0:00:39 > 0:00:43This week the Roadshow has come to a city of contrasts and superlatives,
0:00:43 > 0:00:47a city of granite, a city of flowers.
0:00:47 > 0:00:50Its quarries have created the biggest hole in Europe
0:00:50 > 0:00:52and it runs the oldest business in Britain.
0:00:53 > 0:00:56SHIP'S HORN BLOWS
0:00:56 > 0:00:59Sitting at the mouth of the River Dee,
0:00:59 > 0:01:03Aberdeen harbour has been a successful enterprise for nearly 900 years.
0:01:03 > 0:01:08It first started charging ships an entrance fee back in 1136
0:01:08 > 0:01:12and its continuous use has earned it a place in the Guinness Book Of Records.
0:01:13 > 0:01:15It's all the more remarkable
0:01:15 > 0:01:20because the harbour wasn't blessed with many natural advantages - quite the opposite,
0:01:20 > 0:01:23it was incredibly shallow and full of treacherous moving sandbanks.
0:01:23 > 0:01:26Not ideal conditions for large ships.
0:01:26 > 0:01:28HORN BLOWS
0:01:30 > 0:01:32But with hard work it proved a success
0:01:32 > 0:01:36and has been the cornerstone of the Aberdeen economy down the centuries.
0:01:36 > 0:01:41The wealth that came from herring, salmon, granite and oil has resulted in a unique city
0:01:41 > 0:01:43with buildings of a suitable grandeur.
0:01:49 > 0:01:52From the oldest town house in town...
0:01:54 > 0:01:58..to the so-called wedding cake of Marischal College,
0:01:58 > 0:02:02when the weather's right, Aberdeen shimmers.
0:02:02 > 0:02:05Pretty well all the buildings here are made of granite
0:02:05 > 0:02:07and that's what catches the light.
0:02:07 > 0:02:09Some call it the silver city.
0:02:12 > 0:02:18Sitting on the magnificent mile-long Union Street and another tribute to the great rock
0:02:18 > 0:02:21is our venue for today, the Aberdeen Music Hall.
0:02:21 > 0:02:25The front of the building with its dramatic Doric columns
0:02:25 > 0:02:27was built in 1822 as Assembly Rooms
0:02:27 > 0:02:30and won the designer a prize of 50 guineas.
0:02:30 > 0:02:3330 years later a great concert hall was added,
0:02:33 > 0:02:36and so the Music Hall was born.
0:02:37 > 0:02:40The hall is renowned for its acoustics.
0:02:40 > 0:02:43With a curved ceiling and a wooden floor,
0:02:43 > 0:02:46the sound bounces around very nicely.
0:02:46 > 0:02:47Now we hear a gentle murmur
0:02:47 > 0:02:49as the people of Aberdeen enter the Music Hall
0:02:49 > 0:02:52to join the Roadshow's troop of experts...
0:02:52 > 0:02:56The performance is about to begin.
0:02:56 > 0:03:00We know about fairies and pixies, but do you believe in firbolgs?
0:03:00 > 0:03:02Not really.
0:03:02 > 0:03:05Because that's what these little creatures are, firbolgs,
0:03:05 > 0:03:07very strange breed of the fairy folk.
0:03:07 > 0:03:11There are so many of them on there, aren't there? What's the background?
0:03:11 > 0:03:13My father bought it at a big house,
0:03:13 > 0:03:18- at a sale, an auction, I think it was 1952 or '53.- Oh.
0:03:18 > 0:03:23And, you know, he just loved it and it's been in the family ever since.
0:03:23 > 0:03:25Do you remember the cost?
0:03:25 > 0:03:28I have no...never... I have no idea what it was.
0:03:28 > 0:03:31We're looking at a kind of pottery here made by Wedgwood...
0:03:31 > 0:03:34well at about 1920.
0:03:34 > 0:03:38Eccentric designer at Wedgwood, Daisy Makeig-Jones invented this...
0:03:38 > 0:03:42strange images of fairyland and she called her creatures firbolgs.
0:03:42 > 0:03:44Let's have a look at some of these creatures.
0:03:44 > 0:03:49We've got here a pine tree and these little folk are falling out of the tree.
0:03:49 > 0:03:51Firbolgs were rather unfortunate,
0:03:51 > 0:03:56a lot of accidents happened to them and they were generally a bit frightened themselves.
0:03:56 > 0:04:00That one there, oh, he's actually got caught up in the trees,
0:04:00 > 0:04:04looks like his pants are being pulled off by the tree and other chaps are running away.
0:04:04 > 0:04:06They're a bit frightening, aren't they?
0:04:06 > 0:04:09- I wouldn't like to meet them.- No.
0:04:09 > 0:04:15So, um, we understand perhaps why people didn't rush out to buy these when they were new.
0:04:15 > 0:04:21That really is the crucial thing, because people didn't buy these when they were introduced in 1919.
0:04:21 > 0:04:24This was only made for a couple of years,
0:04:24 > 0:04:26- this particular design and colouring.- I see.
0:04:26 > 0:04:28And that makes it actually quite rare.
0:04:28 > 0:04:33Daisy Makeig-Jones gave her fairyland lustre designs individual numbers.
0:04:33 > 0:04:37This is her number four which is one of the rarest of the patterns.
0:04:37 > 0:04:39Because it was a bit strange,
0:04:39 > 0:04:42people didn't like it and they didn't rush out to buy it.
0:04:42 > 0:04:47Then it was discovered again in the 1970s, early '80s by...
0:04:47 > 0:04:50particularly American collectors started to pay considerable sums
0:04:50 > 0:04:52for pieces like these.
0:04:52 > 0:04:57Since then prices have been rising and rising and now they're serious collectables internationally.
0:04:57 > 0:05:02So a vase like that one in fine condition,
0:05:02 > 0:05:04today we're looking at...
0:05:04 > 0:05:10- what, £3,500? - Gosh, no, I couldn't believe that.
0:05:10 > 0:05:13And another £3,000 there.
0:05:13 > 0:05:18Heavens, that's unbelievable, I mean I thought they'd be worth something,
0:05:18 > 0:05:21but I had no idea.
0:05:25 > 0:05:27Right, here we have Snow White and the Seven Dwarfs
0:05:27 > 0:05:31from the famous picture by Walt Disney, so where did you get it?
0:05:31 > 0:05:36It belonged to my mother-in-law who was given it as a present
0:05:36 > 0:05:41from her aunt who was a nurse in a hospital in America during the '30s.
0:05:41 > 0:05:43Um, well I think the film was 1936, wasn't it?
0:05:43 > 0:05:45I'm not entirely sure... I think so.
0:05:45 > 0:05:51The stitching is rather loose. Obviously it was given to a child who liked to read it,
0:05:51 > 0:05:55and play with it, but the most extraordinary thing about this fairly insignificant book,
0:05:55 > 0:05:59is this magnificent signature of Walt Disney himself.
