite unusual to see models like this actually chrome plated.
0:35:40 > 0:35:45I think they're chrome plated, they've got that very hard finish to them
0:35:45 > 0:35:49which makes me think that they're not silver plated.
0:35:49 > 0:35:55You occasionally see them in museums and things, but they're never plated like this, are they?
0:35:55 > 0:36:01I've seen only recently - I think it's the Scottish Agricultural Museum just south of Glasgow -
0:36:01 > 0:36:08I've seen a lot of very similar ploughs to this in there, but nothing I've seen there has been
0:36:08 > 0:36:14of the same quality, they've been painted or almost like wrought iron rather than this sort of quality.
0:36:14 > 0:36:17Well, I think they're absolutely wonderful things.
0:36:17 > 0:36:21They are incredibly difficult to put a value on.
0:36:21 > 0:36:26Whether they're worth £500 each or £1,000 each, I don't know.
0:36:26 > 0:36:29These things virtually never come on the market.
0:36:29 > 0:36:33- I'm sure they're not gonna be anything you're ever gonna sell.- No.
0:36:33 > 0:36:37They really are family pieces, so thank you for bringing them along.
0:36:37 > 0:36:39Thank you very much, thank you.
0:36:39 > 0:36:42Made in Staffordshire around about 1880.
0:36:42 > 0:36:46We see hundreds and hundreds and hundreds of these all of the time.
0:36:46 > 0:36:51Nice things, comforter dogs, they sat on Welsh dressers.
0:36:51 > 0:36:53Not particularly rare.
0:36:53 > 0:36:56But this piece here, I want to know where he came from.
0:36:56 > 0:36:58Well, as far as I know,
0:36:58 > 0:37:00it come through...
0:37:00 > 0:37:03the wife's side of the family.
0:37:03 > 0:37:06- And these come from? - My mother's side of the family.
0:37:06 > 0:37:11- You married the right woman.- Did I? Oh, well, I've done very well.- Well, he's a Crufts champion, look at him.
0:37:11 > 0:37:14Isn't he fantastic?
0:37:14 > 0:37:21Well, we've never really thought of what it was. We actually had it on the telephone table
0:37:21 > 0:37:26and the kids used to play with it. I was told to put it away safely.
0:37:26 > 0:37:29- Well, you haven't got the other one, I don't suppose.- No, we haven't.
0:37:29 > 0:37:31That is a shame.
0:37:33 > 0:37:36The size, for a start, he's a fabulous size.
0:37:36 > 0:37:43You do see larger Staffordshire dogs than these. Seldom do you see anything on this scale.
0:37:43 > 0:37:47The colours of the glazes, I mean, the brown-lead glaze
0:37:47 > 0:37:52and this tortoiseshell mottling on the bottom is very attractive.
0:37:52 > 0:37:55The important thing about him is where he comes from.
0:37:55 > 0:38:00- I don't know.- He's a Scottish one. He is a Scottish dog.
0:38:02 > 0:38:07Probably somewhere near Fife, a possibility, I don't think there's any...
0:38:07 > 0:38:12sign of a factory mark. There very seldom is on spaniels like this.
0:38:12 > 0:38:17Or I think they're sometimes known up here as woolly dugs, is that right?
0:38:17 > 0:38:21- Wally dugs.- Ah, wally dugs. Do you call him a wally dug?
0:38:21 > 0:38:25No, not that one, but we call these wally dugs.
0:38:25 > 0:38:31I think because they were to put on the wall, on the mantelpiece, I think that's how the...
0:38:31 > 0:38:33- Oh, is that where it comes from? - I think that's a wally dug.
0:38:33 > 0:38:35- It's not cos he's a woolly dog?- No.
0:38:38 > 0:38:40Hairy, I suppose.
0:38:40 > 0:38:44A date for this, it's very similar actually to the Staffordshire ones,
0:38:44 > 0:38:49so it's the second half of the 19th century, and they continued making into the 20th century.
0:38:49 > 0:38:55I just think he's magnificent. He's just so much away from the usual.
0:38:55 > 0:39:00- Haven't had a valuation ever done on these?- Well, there was one chap did offer us £200.
0:39:00 > 0:39:04If he'd offered you £200 for that, you should have taken it like a shot.
0:39:06 > 0:39:09This one, if he'd offered you...
0:39:10 > 0:39:14..£800, it still wouldn't be enough.
0:39:14 > 0:39:19A single one of these at auction would be somewhere around £1,200.
0:39:19 > 0:39:20Oh, gee whiz.
0:39:20 > 0:39:23It's a very good thing.
0:39:25 > 0:39:29Well now, this is in a bit of a state, really, been through the wars.
