0:00:38 > 0:00:41We've come back to one of the Roadshow's most impressive venues -
0:00:41 > 0:00:45Arundel Castle, home of the Duke and Duchess of Norfolk.
0:00:45 > 0:00:48They've opened their doors to us before, so we know what to expect.
0:00:48 > 0:00:50Beginners, please.
0:00:52 > 0:00:55It still smells of seaweed. Why's that?
0:00:55 > 0:00:59It was actually covered with seaweed and full of silt when I found it
0:00:59 > 0:01:03- on the beach last week.- Oh, right.
0:01:03 > 0:01:04And I was out fishing at the time,
0:01:04 > 0:01:08came across this, and I thought it was just a clump of seaweed on a rock
0:01:08 > 0:01:10and when I actually looked under it,
0:01:10 > 0:01:13it was covered with silt up to about that area.
0:01:13 > 0:01:17- Right. And then you saw there was a handle and...- And everything else.
0:01:17 > 0:01:21- Great jug! So where was this beach? - In Littlehampton.
0:01:21 > 0:01:24Off the seafront at Littlehampton.
0:01:24 > 0:01:26Right, well, did you know what you'd found?
0:01:26 > 0:01:29I knew it was some sort of jug, but I thought it was...
0:01:29 > 0:01:33- I thought it was a special garden feature.- Yeah?- But, er...
0:01:33 > 0:01:36But actually what you've found is a medieval jug.
0:01:36 > 0:01:40- Right.- We're looking at a piece here that dates from the 14th century.
0:01:40 > 0:01:42- That early?- That early, yes.
0:01:42 > 0:01:45Made probably in Surrey.
0:01:45 > 0:01:47What you've got here is some painted decoration,
0:01:47 > 0:01:51- which is very distinctive of these English medieval jugs.- Right.
0:01:51 > 0:01:54And because of its sheer size when full, to help use it,
0:01:54 > 0:01:58they've put a little spout on there, which is always a nice feature.
0:01:58 > 0:02:00Underneath the barnacles, which I'm sure will clean up,
0:02:00 > 0:02:03you've got a typical bib of green glaze.
0:02:03 > 0:02:05That is glaze, is it? It's not seaweed or anything?
0:02:05 > 0:02:08The green colour is natural glaze.
0:02:08 > 0:02:09- Right.- This is barnacles and things
0:02:09 > 0:02:12but there's the green glaze of a Surrey type.
0:02:14 > 0:02:18- So it's actually local?- Pretty well local.- Pretty well local.
0:02:18 > 0:02:21Yes, and it's pretty damaged but,
0:02:21 > 0:02:24even so, I think after a bit of repair and, and work,
0:02:24 > 0:02:27a jug like this is going to be...
0:02:27 > 0:02:31- somewhere between £1,000 and £2,000. - That much?
0:02:32 > 0:02:36- That's not bad at all.- Just to think where it's been all that time.
0:02:38 > 0:02:42- This heavy clock - somebody brought it in for you earlier.- Yes.
0:02:42 > 0:02:46So I've had a chance to have a sneak preview, thank goodness, because
0:02:46 > 0:02:50it doesn't play very well, but it appears to play God Save the Queen,
0:02:50 > 0:02:53- or the King. Is that your...? - It does, yes.
0:02:53 > 0:02:56Right. So, it's a bit of a mystery, to be honest with you.
0:02:56 > 0:02:58The dial is wrong.
0:02:58 > 0:03:01Mr Fisher, Fisher and Sons, exist...
0:03:01 > 0:03:05They were working 1790-1810 and that's probably fairly perfect
0:03:05 > 0:03:09for this clock, which was just around the end of the 18th century,
0:03:09 > 0:03:14beginning of the 19th century. But the dial has been changed.
0:03:14 > 0:03:17- OK.- And I think, if you look at it
0:03:17 > 0:03:20and you look at the beautiful engraving and piercing
0:03:20 > 0:03:23of this fretwork and then you look at that dial centre...
0:03:23 > 0:03:25- Right.- It doesn't cut it, does it?
0:03:25 > 0:03:27It's a bit crude.
0:03:27 > 0:03:30It might have been a painted dial.
0:03:30 > 0:03:33- Right, yeah.- And somebody, perhaps 50 years ago, has thought,
0:03:33 > 0:03:37"No, I'm not going to repaint it, I'll make a brass dial to fit."
0:03:37 > 0:03:41- Right. OK.- And I think that's what's happened.- Right.
0:03:44 > 0:03:46So, I have never seen a clock,
0:03:46 > 0:03:50to my knowledge... I know it plays several tunes...
0:03:50 > 0:03:52that appears to play the National Anthem.
0:03:52 > 0:03:55- OK.- And we adopted the National Anthem, apparently,
0:03:55 > 0:03:59sometime after the 1750s.
0:04:03 > 0:04:05MUSIC: "God Save The King"
0:04:15 > 0:04:18- You're right... - CLOCK CHIMES
0:04:18 > 0:04:20..it is "God Save The King",
0:04:20 > 0:04:24as it would have been at this time, George III on the throne,
0:04:24 > 0:04:28played on a series of bells with quite an elaborate sort of tune.
0:04:28 > 0:04:31But as I've already said, I've never seen that before.
0:04:31 > 0:04:35Now, when you look at the movement, and I won't go into any real detail,
0:04:35 > 0:04:36the style of the engraving,
0:04:36 > 0:04:40the signature which we can just make out behind the bell here,
0:04:40 > 0:04:44that's all perfectly OK, and it reinforces what I've said before -
0:04:44 > 0:04:45you've got a very fine case,
0:04:45 > 0:04:49a very nice movement, beautifully finished,
0:04:49 > 0:04:52and this rather crude dial.
0:04:52 > 0:04:55So I think...I'm afraid I'm going to have to say conclusively
0:04:55 > 0:04:58that that was probably white-painted,
0:04:58 > 0:05:02the painting fell apart, and they've changed it to brass.
0:05:02 > 0:05:05And to be honest with you, if it was mine,
0:05:05 > 0:05:07I think I'd be tempted to repaint the dial.
0:05:07 > 0:05:10But, sorry, I haven't asked you where you got it.
0:05:10 > 0:05:16It was given to my great uncle, apparently from a titled lady
0:05:16 > 0:05:20who came from Plymouth, but I've no other history to it.