0:05:59 > 0:06:02Now the problem with Walt Disney's signature is
0:06:02 > 0:06:09there were a lot of studio assistants who actually did it for him.
0:06:09 > 0:06:13The right Walt Disney is this roundness.
0:06:13 > 0:06:17Too many of the other ones are square, but these are all round
0:06:17 > 0:06:21and you can see his wonderful flowing handwriting. So, I...
0:06:21 > 0:06:24He was visiting the hospital that she was a nurse...
0:06:24 > 0:06:29- You should have told me that in the first place, I...- OK. He signed it in front of her.
0:06:29 > 0:06:32So it is, well the story goes, it was him that actually signed it.
0:06:32 > 0:06:34I think that's absolutely fantastic.
0:06:34 > 0:06:41So the book itself, not a lot of money, but with the Walt Disney signature,
0:06:41 > 0:06:45- we're talking about somewhere in the region of £500 to £800...- Wow.
0:06:45 > 0:06:49- What about that?- Yeah, wow. I would never sell it, but...
0:06:52 > 0:06:55We're in the lowlands today but I was hoping somebody would bring
0:06:55 > 0:07:00something like this which actually is more traditionally known as from the highlands.
0:07:00 > 0:07:01Yes, that's true.
0:07:01 > 0:07:06It's a basket-hilted broadsword. Where did you get it from?
0:07:06 > 0:07:12I got it from a junk shop in the Gallowgate in Glasgow in 1949
0:07:12 > 0:07:14and it cost me two quid.
0:07:14 > 0:07:16- £2?- Yes, because...
0:07:16 > 0:07:20I was really, at that time, greatly interested in Scottish history.
0:07:20 > 0:07:25It was a month's wages delivering papers in those days. That's what it was.
0:07:25 > 0:07:27You were earning 10 shillings a week?
0:07:27 > 0:07:28- Ten bob a week. - 50 pence a week?- Yeah.
0:07:28 > 0:07:34- And you were how old at the time? - I was...18 at the time, yeah.- 18, OK.
0:07:34 > 0:07:41Well, what we have is a traditional Scottish broadsword...
0:07:41 > 0:07:45not claymore, people in the south think they're called claymores...
0:07:45 > 0:07:49they're called broadswords. A claymore is a completely different item.
0:07:49 > 0:07:54It's a lovely object, though, and what did you want to know about it? Why did you bring it in?
0:07:54 > 0:08:00Well, I wanted to know if it really was genuine or just a Victorian copy.
0:08:00 > 0:08:03OK, well from a technical point of view
0:08:03 > 0:08:05the pommel is the interesting thing
0:08:05 > 0:08:09because that's certainly more like an English broadsword pommel
0:08:09 > 0:08:14rather than a Scottish pommel, but forget that - it could have been replaced.
0:08:14 > 0:08:17The sword itself is a very good example
0:08:17 > 0:08:23of an 18th-century, mid-18th-century Scottish basket-hilted broadsword,
0:08:23 > 0:08:25- so it is a genuine piece. - The real thing?
0:08:25 > 0:08:28- Oh, that's braw.- It's the real thing and it's 18th century.
0:08:28 > 0:08:31But I suppose having paid £2 for it,
0:08:31 > 0:08:35a month's wages, you'd like to know what it's worth today.
0:08:35 > 0:08:37Not really, I'm not all that concerned.
0:08:37 > 0:08:39- You're not concerned?- No I'm not.
0:08:39 > 0:08:44- It'll stay in the family, I'm not selling it. - I'm glad it's staying in the family
0:08:44 > 0:08:47but of course these things do have a commercial value, you know.
0:08:47 > 0:08:51- Uh-huh.- And, a month's wages in 19... when was this?
0:08:51 > 0:08:55- 1949.- 1949, which was £2 for you,
0:08:55 > 0:08:59would convert into £1,500 to £2,000 today.
0:08:59 > 0:09:01Och, away, it's not worth that!
0:09:01 > 0:09:04That!
0:09:04 > 0:09:07Piece of junk. GRAHAM LAUGHS
0:09:07 > 0:09:10It's a piece of junk I would willingly take home with me.
0:09:10 > 0:09:11I can't believe that.
0:09:11 > 0:09:17Honest to God, I honestly thought it was a piece of Victorian kitsch.
0:09:17 > 0:09:20Highly collectable 18th century sword, there you go.
0:09:20 > 0:09:25Thank you very much, that's braw! Oh, great, thank you very much.
0:09:25 > 0:09:30Now, obviously you spend your time sailing the seas.
0:09:30 > 0:09:34I wish. I mean, this was obviously the heyday of the ocean liners.
0:09:34 > 0:09:37- So have you ever been on a ship? - No, no.
0:09:37 > 0:09:39So all this is fantasy, in a way?
0:09:39 > 0:09:45Yes, I mean it's such a bygone age that's never going to be repeated.
0:09:45 > 0:09:49So in terms of your collection, what does this represent? Half, tenth?
0:09:49 > 0:09:52Not even half, this would be the tip of the iceberg.
0:09:52 > 0:09:55- So it's a real Titanic experience? - It is, yes.- Right.
0:09:55 > 0:09:59How did you get into this? Where does it start?
0:09:59 > 0:10:04I'd say it was the film Titanic, started reading the books about her,
0:10:04 > 0:10:08then reading books on other liners and then woke up one morning,
0:10:08 > 0:10:13went up to my local antiques centre and started off with a 50 pence postcard of the Queen Mary.
0:10:13 > 0:10:14So this is the cause of it all?
0:10:14 > 0:10:19- It is.- So, if you hadn't bought that postcard you'd have a nice empty house?
0:10:19 > 0:10:22Yes, more than likely - and a very large bank balance.
0:10:22 > 0:10:24So...let's deal with it by section.
0:10:24 > 0:10:28Shipping postcards, presumably you've got albums of them, have you?
0:10:28 > 0:10:31Yes, well I've got about 700.
0:10:31 > 0:10:37OK, so this launched 700 other cards. What do they fetch?
0:10:37 > 0:10:39Your typical postcard, I mean, no more...
0:10:39 > 0:10:42- £5?- Yeah, some of the rare ones like from the Lusitania,
0:10:42 > 0:10:45the early ones, you might pay a bit more.
0:10:45 > 0:10:48Yes. But somebody could build up a good collection of shipping postcards
0:10:48 > 0:10:52- never paying more than £5, couldn't they? You could still do it.- Yes.
0:10:52 > 0:10:55So this is a very accessible area. Let's move on...
0:10:55 > 0:10:58Now, menus I've always loved, I think menus are wonderful
0:10:58 > 0:11:02because they're wonderfully dated ephemera, what date is that?
0:11:02 > 0:11:05- I mean, that's 1930s... - It has to be.
0:11:05 > 0:11:11And here we have a menu for supper and cabaret on the Mauritania, great ship.