0:39:29 > 0:39:31What do you want to know about it?
0:39:31 > 0:39:34Just if it's worth any money.
0:39:34 > 0:39:38Oh, fair enough, yes. OK, well, what do we know about it?
0:39:38 > 0:39:43We know that it's by an artist called Chamberlaine
0:39:43 > 0:39:49because there's a label on the back giving us his name, Christopher Chamberlaine.
0:39:49 > 0:39:53And we know that it was submitted to the Royal Academy in 1952.
0:39:53 > 0:39:56And we know where it is as well, it's Burnthwaite Road
0:39:56 > 0:39:59round the back of Fulham Broadway in London.
0:39:59 > 0:40:05But being 1952, there is some sort of bomb damage around in this area.
0:40:05 > 0:40:09They were not hit by bombs, amazingly,
0:40:09 > 0:40:16but I feel that this hoarding might be hiding an area where the end of the terrace was blown away by a bomb.
0:40:16 > 0:40:21- And it says "A bomb" on the hoarding, did you notice that?- No, I didn't.
0:40:21 > 0:40:25Well, this is the time of all the nuclear testing of atom bombs
0:40:25 > 0:40:28and I wondered if that was like a protest.
0:40:28 > 0:40:32What's interesting to me about this picture is that it's kind of like...
0:40:32 > 0:40:35There's a school of painting in London called the Euston Road School
0:40:35 > 0:40:42that got going just before the beginning of the Second War, and what they wanted to do was show
0:40:42 > 0:40:47everyday life in London and how beautiful that was, or could be,
0:40:47 > 0:40:53and how interesting it could be as a subject for painting and how visually interesting it could be.
0:40:53 > 0:40:56And if you look at this, there is a lot going on.
0:40:56 > 0:41:00You've got this fellow on crutches, he might be a war veteran hobbling along the street.
0:41:00 > 0:41:06He's avoiding the ladder. He doesn't want to walk under the ladder and lose the other leg.
0:41:06 > 0:41:08I don't really know but, erm...
0:41:08 > 0:41:13And this broken-down old cart, which looks like rag and bone or something.
0:41:13 > 0:41:17Looking at it, do you...do you think you...? Do you like it?
0:41:17 > 0:41:19No.
0:41:19 > 0:41:22- You really don't like it, do you? - No, no, I don't.
0:41:22 > 0:41:27- Have you ever looked at it or hung it at all?- No, no, I didn't.
0:41:27 > 0:41:32Did you know that in 1952 this was hung on the line in the Royal Academy at Burlington House?
0:41:32 > 0:41:36- No.- Which means that it's at eye level, the highest accolade...
0:41:36 > 0:41:39JET FIGHTER ROARS OVERHEAD
0:41:41 > 0:41:43The RAF doesn't agree.
0:41:45 > 0:41:47The RAF really doesn't agree.
0:41:47 > 0:41:49I don't know where that came from.
0:41:49 > 0:41:53- But any rate, yes, it was hung on the line in the Royal Academy.- Yes.
0:41:53 > 0:41:58Now, that was the best position it could possibly be given,
0:41:58 > 0:42:03- so this picture was really rated. - I put it up on the wall and I thought, "Oh, it's too dull."
0:42:03 > 0:42:08I just put it up in the attic and it's been there ever since
0:42:08 > 0:42:12and it wasn't until we were having the roof insulated
0:42:12 > 0:42:16- that I came across it again. - This WAS the insulation.
0:42:16 > 0:42:19That's right! So I took it down and I said,
0:42:19 > 0:42:27"I'll take that to Manderston and find out..." I only paid a pound for it, so I thought,
0:42:27 > 0:42:30"If it's not, I'll just get rid of it."
0:42:30 > 0:42:31What do you mean, get rid of it?
0:42:31 > 0:42:35- Well, put it in the bin or something, if it wasn't...- I see.
0:42:35 > 0:42:40- Well, you'd be throwing away 2,000 or 3,000 quid.- Oh!
0:42:41 > 0:42:47Ooh... I'm looking at it in a different light now!
0:42:47 > 0:42:50What, so none of the explanation works, but the money did?
0:42:50 > 0:42:53Yes.
0:42:53 > 0:42:57Manderston used to be well-known for its three-day house parties.
0:42:57 > 0:43:01Just the one day for us, I'm afraid, but it has been a lot of fun.
0:43:01 > 0:43:06Many thanks to Lord Palmer for his hospitality and for showing us his biscuit tins.
0:43:06 > 0:43:12And now, as the storm clouds gather again over Manderston House, until the next time, goodbye.