0:05:20 > 0:05:23OK. Value-wise, despite the dial,
0:05:23 > 0:05:27which I think would be quite easily spotted,
0:05:27 > 0:05:31it's probably worth something of the order of...
0:05:31 > 0:05:34£5,000...
0:05:34 > 0:05:37- even with the dial changed.- Right.
0:05:37 > 0:05:41- It's got a certain appeal. - Very good.
0:05:45 > 0:05:47This I like,
0:05:47 > 0:05:49and I like it particularly
0:05:49 > 0:05:54- because it's not what one might expect it to be.- Mm.
0:05:54 > 0:06:00- Now what it is, is Japanese so-called Satsumaware.- Yes.
0:06:00 > 0:06:05And it would date from around the end of the 19th, early 20th century.
0:06:05 > 0:06:08- Yes.- I don't know if you've got any knowledge of...
0:06:08 > 0:06:12- Yes, our grandfather was going to Japan at that time.- Was he?
0:06:12 > 0:06:14So I should think that's it, yes.
0:06:14 > 0:06:18He was in Liverpool, London and Globe Insurance.
0:06:18 > 0:06:20He was the general manager
0:06:20 > 0:06:23- and he travelled to Japan all the time on business.- Ah.
0:06:23 > 0:06:27Well, what you might have expected it to be
0:06:27 > 0:06:30is by one of the great makers of Satsuma...
0:06:30 > 0:06:34Kinkozan, Yabu Meizan or Ryozan.
0:06:34 > 0:06:36- Yes.- But it ain't.
0:06:36 > 0:06:41- No.- It's by somebody one has seen before but doesn't see very often,
0:06:41 > 0:06:44- and his name is here.- Yes.
0:06:44 > 0:06:46Unzan.
0:06:46 > 0:06:49- Unzan actually means "cloudy mountain".- Mm.
0:06:49 > 0:06:53- And then you've got the Satsuma mon up here.- Yes.
0:06:53 > 0:06:56And Kyoto. So it's not actually Satsuma,
0:06:56 > 0:07:00it's Kyoto, and actually many of the Satsuma factories were in Kyoto.
0:07:00 > 0:07:05- Yes.- It's decorated, breathtakingly,
0:07:05 > 0:07:10with scenes of warriors in a landscape
0:07:10 > 0:07:14and a panel here of a painter.
0:07:14 > 0:07:18- He's painted this screen of a dragon.- Yes.
0:07:18 > 0:07:22- And all the characters are coming to life.- Ah. Fascinating.
0:07:22 > 0:07:24- Yeah, that's what's going on here. - I see, yeah.
0:07:24 > 0:07:28And it's separated by this fantastic dragon here.
0:07:28 > 0:07:30- Dragon, yes.- But the bit I love...
0:07:30 > 0:07:35These spuming waves are just magical,
0:07:35 > 0:07:39absolutely superbly done. Now...
0:07:39 > 0:07:43- I didn't notice. I didn't look at it closely enough.- You haven't?
0:07:43 > 0:07:46Well, people don't, you know, nobody looks at their own objects.
0:07:46 > 0:07:48Where does it sit at home?
0:07:48 > 0:07:51It usually sits on a bookcase in the sitting room.
0:07:51 > 0:07:54OK, and who dusts it?
0:07:55 > 0:07:59- We do.- Seldom.- Right, ah, that's what I want to hear.
0:07:59 > 0:08:01Seldom dusting is what I like.
0:08:01 > 0:08:05- No cats?- No!- No pussy cats, no.
0:08:05 > 0:08:08I mean it is in stonkingly good condition
0:08:08 > 0:08:11- and it's a wonderful vase.- Yes.
0:08:11 > 0:08:14And I think it would probably make around...
0:08:14 > 0:08:16£2,000 to £4,000.
0:08:16 > 0:08:19- Would it really? My goodness, yes.- Wonderful!
0:08:19 > 0:08:22- Thank you.- Thank you. - Thank you so much.
0:08:25 > 0:08:27Reading these articles,
0:08:27 > 0:08:31it's quite clear that this picture scares some people rigid.
0:08:31 > 0:08:35Yes, it does, indeed. I mean, it scared a few of our friends.
0:08:35 > 0:08:37When we moved house,
0:08:37 > 0:08:41and friends came to the house, our friends said,
0:08:41 > 0:08:44"You've got that man here again."
0:08:44 > 0:08:47Friends do think that his eyes do follow them, definitely.
0:08:47 > 0:08:48And you think it might also be haunted.
0:08:48 > 0:08:50- Yes, I do.- Because certainly the
0:08:50 > 0:08:53- information that you've handed me suggests that he is.- Yes.
0:08:53 > 0:08:54But before we come to that,
0:08:54 > 0:08:58let's talk about the man himself. Do you know anything about him?
0:08:58 > 0:09:00Yes, his name's John Whiteley,
0:09:00 > 0:09:03but he's otherwise known as John Almighty.
0:09:03 > 0:09:09And you can see here that he's the lynx-eyed thief-catcher general...
0:09:09 > 0:09:11And...yes, indeed.
0:09:11 > 0:09:14For Halifax in 1832.
0:09:14 > 0:09:18His followers at the time painted this painting for him.
0:09:18 > 0:09:22He was a local dignitary, a local landlord.
0:09:22 > 0:09:24He married the local landlady
0:09:24 > 0:09:28of The Star public house in Sowerby Bridge in West Yorkshire.
0:09:28 > 0:09:33- He started up a preaching group within the pub.- Nice one!- Yeah.
0:09:33 > 0:09:36- So, pulled pints and gave religion! - And a religious preacher as well.
0:09:36 > 0:09:40But the picture has a little bit of a past
0:09:40 > 0:09:43and it worries people and it haunts people.
0:09:43 > 0:09:45- Have you been haunted by it yourself, did you say?- We have.
0:09:45 > 0:09:49When it hung in our Yorkshire cottage my husband and I were downstairs
0:09:49 > 0:09:54and recently had our daughter who was three months old asleep in bed,
0:09:54 > 0:09:57well, in her cot, and we had the baby monitor on.
0:09:57 > 0:10:02Everything was very quiet and suddenly we heard Brahms' Lullaby
0:10:02 > 0:10:07being sung over the monitor, and I was really quite frightened.