0:11:11 > 0:11:13By then it's the second Mauritania.
0:11:13 > 0:11:17- No, no, it's still the first. - Still the first, is it? Oh, '32 yes.
0:11:17 > 0:11:21But she's gone into her cruising white and she was on a cruise to Gibraltar.
0:11:21 > 0:11:23At this point. So you can bring it all back to life,
0:11:23 > 0:11:26you know what the ships were doing, you've done the research.
0:11:26 > 0:11:29Everything depends on the ship, is that fair?
0:11:29 > 0:11:31It does, that is very fair.
0:11:31 > 0:11:37- I mean, it's like a breakfast menu from the Lusitania, upwards of over £100.- Yes.
0:11:37 > 0:11:40An everyday one from Queen Mary from the late '60s, £5.
0:11:40 > 0:11:44That's stuff that you could buy, that was given away.
0:11:44 > 0:11:48Everything else here, putting it crudely, you had to steal, didn't you?
0:11:48 > 0:11:54- Yes, unfortunately and obviously the smaller items like cutlery and that easy to...- Went into pockets.
0:11:54 > 0:11:56Quite how something like...
0:11:56 > 0:11:57The great cooking pot.
0:11:57 > 0:12:03..which I'm guessing as I imported that back from America is possibly off one of the Queens.
0:12:03 > 0:12:08And here we have the White Star vegetable dish, off...
0:12:08 > 0:12:11- do you know what it's off? - Possibly the Olympic.
0:12:11 > 0:12:15So it's the Titanic's sister ship, so the Titanic was fitted with things like this.
0:12:15 > 0:12:20Exactly the same design because I have seen examples of that dish brought up from the wreck.
0:12:20 > 0:12:23So we know this is a Titanic-style piece.
0:12:23 > 0:12:25So does that give it a premium?
0:12:25 > 0:12:28Yes, I mean upwards of £300 to £400.
0:12:28 > 0:12:31Now, have you got any Titanic stuff?
0:12:31 > 0:12:34- No. - Would you ever want a Titanic thing?
0:12:34 > 0:12:38Well, like I say, I mean my whole collection is probably worth one Titanic menu card.
0:12:38 > 0:12:41Yeah, OK, we'd better sum up in terms of values.
0:12:41 > 0:12:48We've talked about £5 or so for the cards and the menus, a really good bit of metalwork can be £300,
0:12:48 > 0:12:53a teapot can be £50 to £100. What's your collection worth?
0:12:53 > 0:12:55£10,000?
0:12:55 > 0:12:56- And the rest.- And the rest.
0:12:56 > 0:13:01My approximate value would be somewhere in the region of sort of £20,000, £25,000.
0:13:01 > 0:13:05Are you a driven man? Are you an addict?
0:13:05 > 0:13:08- I would say I'm bordering on addict. - You're in danger.
0:13:08 > 0:13:10- Yes.- Well, you'll need a bigger flat.
0:13:10 > 0:13:14- That's all there is to it. - Yes, thank you very much. - Thank you very much.
0:13:14 > 0:13:15When I was young,
0:13:15 > 0:13:22my husband and I used to go dancing every night of the week from Monday to Sunday...
0:13:22 > 0:13:29- In the old days when you had on an evening dress, you had to have an evening bag.- Of course.
0:13:29 > 0:13:33So this is my two evening bags.
0:13:33 > 0:13:37- This one I got from the old ladies next door.- Yes.
0:13:37 > 0:13:41And this one has a waterproof lining.
0:13:41 > 0:13:43- Right.- And I bought it myself.
0:13:43 > 0:13:47- You did?- Yes.- Well, that's why you're so spruce now because...
0:13:47 > 0:13:52- Well, I still go dancing every Friday.- You don't! No, give over.
0:13:52 > 0:13:56To Broom Hill Leisure Activity Centre.
0:13:56 > 0:13:59You were born, you told me in...?
0:13:59 > 0:14:05- Eh, 1915, the 13th of December 1915. - And you're still dancing.
0:14:05 > 0:14:10And I'm still dancing and I was dancing with Lionel Blair.
0:14:10 > 0:14:14- You weren't! We ought to get you to dance with Michael Aspel on this dance floor.- Yes, yes, I will.
0:14:14 > 0:14:16- You will?- I'll waltz.
0:14:16 > 0:14:18I'll hold you to it.
0:14:18 > 0:14:21Now, we've got something else here.
0:14:21 > 0:14:23Tell me how you got this.
0:14:23 > 0:14:27This come from the two old ladies
0:14:27 > 0:14:31- who live next door to me.- Yeah.
0:14:31 > 0:14:34It's an old-fashioned bottle-opener.
0:14:34 > 0:14:37Absolutely. And in fact...
0:14:37 > 0:14:42- what I would do is hold the bottle first and screw that in. - Screw that in.
0:14:42 > 0:14:46And then it's right down, then you put this on the bottle.
0:14:46 > 0:14:50- Put it on, yes.- Then put that into there so it's like that.
0:14:50 > 0:14:52- And then squeeze. - And then you pull up.
0:14:52 > 0:14:55And it takes the cork out.
0:14:55 > 0:15:00Now this is by William Lund 1855, it says it here
0:15:00 > 0:15:08and it was made in London, so he was a well known corkscrew maker,
0:15:08 > 0:15:13and these are worth somewhere in the region of £150.
0:15:13 > 0:15:18- You're still going to go home and use it?- Yes.
0:15:19 > 0:15:23Well, this is a pretty wacky little spaceship, isn't it?
0:15:23 > 0:15:25Tell me about it.
0:15:25 > 0:15:28I don't know anything about it, I got it at a car boot sale,
0:15:28 > 0:15:33it was on the floor and I was walking along and picked it up and bought it and that's all I know.
0:15:33 > 0:15:38- And you like it?- I love it, I really do. It's so unusual, everybody comments on it and...
0:15:38 > 0:15:45It's a really wacky piece of glass. This is made by pouring glass into a mould.
0:15:45 > 0:15:52This is called sand casting, you make an object in...plaster
0:15:52 > 0:15:55and you push it into damp sand,
0:15:55 > 0:16:01then you pour the glass into the mould you've just created, let it cool very, very slowly
0:16:01 > 0:16:04otherwise it'll crack up.
0:16:04 > 0:16:09Then you tint, stain the back to create that look.
0:16:09 > 0:16:12We know who made it because she's written her name on it,
0:16:12 > 0:16:14which is very helpful, we like her for doing that.
0:16:14 > 0:16:21- Yes, I know.- And it says "a unique sand casting by Sarah Peterson"
0:16:21 > 0:16:24Now, this is what's called studio glass.
0:16:24 > 0:16:29Technology has moved on to a point where instead of needing a factory to make glass,
0:16:29 > 0:16:31- you can almost make glass at home. - Right.
0:16:31 > 0:16:35You can get all the equipment and it's like home-made glass-making.