0:10:07 > 0:10:10- I bet you were.- I sent my husband immediately up the stairs,
0:10:10 > 0:10:12I couldn't go up myself,
0:10:12 > 0:10:15and I said, "I'll just stay down here and continue to listen,"
0:10:15 > 0:10:19and the moment he got to the top of the stairs, it stopped.
0:10:19 > 0:10:23I tiptoed and got to the very top stair opposite the bedroom,
0:10:23 > 0:10:29and, as my foot touched the landing, the music stopped immediately.
0:10:29 > 0:10:31- That's spooky.- It was spooky.
0:10:31 > 0:10:33And reading the articles back here
0:10:33 > 0:10:35about the history of the picture, when it used to hang in the pub,
0:10:35 > 0:10:38- clearly it's got a haunted past as well.- It has.
0:10:38 > 0:10:41Oh, yes, yeah. There are newspaper clippings there
0:10:41 > 0:10:47from the 1950s and this is when the locals starting hearing songs
0:10:47 > 0:10:49mysteriously coming about.
0:10:49 > 0:10:52- Much like your experience. - Much like ours.- Yes.
0:10:52 > 0:10:54Well, this is fascinating.
0:10:54 > 0:10:57I reckon there's a reason why people think it's haunted, although having
0:10:57 > 0:11:01said that, when I touched the glass earlier on, the glass broke.
0:11:01 > 0:11:04- It did.- It did. - Haunted or what?- Must be.
0:11:06 > 0:11:08About this time, portraiture is very formal,
0:11:08 > 0:11:11we're talking about the 1830s and '40s.
0:11:11 > 0:11:15Regency glamour is beginning to subside and it's very stiff,
0:11:15 > 0:11:17but here we've got a meritocrat,
0:11:17 > 0:11:20someone who's not part of society as we know it,
0:11:20 > 0:11:25he's a concentrated eccentric, one might say a brilliant weirdo,
0:11:25 > 0:11:29so it's allowed the portrait painter, who is no great painter,
0:11:29 > 0:11:32- let's face it...- No.- And the condition is not great either.
0:11:32 > 0:11:36It's a primitive work but it's allowed a little bit of chuckle,
0:11:36 > 0:11:41a bit of mirth, and as a result, the character presents itself,
0:11:41 > 0:11:43it almost exudes a bit more.
0:11:43 > 0:11:47Eyes following you round the room... You've heard of that, we all have.
0:11:47 > 0:11:51- Yes.- This is the type of picture, because the artist is not working
0:11:51 > 0:11:54within the harness of society, that sort of reaches you.
0:11:54 > 0:11:56It doesn't surprise me at all
0:11:56 > 0:11:59that this has got a haunted past, or a haunted association.
0:11:59 > 0:12:01It's an unusually characterful work
0:12:01 > 0:12:05by a primitive painter who hasn't any of the constraints
0:12:05 > 0:12:08that society portrait painters normally suffer from.
0:12:08 > 0:12:13Presented with that history, in that frame, with all those ghosts
0:12:13 > 0:12:17batting around the place, I'd value it at around about £2,500.
0:12:17 > 0:12:21- Thank you very much.- Yes, OK.
0:12:22 > 0:12:27This is a fantastic example of modern political correctness
0:12:27 > 0:12:31allied to Victorian commercial expediency.
0:12:31 > 0:12:34- Really?- I'll explain all this later, but what do you know about it?
0:12:34 > 0:12:40Well, my grandmother purchased it in a junk shop
0:12:40 > 0:12:42in Greenwich in the early 1920s.
0:12:42 > 0:12:44Right, I imagine that was a good hunting ground.
0:12:44 > 0:12:47I would think it was a very good hunting ground,
0:12:47 > 0:12:49and she didn't know what was inside it.
0:12:49 > 0:12:52You obviously know what's inside,
0:12:52 > 0:12:56I've obviously had a quick look, but let's look together.
0:12:56 > 0:12:58And it is spectacular!
0:12:58 > 0:13:01Row upon row
0:13:01 > 0:13:05of tiny butterflies with identification numbers,
0:13:05 > 0:13:08graduating down
0:13:08 > 0:13:14to larger butterflies - wonderful colour, wonderful condition...
0:13:16 > 0:13:19..to the bottom drawer with the largest of all.
0:13:19 > 0:13:20Now, why I say
0:13:20 > 0:13:23it's politically correct is, of course, they're not butterflies.
0:13:23 > 0:13:25They're made of paper,
0:13:25 > 0:13:30they are not actual butterflies, and these were taken from a book
0:13:30 > 0:13:35printed in England in the middle of the 19th century, about 1850-1855,
0:13:35 > 0:13:38of British butterflies and moths.
0:13:38 > 0:13:41They were cut out of the book and coloured after.
0:13:41 > 0:13:43- They're lithographs. - Oh, my goodness.
0:13:43 > 0:13:46So it's English book printing paper.
0:13:46 > 0:13:50- Oh, right.- With a lithograph print and later hand-coloured.
0:13:50 > 0:13:55So some enterprising entrepreneur somewhere had these books
0:13:55 > 0:13:58or had the pages printed and was able to supply any number
0:13:58 > 0:14:01of aspiring Victorian gentleman naturalists
0:14:01 > 0:14:05without having to go to the trouble of finding butterflies.
0:14:05 > 0:14:09The case that it's in is also English but it's decorated to look
0:14:09 > 0:14:12- like a Japanese lacquer casket. - Yes.
0:14:12 > 0:14:16Because so many of the painted butterflies were Oriental,
0:14:16 > 0:14:18on rice paper, and it's quite
0:14:18 > 0:14:22a common decorative and fashionable finish
0:14:22 > 0:14:24of the period. It's charming.
0:14:24 > 0:14:28My guess is that to a decorative antiques dealer it's worth somewhere
0:14:28 > 0:14:31- in the region of £800.- Really?
0:14:31 > 0:14:33Might try and sell it for a bit more, but not a lot.
0:14:33 > 0:14:37No.
0:14:37 > 0:14:38I think one of those bits of
0:14:38 > 0:14:41information that everybody has in school days - I certainly did,
0:14:41 > 0:14:42and I'm sure you did - is that
0:14:42 > 0:14:45penicillin was discovered by Alexander Fleming.
0:14:45 > 0:14:47- Yes, very much so. - Graham Bell did the telephone.
0:14:47 > 0:14:49- Yes.- And Fleming did penicillin.
0:14:49 > 0:14:53But this material all seems to relate to Fleming,
0:14:53 > 0:14:56so where do you fit into the Fleming story?
0:14:56 > 0:15:02Well, my father went to work directly from school at the tender age of 14
0:15:02 > 0:15:05in the Inoculation Department of St Mary's Hospital,
0:15:05 > 0:15:11- where Fleming was working too, as a bacteriological researcher.- Right.
0:15:11 > 0:15:15And my father stayed there until he retired in 1967.
0:15:15 > 0:15:17So what date did he join?
0:15:17 > 0:15:19It would have been in 1921.
0:15:19 > 0:15:22Right, at a very early age indeed.
0:15:22 > 0:15:26- Just before penicillin was discovered.- Right.
0:15:26 > 0:15:31- Penicillin, I think, is 1928 or something?- That's right, yes.
0:15:31 > 0:15:34So he was actually there when this great discovery was made?
0:15:34 > 0:15:37Initially very much as a general boy, cleaning and that sort of thing,
0:15:37 > 0:15:41but in due course, he qualified as a medical laboratory technician...
0:15:41 > 0:15:44- Yes.- And he became a technical assistant to Fleming.
0:15:44 > 0:15:47And did he talk about that moment of discovery?
0:15:47 > 0:15:48Well, I don't think he was so
0:15:48 > 0:15:51much conscious at that time, he was still fairly young,
0:15:51 > 0:15:55but it did become part of his life after that.
0:15:55 > 0:15:57So it wasn't a "eureka" moment?
0:15:57 > 0:15:58I don't think so. Well even for
0:15:58 > 0:16:02Fleming it wasn't, really, because it wasn't recognised for about 10 years.
0:16:02 > 0:16:03- Yes.- It was very difficult to
0:16:03 > 0:16:07extract the penicillin from the mould itself that produced the penicillin.
0:16:07 > 0:16:12- Right.- And initially they could only produce little odd amounts,
0:16:12 > 0:16:16just enough to experiment on terminal patients, and so that,
0:16:16 > 0:16:18at least, did have some effect.
0:16:18 > 0:16:22- So which is Fleming? - Fleming is here.
0:16:22 > 0:16:24- Is your father in this? - No, this is just the doctors.
0:16:24 > 0:16:27- Because he was too junior? - Very much so.
0:16:27 > 0:16:29- He didn't make the cut?- No. - So, that's Fleming?
0:16:29 > 0:16:32- That's Fleming.- OK. And this is Fleming again, isn't it?
0:16:32 > 0:16:35This is a portrait, actually endorsed
0:16:35 > 0:16:38in original by Fleming to my father.
0:16:38 > 0:16:40That's - "To Dan, with best wishes".
0:16:40 > 0:16:44- Yes.- So, it was a sort of acknowledgement of his help?
0:16:44 > 0:16:46- Oh, very much so, yes.- Very much so.
0:16:46 > 0:16:53I have an original mould here which is endorsed by Fleming on the back.
0:16:53 > 0:16:57- Hang on, so this is the culture? - That is what the mould looks like.
0:16:57 > 0:16:59Fleming was a very untidy man.
0:16:59 > 0:17:03And he used to experiment on what are called Petri dishes,
0:17:03 > 0:17:04and he went off on holiday one day
0:17:04 > 0:17:08leaving a large quantity of these lying around unwashed.
0:17:08 > 0:17:09And when he came back, he happened
0:17:09 > 0:17:12to look at them and he found that several of them had got odd moulds
0:17:12 > 0:17:16something like this on them, and all around the bacteria had been cleared.
0:17:16 > 0:17:19- So it was pure chance? - It was pure chance.
0:17:19 > 0:17:23Now, I think we all know the impact of penicillin really, was in WWII.
0:17:23 > 0:17:27- Very much so.- I mean suddenly, ghastly wounds, gunshot wounds
0:17:27 > 0:17:30- and so on, could be cured.- Yes.
0:17:30 > 0:17:33"The mould that produced penicillin, Alexander Fleming 1951".
0:17:33 > 0:17:35- That's correct. - So this must be a very rare thing?
0:17:35 > 0:17:37It is a very rare thing.
0:17:37 > 0:17:41- One was sold at auction for £20,000. - Good God!
0:17:41 > 0:17:44I'm fully aware that with auctions it's up and down,
0:17:44 > 0:17:47- you need two people... - I think all we can say
0:17:47 > 0:17:50- is that it's a very valuable, very rare item.- Yes.
0:17:50 > 0:17:52And if you were concerned with medical history,
0:17:52 > 0:17:54a piece of the original culture,
0:17:54 > 0:17:59endorsed by Fleming, it must be the gold bar - there is nothing like it.
0:17:59 > 0:18:02- Are you keeping it?- Yes.- Good.
0:18:02 > 0:18:04We were thinking of selling, but my son said,
0:18:04 > 0:18:06- "You will not!" - I think he's got the right idea.
0:18:06 > 0:18:09So thank you, tell him to hang on to it, this is great history.
0:18:09 > 0:18:12- Yes, that's right. - Thank you very much.- Thank you.
0:18:15 > 0:18:19Do you know, I'm tempted to describe this classical female
0:18:19 > 0:18:21as a fine figure of a woman.
0:18:21 > 0:18:23Yes, I'm sure.
0:18:23 > 0:18:25And she's actually looking into
0:18:25 > 0:18:28a mirror and I can see from this side, it actually is a mirror.
0:18:28 > 0:18:31- I know.- Incredible! But the detail is fabulous.
0:18:31 > 0:18:35So it begs the question - how long has she been reflecting,
0:18:35 > 0:18:39and is she a member of your family for some time?
0:18:39 > 0:18:42Well, I've grown up with it really,
0:18:42 > 0:18:46and when my grandmother died, the ornaments were dispersed.
0:18:46 > 0:18:49- Yes.- And I got these two. - You lucky lady.- I'm very lucky.
0:18:49 > 0:18:50Very lucky lady.
0:18:50 > 0:18:54From an anatomical point of view, she's very, very well carved.