0:16:35 > 0:16:39Now, there are hundreds and thousands of people doing this.
0:16:39 > 0:16:42I've had a look on the internet for who Sarah Peterson is,
0:16:42 > 0:16:47and there is one in Colorado but it may or may not be this one.
0:16:47 > 0:16:53The point about studio glass is that a value structure has yet to be established.
0:16:53 > 0:16:59- You see a piece, if you like it, you consider it to be worth it, you buy it.- Right.
0:16:59 > 0:17:01If you think that's a good price.
0:17:01 > 0:17:04- Uh-huh.- So, bearing in mind that you bought it in a booty for...?
0:17:04 > 0:17:06£10.
0:17:06 > 0:17:10- Well, I think it's got to be worth £200 at it is.- Honest?
0:17:10 > 0:17:15I do, and time may tell whether Sarah Peterson is really the one to collect
0:17:15 > 0:17:19and this has been a fantastic bargain instead of just being a fab piece of glass
0:17:19 > 0:17:21that you love around the house.
0:17:21 > 0:17:23- OK, thanks very much.- Not at all.
0:17:25 > 0:17:27Michael.
0:17:27 > 0:17:30Cath, my body is yours, shall we dance?
0:17:30 > 0:17:35- OK, now don't lead, will you? - WALTZ MUSIC PLAYS
0:18:07 > 0:18:10Something like this poses lots of questions.
0:18:10 > 0:18:13Firstly it's not Scottish
0:18:13 > 0:18:17- or English or Irish, it's not British, it's Flemish. - It's Flemish? OK.- Yes, Flemish.
0:18:17 > 0:18:20It would have been... Well, it is oak...
0:18:20 > 0:18:25- you can see the graining of the oak just but it's been blackened and the gilding's been added later.- OK.
0:18:25 > 0:18:28Possibly, I should guess, in the 19th century
0:18:28 > 0:18:33- which gives some of its age away, you've already guessed it's probably older.- OK.
0:18:33 > 0:18:37We've got this lock here. Well, you know that's an honest replacement, isn't it?
0:18:37 > 0:18:39You can see there's a very old looking lock
0:18:39 > 0:18:44- but with a great big hole where a bigger lock would have been... - Yes, yes.
0:18:44 > 0:18:46- Clearly that's been altered.- Yes.
0:18:46 > 0:18:49You can just see the wonderful dryness of that back panel.
0:18:49 > 0:18:53- Yes.- That's the colour I would like to have seen on the outside.
0:18:53 > 0:18:57I'm not worried about the gilt decoration and the black, not too much.
0:18:57 > 0:19:01- My first reaction... wow, it's a blinder.- OK.
0:19:01 > 0:19:03Then I looked again and thought...not so sure.
0:19:03 > 0:19:06Then I started looking at the detail and you get lost,
0:19:06 > 0:19:09you look at all these details all over the place.
0:19:09 > 0:19:13The first one I noticed - and the reason for standing on this side - is this chap.
0:19:13 > 0:19:15- OK.- He's rather good looking. - Yes, very regal.
0:19:15 > 0:19:19- You know why he's good looking?- Oh.
0:19:19 > 0:19:20- Perfect.- Yes.- His moustache.
0:19:20 > 0:19:22He's pointing at her, over there.
0:19:22 > 0:19:25- Right, I've never noticed that before.- She's pointing at him.
0:19:27 > 0:19:28- It's very odd, isn't it?- Yes.
0:19:28 > 0:19:31- That to me is very 17th century type of carving.- OK.
0:19:31 > 0:19:35The whole shape, proportions of it are 17th century Flemish
0:19:35 > 0:19:40and fairly early 17th century, we're talking 1620-1650.
0:19:40 > 0:19:43- What, this part?- Yeah, and the general scale and proportion of it.
0:19:43 > 0:19:47I'll tell you what I don't understand is the carving up here.
0:19:47 > 0:19:51This gadrooned fish scale type carving here and the gadrooning here,
0:19:51 > 0:19:57they're not as good or as strongly carved as the carving for example on the door below here.
0:19:57 > 0:20:01This is much more typical of the 1620-30 period
0:20:01 > 0:20:05whereas that is more typical of the 1650-80 period.
0:20:05 > 0:20:12- So someone somewhere has done a bit of fiddling about.- Mm. - I think this was taller.- Was it?
0:20:12 > 0:20:17And it's been reduced in height, possibly because it wouldn't fit into a small cottage,
0:20:17 > 0:20:22having been made for one of those great big Dutch houses, one of those huge houses with tiled floors.
0:20:22 > 0:20:24- I think most of this top part is new.- OK.
0:20:24 > 0:20:28- When I say "new", not 1630.- OK.
0:20:28 > 0:20:31Have you ever thought about that?
0:20:31 > 0:20:36I've looked in many a book to try and find where it's come from,
0:20:36 > 0:20:39what it's about, and I can't figure it out at all.
0:20:39 > 0:20:43- Well, you've come to the right place.- Ah, wonderful.
0:20:43 > 0:20:45- Because we've had it for a few hours...- Yeah.
0:20:45 > 0:20:47- we took a digital photograph... - You're joking.
0:20:47 > 0:20:50sent them down to an armorial expert in London.
0:20:50 > 0:20:53- Oh, you've made my day. - When you look at the photograph,
0:20:53 > 0:20:57the owl there shows it's the McTaggart family.
0:20:57 > 0:20:59- Married into the McGowan family.- OK.
0:20:59 > 0:21:02So a Scottish family who moved to England...
0:21:02 > 0:21:04this is the interesting bit for me...
0:21:04 > 0:21:07- who moved to England in 1830. - My word.
0:21:07 > 0:21:10What is really fascinating, because they moved to England in 1830,
0:21:10 > 0:21:15that's when there was a wonderful tournament called the Eglinton Tournament
0:21:15 > 0:21:16where they did medieval revivals,
0:21:16 > 0:21:21people were dressing up in suits of armour pretending they were medieval knights.
0:21:21 > 0:21:25- OK.- Sir Walter Scott was writing - couldn't get a greater Scottish writer.
0:21:25 > 0:21:30- Yes.- Was writing about this romantic period of the 17th century. So what has happened...
0:21:30 > 0:21:35This has been, in my opinion, cut and shut in about 1830 for this family,
0:21:35 > 0:21:39down in England when this was all the rage and the great fashion.
0:21:39 > 0:21:44I am gobsmacked, absolutely gobsmacked that we've got a result on this one.
0:21:44 > 0:21:48I just think it's, it's exactly the historical piece as I'd want to see it
0:21:48 > 0:21:53and I'm as gobsmacked as you, to be able to do that research and to be able to find out...
0:21:53 > 0:21:57It answers all the questions that I've been looking at and that's confirmed.
0:21:57 > 0:21:59- A result.- Fantastic.