0:18:54 > 0:18:57- Isn't she?- It's, you know, taking the figure into account,
0:18:57 > 0:18:59she's patinated bronze,
0:18:59 > 0:19:01which is in lovely condition,
0:19:01 > 0:19:05and the ivory is good also. These figures, their value is affected
0:19:05 > 0:19:07by cracks that often appear,
0:19:07 > 0:19:11so be careful with air conditioning and suchlike.
0:19:11 > 0:19:15But it's a bit of a compromise, as you've got this classical maiden,
0:19:15 > 0:19:19and then you've got this fabulous Art Deco base.
0:19:19 > 0:19:21So we're obviously talking 1930s
0:19:21 > 0:19:26with something like this, and it's in Brazilian green onyx, OK?
0:19:26 > 0:19:28Now I can't pretend to be psychic,
0:19:28 > 0:19:33- but if there's a signature on this piece - and there is?- Yes, there is.
0:19:33 > 0:19:37- OK. I bet your life it says "F Preiss".- Yes, yes!
0:19:37 > 0:19:39- Ferdinand Preiss.- You're on.
0:19:39 > 0:19:43Well, she's a fine looking lady and she's probably going to be worth
0:19:43 > 0:19:47somewhere in the region of around about £4,000 or £5,000.
0:19:47 > 0:19:51- Really?- Nothing to you people in Arundel, nothing to you people in Arundel!
0:19:51 > 0:19:55But as much as I like this girl, I like the twins.
0:19:55 > 0:19:57Now let's have a look at this clock,
0:19:57 > 0:20:01because this is where we've got a connection between this catalogue,
0:20:01 > 0:20:04which is for Phillips and McConnell,
0:20:04 > 0:20:07who were the fine art galleries in New Bond Street.
0:20:07 > 0:20:13But just looking through, I had a sneaky look and I noticed
0:20:13 > 0:20:16that here, we've got a very similar clock.
0:20:16 > 0:20:21Not identical but, I mean, I think obviously you had a choice of dial,
0:20:21 > 0:20:25but the geometry of the thing is an absolute joy, isn't it?
0:20:25 > 0:20:29But having looked at this, as I say, I can't find a signature,
0:20:29 > 0:20:33so we're looking at Ferdinand Preiss here,
0:20:33 > 0:20:36but here we've got nothing to go by, but...
0:20:36 > 0:20:41I make a bee line for the feet, and I check out...
0:20:41 > 0:20:44I could have been a podiatrist in a previous life, because
0:20:44 > 0:20:49you check out for the toenails, and they're so exquisitely carved.
0:20:49 > 0:20:53And I'm looking at the faces and the technique with the eyes is very,
0:20:53 > 0:20:56very similar to the work of Preiss.
0:20:56 > 0:21:00I can't see this being anybody else at the moment but Ferdinand Preiss.
0:21:00 > 0:21:02Who was he? Who was Ferdinand Preiss?
0:21:02 > 0:21:06He was quite an interesting character.
0:21:06 > 0:21:10He was basically taking an art that had been established
0:21:10 > 0:21:14in Germany and in Bavaria, in the way of ivory carving
0:21:14 > 0:21:18throughout centuries, really bringing it up to date.
0:21:18 > 0:21:21I mean, you would find that the characters were
0:21:21 > 0:21:23usually so typical of their age.
0:21:23 > 0:21:25These girls, they've got bobbed hair,
0:21:25 > 0:21:29so they've got to be sort of 1925-1930 flappers.
0:21:29 > 0:21:33By the same token he would often do sort of very Aryan-type subjects,
0:21:33 > 0:21:36so you might get sportsmen, tennis players, javelin throwers...
0:21:36 > 0:21:41You might even get Amy Johnson, the great aviator of the age.
0:21:41 > 0:21:44So the great thing about these figures is they reflect the period.
0:21:44 > 0:21:49- You know, from 100 yards away, this is Art Deco, isn't it?- Yes.
0:21:49 > 0:21:53So I think you get a double whammy with the clock -
0:21:53 > 0:21:57you get a functional object and you get two very lithe ladies.
0:21:57 > 0:22:02So I wouldn't be surprised to see that being estimated somewhere
0:22:02 > 0:22:08- in the region of around about £6,000 to £8,000.- Wow!
0:22:08 > 0:22:10Great man, good name.
0:22:10 > 0:22:13The minute I saw these lovely milky vellum bindings,
0:22:13 > 0:22:17with their original ties, I knew we were in for a bit of fun.
0:22:17 > 0:22:21Nobody could do a title page as well as that.
0:22:21 > 0:22:27And this is Beowulf and it's designed by Burne-Jones
0:22:27 > 0:22:30for William Morris, the Kelmscott Press.
0:22:30 > 0:22:32And we've got two Kelmscott Press books
0:22:32 > 0:22:34here in absolutely superb condition.
0:22:34 > 0:22:36Where did you get them from?
0:22:36 > 0:22:40I got them from my godfather, who left them to me in his will.
0:22:40 > 0:22:42He'd only had them three years.
0:22:42 > 0:22:45He bought them as an investment and then he died,
0:22:45 > 0:22:49and left them to my wife and me, and we've treasured them ever since.
0:22:49 > 0:22:52And, knowing that they are,
0:22:52 > 0:22:56I would say, unique, we've been very reluctant to open them
0:22:56 > 0:23:00unless we really had to, because of the fear of damage, even fingers.
0:23:00 > 0:23:03Oh, yes, absolutely. Fabulous, fabulous.
0:23:03 > 0:23:05- Isn't it wonderful? - Absolutely fabulous.
0:23:05 > 0:23:08- And printed in colours too. - All in colour.
0:23:08 > 0:23:09Red and blue and black,
0:23:09 > 0:23:13- but it's so unusual to have the original ties.- Indeed.
0:23:13 > 0:23:15You're very fortunate that we have.
0:23:15 > 0:23:18- Why?- Well, that one in particular,
0:23:18 > 0:23:22the ties are getting a little tatty,
0:23:22 > 0:23:25and my wife was tempted to replace them.
0:23:25 > 0:23:28I don't believe it! You can't go round doing things like that.
0:23:28 > 0:23:31- The original ties - I mean, that's incredible.- Well, all is well,
0:23:31 > 0:23:34because she was dissuaded from doing so
0:23:34 > 0:23:36and here they are in mint condition, I hope.