0:21:59 > 0:22:00How much did you pay?
0:22:00 > 0:22:03I didn't, I didn't really grudge the money at all.
0:22:03 > 0:22:08- What did you pay?- £1,200 and I think it was well worth it.
0:22:08 > 0:22:10Not bad.
0:22:10 > 0:22:13I thought that it was probably worth,
0:22:13 > 0:22:17as cut and shut, today about £5,000.
0:22:19 > 0:22:23- Now we've got that documented history.- Yeah?
0:22:23 > 0:22:25- I want to up that a little. - You're joking!
0:22:25 > 0:22:29So for retail replacement, if you bought it from the same antique dealer,
0:22:29 > 0:22:31who now would know more about it,
0:22:31 > 0:22:33he'd probably... let's say charge you £6,000.
0:22:33 > 0:22:35That's phenomenal.
0:22:35 > 0:22:39Well, it's going back in the cottage anyway, that's where it's going.
0:22:39 > 0:22:43- That's why they cut the top off. - Yes!- To get in the cottage.
0:22:45 > 0:22:49I know Scotland is the home of golf, but this is the wackiest club I've ever seen.
0:22:49 > 0:22:52- Yes, indeed. - What can you tell me about it?
0:22:52 > 0:22:56Well, we found it in my wife's house when we were clearing out
0:22:56 > 0:22:59- and...we took it to the golf museum in St Andrews.- Right.
0:22:59 > 0:23:03And, they identified the maker, I think it was a company called Ayres,
0:23:03 > 0:23:06they said they hadn't seen one before but they thought it was a driver.
0:23:06 > 0:23:09Doesn't work as a driver, does it?
0:23:09 > 0:23:13- Doesn't really, no.- No, I think it's one of these patent putters...
0:23:13 > 0:23:16As today, you know everybody wants to putt well
0:23:16 > 0:23:21and they buy the latest gizmo, be it a ping putt or whatever it is, or a long shafted one.
0:23:21 > 0:23:23I am sure this is much more of a putter,
0:23:23 > 0:23:26it's got no playing surface to be used as a driver.
0:23:26 > 0:23:29- But I've never seen this shape. - Indeed.
0:23:29 > 0:23:33Well, I think you've got something of extraordinary rarity, um...
0:23:33 > 0:23:34and the market goes up and down,
0:23:34 > 0:23:38The Far Eastern collectors were paying silly prices ten years ago.
0:23:38 > 0:23:41They're coming back in a small way to the market.
0:23:41 > 0:23:45- I would see this fetching £1,200, £1,500 today.- Gosh.
0:23:45 > 0:23:46- Do you play golf?- I do indeed.
0:23:46 > 0:23:50Well, why don't you give it a go? If you can get it in the hole, then hang on to it.
0:23:50 > 0:23:53- OK, thanks. - Thanks for bringing it in.
0:23:53 > 0:23:54Thank you very much.
0:23:54 > 0:23:59I want you to picture a world where in the domestic environment,
0:23:59 > 0:24:03electricity had hardly been thought about and gas was for the very, very wealthy.
0:24:03 > 0:24:06A clock of this type, in other words, a carriage clock,
0:24:06 > 0:24:11always came in one of these leather travelling boxes.
0:24:13 > 0:24:18And they always had a flap in the front
0:24:18 > 0:24:21that could be parked in the back,
0:24:21 > 0:24:24to reveal the clock during transit.
0:24:24 > 0:24:30Think of this being dragged along to a lovely late Victorian or Edwardian house party...
0:24:30 > 0:24:34a marvellous thing to pop by the side of your bed,
0:24:34 > 0:24:38you couldn't click on the light switch so you pressed the button
0:24:38 > 0:24:40and...
0:24:40 > 0:24:44it repeated to the preceding hour.
0:24:44 > 0:24:47Well, the slight give away that it's a fairly late example
0:24:47 > 0:24:50is what we call the arcaded minute ring,
0:24:50 > 0:24:54those little floral swags that just go all the way round there.
0:24:54 > 0:24:56We have the maker's name: EM & Co,
0:24:56 > 0:25:01that's Maurice and Company and above that it says "French make".
0:25:02 > 0:25:09That is a sign with that dial that it's going to be early 20th century,
0:25:09 > 0:25:15pretty much for our Edwardian market, so sort of 1905, 1910 perhaps.
0:25:15 > 0:25:22We've got some lovely columns here with superb enamel all the way down
0:25:22 > 0:25:26in this lovely white, red and blue. It's ever so handsome.
0:25:26 > 0:25:30And this would have been a very, very expensive clock new.
0:25:30 > 0:25:32So it sits at home,
0:25:32 > 0:25:37hidden, clearly not insured or anything...or do you have it insured?
0:25:37 > 0:25:41- It's only covered by the house insurance...at the moment.- Great.
0:25:41 > 0:25:44So, if it went missing, it wouldn't really be the end of your world?
0:25:44 > 0:25:48This is before I take it away now, of course.
0:25:49 > 0:25:52If it was to go missing, God forbid,
0:25:52 > 0:25:55to replace that,
0:25:55 > 0:25:58would be costing you
0:25:58 > 0:26:00in the region of £4,000.
0:26:02 > 0:26:08So I want you to get it out of wherever you keep it at home and just love it a little bit more.
0:26:08 > 0:26:12- Will do.- Good man.
0:26:12 > 0:26:18Well, so thrilled and so delighted that you've brought along these items today.
0:26:18 > 0:26:22In amongst this collection of Communion silver
0:26:22 > 0:26:25there's one thing that immediately jumped out for me.
0:26:25 > 0:26:28We've come all the way here to Aberdeen and here we are
0:26:28 > 0:26:30with a piece by James Cromer Watt
0:26:30 > 0:26:33which I recognised instantly
0:26:33 > 0:26:37- from the work of delicate enamelling around the base.- Yes.
0:26:37 > 0:26:42Perhaps you could give us an idea what you know about it.
0:26:42 > 0:26:49Well, it was commissioned during the ministry of James Cooper, at the east parish of St Nicholas.
0:26:49 > 0:26:54He was minister in the latter part of the 19th century there and left in 1899
0:26:54 > 0:26:58and this was a gift to him on his departure.
0:26:58 > 0:27:02Then when he died, his wife gave it back to the church.
0:27:02 > 0:27:03That was very generous of her.
0:27:03 > 0:27:07The thing about Cromer Watt was he principally made jewellery
0:27:07 > 0:27:13and always with delicate enamelling, usually with copper foil backgrounds and this just jumps out at you
0:27:13 > 0:27:16as being a fabulous piece of his work.
0:27:16 > 0:27:22Also the use of local pearls from the River Don and garnets here.
0:27:22 > 0:27:28He trained at Glasgow School of Art and then set up a workshop in Aberdeen around about 1890s,
0:27:28 > 0:27:32so this ties in as probably a very early commission for him
0:27:32 > 0:27:38- and one that he's put a huge amount of effort and workmanship into getting it just correct.- Yes.
0:27:38 > 0:27:44It's also fascinating that in the whole group of Communion silver that you've brought along today,
0:27:44 > 0:27:48principally these pieces here are from a much earlier date,
0:27:48 > 0:27:51- they date from about 1740-1750. - That's right, yes.
0:27:51 > 0:27:55All I can say is that you've got the most fabulous thing
0:27:55 > 0:27:57amongst other pieces here,
0:27:57 > 0:28:01- this just jumps out as being absolutely astonishing.- Yes.
0:28:01 > 0:28:03It should really be a museum piece
0:28:03 > 0:28:05but it's in safe keeping in the church.
0:28:05 > 0:28:08- It's in safe keeping and we do use it on high holidays.- It's still in use?
0:28:08 > 0:28:12- It's still in use.- Well, all I would say is be very careful with it...
0:28:12 > 0:28:14It is fragile.
0:28:14 > 0:28:18- It's a difficult thing to value, because obviously you couldn't replace it.- No.
0:28:18 > 0:28:23But you're looking at something probably in the order of £10,000.
0:28:26 > 0:28:29NEWSREEL ANNOUNCER: 'Ladies and gentlemen,
0:28:29 > 0:28:34'stand by for an important announcement.
0:28:34 > 0:28:40'We're interrupting our programme for a piece of news for which we've all been waiting.
0:28:40 > 0:28:44'The management announce with due thankfulness
0:28:44 > 0:28:48'the official confirmation that hostilities in Europe have ceased.'
0:28:48 > 0:28:51FANFARE
0:28:51 > 0:28:57- What a relief! That's been going on since 1939.- I know. It's a long time.
0:28:57 > 0:28:59Where did you get this from?
0:28:59 > 0:29:04My granddad was a projectionist in the cinema and just before the war finished
0:29:04 > 0:29:06these were sent out to cinemas around
0:29:06 > 0:29:09and it was just waiting for the confirmation that the war was over
0:29:09 > 0:29:12and then they had to interrupt the movie
0:29:12 > 0:29:14and play this to the people in the cinema.
0:29:14 > 0:29:19- But not like this... it was on a disc? - No, no, I have the disc here, yes.
0:29:19 > 0:29:23So each cinema had got a copy of that announcement we've just heard,
0:29:23 > 0:29:26- before the war was over, to be ready when it did.- Yeah.
0:29:26 > 0:29:29So everyone else is listening to the wireless,
0:29:29 > 0:29:31and if you went to the pictures, this is how you heard it.
0:29:31 > 0:29:34- Yep.- The end of World War II, wow.
0:29:39 > 0:29:42- I can see that box temptingly says "Russian plate".- Yes.
0:29:42 > 0:29:46- Is it?- It is, yes, I believe so.
0:29:46 > 0:29:50- There you go. - Right, in a very smart bag.
0:29:50 > 0:29:55Right, now this is what I was actually hoping it would be.
0:29:55 > 0:29:57Now the key thing about this is
0:29:57 > 0:30:02this plate is either worth £50 to £100 or several thousand pounds.
0:30:02 > 0:30:09- OK.- So, first of all, what I want to do is ask you why you've got it.
0:30:09 > 0:30:12- My great grandfather was a ship's captain.- Right.
0:30:12 > 0:30:15And he used to sail to Leningrad and his...
0:30:15 > 0:30:19because he was a captain, his wife used to get to go along on the ship with him.
0:30:19 > 0:30:22When they were in Leningrad in 1934,
0:30:22 > 0:30:25she got given this plate by a ship's chandler.
0:30:25 > 0:30:29- Right, now that's exactly what I wanted to hear.- OK.
0:30:29 > 0:30:31What we've got is Russian revolutionary porcelain.
0:30:31 > 0:30:35- OK.- Made in the immediate aftermath of the revolution.
0:30:35 > 0:30:39The imperial factories were taken over by revolutionaries
0:30:39 > 0:30:41and instead of painting those lavish Tsarist patterns,
0:30:41 > 0:30:44they used the same blanks to paint revolutionary scenes,
0:30:44 > 0:30:49and what we've got here, I suspect... We've got skeletons, a crowned skeleton...
0:30:49 > 0:30:55- Yes.- This is probably about the decay of the Russian court, the corruption,
0:30:55 > 0:30:59the element of destruction that the revolution had brought about.
0:30:59 > 0:31:06And if you turn it over, on the back, that is the mark of the imperial porcelain factories.
0:31:06 > 0:31:09- Yes.- That is the dates relating to the painting,
0:31:09 > 0:31:11you've got the hammer and sickle, 1922,
0:31:11 > 0:31:16and when they took over the factories, there were piles of blanks ready for decoration.
0:31:16 > 0:31:20- OK.- So that's why it has a mark of an earlier period, the Tsarist period,
0:31:20 > 0:31:23- plus the marks of the revolutionary period.- OK.
0:31:23 > 0:31:31These come out from the early 1920s and by the end of the '20s, early '30s, they're no longer fashionable
0:31:31 > 0:31:34because Stalin is saying, no, we don't want revolutionary art any more.
0:31:34 > 0:31:38- OK.- So it's a very short period in ceramic history.
0:31:38 > 0:31:42By the nature of the Russians and of this business, these have constantly been copied.
0:31:42 > 0:31:46I've got two at home which are exactly the same... different designs...
0:31:46 > 0:31:53same backing but I know they were made in the 1960s. Therefore they're worth what I paid which is £90 each.
0:31:53 > 0:31:59- OK.- The value of this, and the story, only works if we've got what you told me.
0:31:59 > 0:32:01We know this goes back to 1934,
0:32:01 > 0:32:05there were no fakes being made in the 1930s.
0:32:05 > 0:32:09- OK.- It's the real thing and so to go back to the beginning,
0:32:09 > 0:32:13is it £100 or several thousand pounds, what do you think?
0:32:13 > 0:32:16- Several thousand. - It is several thousand pounds.- OK.
0:32:16 > 0:32:22For every real one of these there will be 100, 1,000 later copies. This is the real thing.
0:32:22 > 0:32:26- OK.- And this is therefore a wonderfully rare moment.
0:32:26 > 0:32:30To see one with that story is just, to me, really great.
0:32:30 > 0:32:32- Thank you very much.- Thank you.
0:32:32 > 0:32:34This butterfly looks as if
0:32:34 > 0:32:37it could really fly out of its case, don't you think?
0:32:37 > 0:32:39- Oh, it could, it's beautiful. - It is beautiful.
0:32:39 > 0:32:44- Lovely piece.- Really fantastic, and do you ever wear it?- No.- Why not?
0:32:44 > 0:32:47It's too pretty, I'd probably break it.
0:32:47 > 0:32:50What do you know about it? Is this inherited or bought or...?