0:23:36 > 0:23:39Absolutely fantastic. So we've got Beowulf here.
0:23:39 > 0:23:42- Beowulf there.- And this one is signed by William Morris.- Indeed.
0:23:42 > 0:23:43And show me the title page of that one.
0:23:43 > 0:23:45This is Love Is Enough.
0:23:47 > 0:23:50There it is, quite simply, Love Is Enough, or -
0:23:50 > 0:23:55The Freeing of Pharamond: A Morality, written by William Morris.
0:23:55 > 0:23:59Yes, it's absolutely superb. Well, I think that's fantastic.
0:23:59 > 0:24:02- Now, what about value? - Oh! Heaven only knows!
0:24:02 > 0:24:07We treasure them, but I wouldn't have the foggiest idea where to start.
0:24:07 > 0:24:11Well, I think this one, this one which is actually
0:24:11 > 0:24:14by William Morris but not signed,
0:24:14 > 0:24:19is going to be the best part of £800 to £900,
0:24:19 > 0:24:23whereas this one, which is signed by William Morris
0:24:23 > 0:24:25and has all the same characteristics
0:24:25 > 0:24:29as all his books have, is going to be in the region of £1,500.
0:24:29 > 0:24:33Wow! Well, I think my insurer is in for a headache.
0:24:33 > 0:24:35Don't tell him, don't tell him!
0:24:39 > 0:24:45Not one, not two, but three car mascots.
0:24:45 > 0:24:46It's rather like the bus, isn't it?
0:24:46 > 0:24:51You can wait for an hour and then suddenly three come along.
0:24:51 > 0:24:55And three separate owners for three separate mascots.
0:24:55 > 0:24:57Well, let's start with the bird.
0:24:57 > 0:24:59- That's mine.- Tell me about it.
0:24:59 > 0:25:02Well, I know very little about it.
0:25:02 > 0:25:06I gained custody of it when my husband and I split up,
0:25:06 > 0:25:09so I'm very interested to know a bit more about it.
0:25:09 > 0:25:13OK, well, the thing they have in common, these car mascots,
0:25:13 > 0:25:16is this huge circular button.
0:25:16 > 0:25:20You haven't got the radiator cap into which this screws,
0:25:20 > 0:25:24but the other two illustrate exactly how that would have happened.
0:25:24 > 0:25:27But it also means that we can see that there is a bit of chipping
0:25:27 > 0:25:30on here, which we have to take into account when it comes to valuing.
0:25:30 > 0:25:33Sadly, some of that chipping
0:25:33 > 0:25:36actually eats into the name of the maker.
0:25:36 > 0:25:39And the other thing they all have in common
0:25:39 > 0:25:41is they are all by the same maker.
0:25:41 > 0:25:43Now tell me about yours, because yours is the frog?
0:25:43 > 0:25:47I was working on this house and the lady said,
0:25:47 > 0:25:49"Clear out the sheds."
0:25:49 > 0:25:53And I cleared them out, so it's been in the garage.
0:25:53 > 0:25:56And you've kept the original radiator cap?
0:25:56 > 0:26:00Well, I thought it was like a...screwed into the bonnet
0:26:00 > 0:26:03of the car because it lights up.
0:26:03 > 0:26:06It does indeed and if we actually unscrew it here,
0:26:06 > 0:26:10let's just do that. There is the place where the electric wire
0:26:10 > 0:26:13will pass through into the housing,
0:26:13 > 0:26:17and inside the housing there is, or there should be, a little bulb.
0:26:17 > 0:26:21And it's under that filter.
0:26:21 > 0:26:25But what a shame, look at that, that's really serious damage.
0:26:25 > 0:26:28But I suppose once it's inside that housing,
0:26:28 > 0:26:31once that goes over the top of it,
0:26:31 > 0:26:33- you don't see it.- You don't, no.
0:26:33 > 0:26:35So let's not worry too much about it.
0:26:35 > 0:26:40But also on the side of there is the famous name, Lalique.
0:26:40 > 0:26:42And then we come to the final
0:26:42 > 0:26:44piece de resistance...
0:26:44 > 0:26:47not one, but five horses.
0:26:47 > 0:26:48Tell me about this one?
0:26:48 > 0:26:50Cinq Chevaux, I think it's called.
0:26:50 > 0:26:53- Cinq Chevaux, yes. - It was my aunt's.
0:26:53 > 0:26:56I understand it was on a five horse-power Citroen,
0:26:56 > 0:26:59which is one of the earliest ones that Lalique made.
0:26:59 > 0:27:05- My aunt had this on her mantlepiece and I got a transformer made.- Yes.
0:27:05 > 0:27:09So that she could have it alight in the early evenings.
0:27:09 > 0:27:11So even though you haven't got the car,
0:27:11 > 0:27:14you've got the whole thing lit up, as it would have been.
0:27:14 > 0:27:19But what you've got inside here is a filter, or at least a piece
0:27:19 > 0:27:23of two-coloured glass that has the effect of splintering the light,
0:27:23 > 0:27:28so it gives you, presumably, a sort of, rather a refracted spooky light.
0:27:28 > 0:27:32- Yeah.- Right. OK, well, I'm going to put you out of your miseries.
0:27:32 > 0:27:37The falcon... This magnificent, you know, thrusting along the corniche,
0:27:37 > 0:27:39you can see it, can't you, with the light going?
0:27:39 > 0:27:46That, in that state, is going to be somewhere of the order of £1,000.
0:27:46 > 0:27:48- Really?- Yeah.- Wow.
0:27:48 > 0:27:49That's not too bad, is it?
0:27:49 > 0:27:52That's excellent. I didn't even expect...
0:27:52 > 0:27:54Well, just didn't, no.
0:27:54 > 0:28:00The frog, the much smaller, little baby frog, it is damaged underneath.
0:28:00 > 0:28:03If it were in perfect condition, it would be worth a lot more.
0:28:03 > 0:28:06But I'm going to say, even in this condition,
0:28:06 > 0:28:09we're looking at the region of £3,000 to £5,000.
0:28:09 > 0:28:12Cor... I'll throw my tools away!
0:28:15 > 0:28:17OK, and what about the five horses?
0:28:17 > 0:28:20That is, in fact,
0:28:20 > 0:28:23probably the rarest of the trio,
0:28:23 > 0:28:25and one is looking at a price
0:28:25 > 0:28:29somewhere in the region of £6,000 to £8,000.
0:28:29 > 0:28:34In fact, if you all club together, you could buy a car!
0:28:34 > 0:28:36Thank you very much.
0:28:37 > 0:28:40So would you say bravery runs in the family?
0:28:40 > 0:28:42Definitely on my wife's side.
0:28:42 > 0:28:43My wife was very brave to marry me,
0:28:43 > 0:28:46and she's obviously inherited it from this man here.
0:28:46 > 0:28:48This is my wife's grandfather,
0:28:48 > 0:28:54- who was awarded a medal for bravery in the field.- The MM group, exactly.
0:28:54 > 0:28:57I mean it's a lovely group of medals here you've got,
0:28:57 > 0:28:59and the great thing is, you've got
0:28:59 > 0:29:02these bits and pieces that go with it and tell the complete story.
0:29:02 > 0:29:05That's right, and we have photographs of him as a young man,
0:29:05 > 0:29:07as a man at college...
0:29:07 > 0:29:10And what was he actually awarded the medal for?
0:29:10 > 0:29:13He was awarded the medal for particular courage
0:29:13 > 0:29:15when laying cables under shell fire,
0:29:15 > 0:29:19and communications was a very important part in WWI,
0:29:19 > 0:29:22between February and August 1916.
0:29:22 > 0:29:26I mean, presumably they were blown up on a daily basis almost?
0:29:26 > 0:29:30Well, I mean, when one looks at the history of WWI,
0:29:30 > 0:29:33- life was very short in those days. - Exactly.
0:29:33 > 0:29:38This is from the War Office - that came with the bravery award,
0:29:38 > 0:29:41which illustrates how he got the bravery award.
0:29:41 > 0:29:47And we have an invitation from the Mayor of the Ville de Cassel
0:29:47 > 0:29:50in France to the victory celebrations.
0:29:50 > 0:29:56- How lovely.- Along with the menu that they sported on that day.
0:29:56 > 0:29:58Looks like quite a lunch on that one.
0:29:58 > 0:30:00Yes, yes, I've thought of going back there
0:30:00 > 0:30:04- and seeing if I could order the same thing.- This is quite something.
0:30:04 > 0:30:07I mean, he's got the war group there
0:30:07 > 0:30:09and then the bravery, or the MM medal.
0:30:09 > 0:30:14Really with the whole complete package here, it gives
0:30:14 > 0:30:16a real insight into what life would have been like.
0:30:16 > 0:30:20I mean, you've got the dispatches here...
0:30:20 > 0:30:21"Shown particular courage and
0:30:21 > 0:30:25"determination while laying cables under heavy shell fire".
0:30:25 > 0:30:27Presumably they were telephone cables?
0:30:27 > 0:30:31- Yes.- Which under the heavy barrage of artillery day in, day out,
0:30:31 > 0:30:33would have had to have been done
0:30:33 > 0:30:36over time and time again, so it really is quite remarkable
0:30:36 > 0:30:41what you've got. I mean really, and I know value will be of no interest
0:30:41 > 0:30:45to you at all, because to have these is part of your family's history.
0:30:45 > 0:30:51But, as a value, you'd put somewhere between £500 and £700 on as a group,
0:30:51 > 0:30:54and I'm just delighted to have seen them.
0:30:54 > 0:30:57Well, we'd never think of selling them, and particularly
0:30:57 > 0:31:00this item here, which incidentally has the Cross of Lorraine on it.
0:31:00 > 0:31:07That comes from the earlier Jacobite past of this family,
0:31:07 > 0:31:11so maybe they were braver further back in those days as well.
0:31:11 > 0:31:14- I mean, obviously his lucky charm. - That's right.
0:31:16 > 0:31:19I understand from reading in the newspapers recently,
0:31:19 > 0:31:22that the habit of taking snuff is coming back into fashion
0:31:22 > 0:31:25because of the ban on smoking.
0:31:25 > 0:31:26And looking in front of us,
0:31:26 > 0:31:30we've got a really quirky looking snuff container.
0:31:30 > 0:31:33Is it a family piece or what can you tell me about its history?
0:31:33 > 0:31:36Yes, it's come down through the family, several generations,
0:31:36 > 0:31:40from a Lieutenant Colonel Kinnaird, who was commanding the garrison
0:31:40 > 0:31:43in St Helena when Napoleon was in prison there.
0:31:43 > 0:31:47- He gave this when they formed the officer's mess in 1820.- Right.
0:31:47 > 0:31:52And then, when it was disbanded in 1836, they gave it back to him.
0:31:52 > 0:31:54And since then it's obviously
0:31:54 > 0:31:57passed its way through the family and here it is now.
0:31:57 > 0:32:00Well, the form of this is fairly well known to me.
0:32:00 > 0:32:03They are pretty much uniquely Scottish.
0:32:03 > 0:32:06And if we look at it in closer detail,
0:32:06 > 0:32:10we can see it's got this great big Cairngorm on the top,
0:32:10 > 0:32:13which is very typical of Scottish snuff containers,
0:32:13 > 0:32:16or snuff mulls as they tended to call them in Scotland.
0:32:16 > 0:32:21But what is absolutely typical is when it has all its tools for making
0:32:21 > 0:32:25snuff and taking snuff with it, they're very much regimental pieces.
0:32:25 > 0:32:28But what I find particularly interesting,
0:32:28 > 0:32:29it's got a stand as well.
0:32:29 > 0:32:34That apparently comes from a plane tree that was brought over as a plant
0:32:34 > 0:32:36by Mary Queen of Scots, from France,
0:32:36 > 0:32:41planted in Holyrood House and was then blown down in 1817.
0:32:41 > 0:32:43That's what the inscription relates to.
0:32:43 > 0:32:46That's what the inscription says, and somewhere,
0:32:46 > 0:32:49I forget the date, blown down in 1817, I think.
0:32:49 > 0:32:52So actually from the tree planted by Mary Queen of Scots.
0:32:52 > 0:32:56And these sort of lovely feet are typical of the 1820s, and you can
0:32:56 > 0:32:59just imagine this sliding along
0:32:59 > 0:33:04a sort of mess table with them all taking snuff in turn.