0:32:50 > 0:32:53A family piece, and it was given to me by my granny
0:32:53 > 0:32:57but I believe it was her granny before her, so my great-great-granny
0:32:57 > 0:33:00- and it's been passed down. - That's a lot of grannies.- Yes.
0:33:00 > 0:33:05Been passed down through the female generations and it's come to me.
0:33:05 > 0:33:10Well, it's a gorgeous butterfly, it really is and it's really...
0:33:10 > 0:33:17typical late Victorian diamond butterfly brooch, very naturalistic,
0:33:17 > 0:33:19it's a very, very popular subject.
0:33:19 > 0:33:23I think it was associated with happiness and lightness of being.
0:33:23 > 0:33:24- Yeah.- We call it these days.
0:33:24 > 0:33:29And probably, although it doesn't really work very well any more,
0:33:29 > 0:33:31this would have trembled when you wore it,
0:33:31 > 0:33:35- because there should be a little spring inside here. - Oh, right.
0:33:35 > 0:33:38It would have vibrated gently with every breath,
0:33:38 > 0:33:44which would've been good fun, and very often underneath here there's another little bit, and there is.
0:33:44 > 0:33:47- The hair piece.- So this screws off
0:33:47 > 0:33:52and that screws on and you can wear it in your hair, trembling away,
0:33:52 > 0:33:56catching the light, candlelight, gas light, looking really fantastic.
0:33:56 > 0:33:58Yeah, it's beautiful.
0:33:58 > 0:34:02Because they didn't have any other white metal but silver, the front is all silver
0:34:02 > 0:34:05and the back is all gold like a sort of sandwich,
0:34:05 > 0:34:12complicated to do, and then they drill out little holes and they shape them all out with tiny files
0:34:12 > 0:34:15and set the stones. It's really gorgeous
0:34:15 > 0:34:18and it's really nice it's in its original fitted case from Hancocks.
0:34:18 > 0:34:20Yes.
0:34:20 > 0:34:24Very well known 19th century firm who also make all Victoria Crosses.
0:34:24 > 0:34:29Well, it's a really lovely piece of jewellery and erm...
0:34:29 > 0:34:32They're very much in demand, very sought after...
0:34:32 > 0:34:36especially the genuine ones, which this is, and erm...
0:34:36 > 0:34:38if you had to go out and replace this,
0:34:38 > 0:34:42I think today you'd be looking to pay £8,000 to £10,000.
0:34:42 > 0:34:43Blimey.
0:34:45 > 0:34:47Yes.
0:34:47 > 0:34:50So have you had him on your bed, or have you played with him?
0:34:50 > 0:34:55I played with him when I was a baby, he's just always been part of my life.
0:34:55 > 0:34:57- Really? What's his name?- Teddy.
0:34:57 > 0:35:02Oh, right, very original! Well you've kept him very well, you've looked after him
0:35:02 > 0:35:08because so often they get pulled around and the sawdust, well it becomes sawdust.
0:35:08 > 0:35:10It starts off being long strips of wood inside.
0:35:10 > 0:35:14- Yes.- But the interesting thing about him is, you know he's by Steiff.
0:35:14 > 0:35:17- Yes.- Because he's got his button.
0:35:17 > 0:35:24- His button.- He's got two factors that make him more desirable than other Steiff bears.
0:35:24 > 0:35:30His colour is very, very desirable because the ordinary brown colour, beige colour, is sort of normal
0:35:30 > 0:35:35and then the other factor is that he's got a seam down the middle of his snout
0:35:35 > 0:35:37which is also...
0:35:37 > 0:35:42one in seven gets a seam like that. They have seven bolts of cloth
0:35:42 > 0:35:47that they make up with this fur which they call excelsior...
0:35:47 > 0:35:50and every time they come to the end of the seventh one,
0:35:50 > 0:35:54they have to cut another one in and so you get...
0:35:54 > 0:35:56that's the beginning of the next bolt
0:35:56 > 0:35:58and that's the end of the seventh.
0:35:58 > 0:36:01- Uh-huh.- And so they're known as centre seam bears
0:36:01 > 0:36:04and they're more rare than the others.
0:36:04 > 0:36:06So do you have any idea what he's worth?
0:36:06 > 0:36:10Absolutely none, I've looked up in books but I really don't know.
0:36:10 > 0:36:16There's a lot written about these and of course they are still the king of the teddy bears,
0:36:16 > 0:36:21Steiff in Giengen South Germany, they're still going strong, they're very clever at publicity
0:36:21 > 0:36:25and he's worth around £2,000 to £3,000.
0:36:25 > 0:36:28Really? Thank you.
0:36:28 > 0:36:33- This is the most super, super little mug, it really is.- Really?
0:36:33 > 0:36:40- Where did it come from? - It's my Dad's, it's been in his loft as far as I can remember.
0:36:40 > 0:36:43I know it seems a shame but...
0:36:43 > 0:36:45It does seem a shame. Do you know when it was made?
0:36:45 > 0:36:47No, no idea.
0:36:47 > 0:36:52- We're looking at a mug that was made in about 1700.- Wow.
0:36:52 > 0:36:59- Wow!- Condition is wonderful, colour, everything about it is wonderful.
0:36:59 > 0:37:02- The coat of arms at the front. - Yes, what does that mean?
0:37:02 > 0:37:05Well, it's fascinating because straightaway
0:37:05 > 0:37:08we can tell from that that it was actually made for a woman.
0:37:08 > 0:37:10Oh! How do you know that?
0:37:10 > 0:37:12Because it's in a lozenge.
0:37:12 > 0:37:14Right.
0:37:14 > 0:37:18Now, when women bore arms they couldn't put them in a shield
0:37:18 > 0:37:21- because a shield was considered unseemly.- Right.
0:37:21 > 0:37:25It was an implement of warfare, so female arms are always in lozenges.
0:37:25 > 0:37:29- That's interesting.- We've only got the one mark underneath.
0:37:29 > 0:37:31I was a bit worried about that but...
0:37:31 > 0:37:37Well, you don't need to be actually, maker's mark only at this sort of period is not unusual.
0:37:37 > 0:37:40The maker's mark is actually that of Robert Cooper.
0:37:40 > 0:37:46- Robert Cooper was a goldsmith who started in London in the reign of Charles II.- Right.
0:37:46 > 0:37:49And actually made things like a spitting pot...
0:37:49 > 0:37:52- for Samuel Pepys. - Oh, well that's interesting.
0:37:52 > 0:37:54Right, so...
0:37:54 > 0:38:01it has... And actually the quality with this goldsmith's so chunky
0:38:01 > 0:38:05and oh, it's to die for, it really is.
0:38:05 > 0:38:07I would say at auction today,
0:38:07 > 0:38:12I would have to fight if I was bidding for it
0:38:12 > 0:38:17at maybe up to about...£5,000.
0:38:17 > 0:38:20You're kidding! Dad's going to be pleased.
0:38:20 > 0:38:23- I kid you not. It is an absolute... - For that little thing?
0:38:23 > 0:38:28For that little thing, and boy...I would love it.
0:38:28 > 0:38:30Hands off.
0:38:34 > 0:38:37Do you know, we see so many fake bronzes on the Roadshow
0:38:37 > 0:38:41that my initial reaction when I saw these was that they were fake,
0:38:41 > 0:38:45they are just so beautiful and so perfect, they seemed too good to be true.
0:38:45 > 0:38:49I think I need to know really, from your point of view,
0:38:49 > 0:38:52what the family history is behind them.
0:38:52 > 0:38:55- Well, they belonged to my husband's grandfather.- Right.
0:38:55 > 0:38:57So they've been around for a bit.
0:38:57 > 0:39:02The original perpetrator of these bronzes
0:39:02 > 0:39:06was a famous Austrian factory called Bergman.
0:39:06 > 0:39:10Now, these are cold painted bronzes which means essentially
0:39:10 > 0:39:12that the bronzes are founded
0:39:12 > 0:39:15and then they're cold painted by hand afterwards.
0:39:15 > 0:39:18Now, ordinarily, bronzes of this type,
0:39:18 > 0:39:25and these purport to be circa 1900-ish, maybe 1910-ish,
0:39:25 > 0:39:28they're worn, they're marked, they're knocked around,
0:39:28 > 0:39:29they're just not this pristine.
0:39:29 > 0:39:32- Do they sit in a cabinet at home or anything?- No.
0:39:32 > 0:39:34- They don't. - I dust them occasionally.
0:39:34 > 0:39:37You dust them? What do you use, a feather duster or something?
0:39:37 > 0:39:40- Just a, just a duster.- Right, OK.
0:39:40 > 0:39:43Obviously they're a great pair of hunters...
0:39:43 > 0:39:47We'll call them a pair because they're both similar subjects.
0:39:47 > 0:39:52This one here, which heartens me a bit, has got some damage.
0:39:52 > 0:39:55His rifle is bent.
0:39:55 > 0:39:58I kind of like the idea of his rifle being bent -
0:39:58 > 0:40:02ordinarily I wouldn't, but that kind of helps me
0:40:02 > 0:40:05and it reassures me that perhaps there is some age to it.
0:40:05 > 0:40:11What I can see here is a four-digit number, typical of German bronzes of this type.
0:40:11 > 0:40:14They have a four-digit number, almost like a catalogue number.
0:40:14 > 0:40:19Interestingly enough, Bergman often signed their bronzes "Namgreb",
0:40:19 > 0:40:22that's "Bergman" backwards, or they'll be marked with "geschutz"
0:40:22 > 0:40:25and a Bergman foundry mark.
0:40:25 > 0:40:27It could be hidden anywhere
0:40:27 > 0:40:33and... Aha! Look at this, hold on a sec.
0:40:33 > 0:40:35On the bottom of this bird's tail...
0:40:36 > 0:40:38is a mark, can you see that there?
0:40:38 > 0:40:41Look, it's hidden in the feathers.
0:40:41 > 0:40:43Hold on one second...
0:40:47 > 0:40:48and it says "geschutz"!
0:40:50 > 0:40:52That's very heartening.
0:40:55 > 0:40:59Let's look...ah, there's one on the other bird as well, look.
0:40:59 > 0:41:01It says...
0:41:01 > 0:41:04"geschutz" and...
0:41:04 > 0:41:07it's got the Bergman foundry mark on it.
0:41:07 > 0:41:10I can't tell you how happy that makes me.
0:41:10 > 0:41:13Well, Marc, I've had those for a long time and I've never noticed.
0:41:13 > 0:41:16Well, I don't think you would easily notice
0:41:16 > 0:41:20because those are so well concealed on the bird's feathers there
0:41:20 > 0:41:23that they're actually almost part of the plumage.
0:41:23 > 0:41:27Value is difficult because the thing is, when something this exceptional
0:41:27 > 0:41:30in terms of its condition, comes to the market place,
0:41:30 > 0:41:34it's almost impossible to put a very accurate price on.
0:41:34 > 0:41:36Would you be surprised to know
0:41:36 > 0:41:40that a sort of fairly worn example in a quite reasonable condition
0:41:40 > 0:41:43with perhaps a couple of small bends on the birds and things,
0:41:43 > 0:41:49would probably be worth in the region of about £2,000 per figure.
0:41:49 > 0:41:55£2,000 per figure, so to start off with you've got £4,000 worth of bronze sitting here.
0:41:55 > 0:41:59Now let's look at the wider picture, we've now...
0:41:59 > 0:42:01- With the bent gun? - Sorry?- With the bent gun?
0:42:01 > 0:42:04Forget the bent gun, I mean, to be honest with you,
0:42:04 > 0:42:08that's inconsequential, we'll leave the gun bent and not worry about it.
0:42:08 > 0:42:11I think they're in such exceptional condition,
0:42:11 > 0:42:18I don't think I have any hesitation in putting £7,000 to £10,000 on this pair of bronzes.
0:42:19 > 0:42:22- Is that a surprise to you?- Yes, yes.
0:42:22 > 0:42:25- You haven't got any more at home, have you?- Just the one.
0:42:25 > 0:42:27- What do you mean, just the one? - The one...
0:42:27 > 0:42:31- a man in a te... - A man in a tent?- Yes.
0:42:31 > 0:42:34- Is it the light up one with the carpets?- That's it.
0:42:34 > 0:42:39- £3,000 to £5,000.- Ooh. - £3,000 to £5,000.
0:42:39 > 0:42:42- Well, I'll treat him with more respect then.- Do you not like him?
0:42:42 > 0:42:44- No.- Why not?
0:42:45 > 0:42:47- Do you like these?- No.
0:42:47 > 0:42:49No? Do you like them any more now?
0:42:49 > 0:42:51Oh, well, you know.
0:42:51 > 0:42:54I know value isn't everything but at the end of the day
0:42:54 > 0:42:59you have two of the most perfect Bergman bronzes I have ever seen.
0:42:59 > 0:43:02They're absolutely exceptional
0:43:02 > 0:43:05- and you've absolutely made my day, thank you.- Thank you very much.
0:43:07 > 0:43:10I've just been browsing through this useful little booklet
0:43:10 > 0:43:13about the history of Aberdeen's Music Hall.
0:43:13 > 0:43:18They've had some big names here: Charles Dickens, Jenny Lind - the Swedish nightingale,
0:43:18 > 0:43:25the great Paul Robeson, Alma Cogan, Des O'Connor and a group called The Chinese Ambidextrous Jugglers.
0:43:25 > 0:43:27Not all on the same night, of course!
0:43:27 > 0:43:31And the stars of today's show... the people of Aberdeen,
0:43:31 > 0:43:35and now from the Granite City, goodbye.