0:33:04 > 0:33:09It has got some lovely engraving on the horn itself.
0:33:09 > 0:33:12These are the crests, presumably of the Kinnaird family
0:33:12 > 0:33:15with a regimental crest there.
0:33:15 > 0:33:20Inside, I see we've got a very strange-looking liner or container.
0:33:20 > 0:33:24Well, we believe it was from Napoleon's first coffin,
0:33:24 > 0:33:26and they discovered that when they
0:33:26 > 0:33:31transferred him from St Helena to Paris. He was reburied in Paris.
0:33:31 > 0:33:32And when they opened them up,
0:33:32 > 0:33:37there was the lead and the tomb inside and he was inside that one.
0:33:37 > 0:33:41So we really do have a terrific sort of historical document here.
0:33:41 > 0:33:47With a bit of Mary Queen of Scots and Napoleon, and the fact
0:33:47 > 0:33:50that it's a pretty good-looking object anyway!
0:33:50 > 0:33:56I wouldn't be surprised to see something like that fetch...
0:33:56 > 0:33:58£7,000 to £10,000.
0:33:58 > 0:34:00Really?
0:34:00 > 0:34:02Well, I am surprised.
0:34:02 > 0:34:07Well, it's steeped in history, it's got everything going for it.
0:34:07 > 0:34:11I just think there are some serious collectors out there that
0:34:11 > 0:34:13would be very interested in trying
0:34:13 > 0:34:17to buy this for quite a big price, should you ever come to sell it.
0:34:17 > 0:34:19Which I won't.
0:34:21 > 0:34:24What would we do without pockets?
0:34:24 > 0:34:29I mean, I've got glasses and a mobile and a handkerchief and...
0:34:29 > 0:34:34The Japanese had a real problem back in the 18th and 19th century -
0:34:34 > 0:34:36no pockets.
0:34:36 > 0:34:41So they had a little box called an inro,
0:34:41 > 0:34:46and in the inro went medicines, spices, seals,
0:34:46 > 0:34:51little objects which they needed to carry round with them.
0:34:51 > 0:34:53And then, from the inro,
0:34:53 > 0:34:57which could have a number of different cases to it,
0:34:57 > 0:35:03you had a string and a ball with a hole through it
0:35:03 > 0:35:06which tightened up the cases.
0:35:06 > 0:35:09And that's called an ojime.
0:35:09 > 0:35:12And on this particular one,
0:35:12 > 0:35:16it's been inlaid in mother of pearl,
0:35:16 > 0:35:21in tortoiseshell, in stained ivory,
0:35:21 > 0:35:25with flowers and an insect,
0:35:25 > 0:35:28sort of locust or mayfly, I think that is.
0:35:28 > 0:35:32That's the bit I used to love as a child, the little insect on the bead.
0:35:32 > 0:35:36- You've known this all your life? - My father was a self-made businessman
0:35:36 > 0:35:40who sent my mother out to buy a present for a client,
0:35:40 > 0:35:43and she went to the Pantiles in Tunbridge Wells and purchased this.
0:35:43 > 0:35:45- Really?- And, very unlike her,
0:35:45 > 0:35:50she didn't give it to my father to give to his client, she hung onto it.
0:35:50 > 0:35:52And years later, when I was grown up,
0:35:52 > 0:35:55and started to be interested in antiques, I discovered, you know,
0:35:55 > 0:35:58that it was an inro, that was about as far as I knew.
0:35:58 > 0:36:02- And you nabbed it? - Well, I did actually, I did.
0:36:02 > 0:36:04And I took it, yes, I did.
0:36:04 > 0:36:10And this bit is called the netsuke and goes under the belt,
0:36:10 > 0:36:13and acts like a toggle, so the belt's there and it hangs like that.
0:36:13 > 0:36:16So not between the fingers? I always assumed they carried it
0:36:16 > 0:36:18- between their fingers. - No, under the belt.
0:36:18 > 0:36:19Right, right, thank you.
0:36:19 > 0:36:24Now this is in the form of a gourd, or a double gourd really,
0:36:24 > 0:36:28and is made of lacquer, which is not a common material
0:36:28 > 0:36:30for making netsuke from -
0:36:30 > 0:36:32they're usually wood or ivory,
0:36:32 > 0:36:35occasionally bone.
0:36:35 > 0:36:40That netsuke is worth around £600 to £1,000.
0:36:40 > 0:36:45That? Really?
0:36:45 > 0:36:47Oh, dear... Gosh.
0:36:47 > 0:36:54The ojime which you so liked, with the insect on, is worth about £500.
0:36:54 > 0:36:59- Heavens! - Which leaves us with the inro.
0:36:59 > 0:37:02Pull back the ojime like that
0:37:02 > 0:37:07and we are able to separate this into sections.
0:37:07 > 0:37:11And if we put it back again,
0:37:11 > 0:37:15we can see that it's decorated
0:37:15 > 0:37:17in mother of pearl,
0:37:17 > 0:37:20stained ivory,
0:37:20 > 0:37:22tortoiseshell,
0:37:22 > 0:37:24coral,
0:37:24 > 0:37:27coconut shell
0:37:27 > 0:37:29and probably lacquer there,
0:37:29 > 0:37:33on a burnished gold ground,
0:37:33 > 0:37:36within a silver rim,
0:37:36 > 0:37:43on a ground of very finely-sprinkled gold dust.
0:37:43 > 0:37:48Gosh, amazing in something so small, I haven't...
0:37:48 > 0:37:53It is extraordinary, wonderful work, in a technique we call Shibayama.
0:37:53 > 0:37:59We've got a scene here of a festival cart with flowers.
0:37:59 > 0:38:01I think it's probably spring.
0:38:01 > 0:38:04Wonderful, but...
0:38:04 > 0:38:08- that's the real joy.- Oh?
0:38:08 > 0:38:13Believe it or not, it says, "Shibayama, Kasuyuki".
0:38:13 > 0:38:15Now I don't know Kasuyuki, but he's one of the family,
0:38:15 > 0:38:17so this is actually made by
0:38:17 > 0:38:22- the Shibayama family.- Good. - Very exciting thing to find.- Gosh.
0:38:22 > 0:38:26It dates from about 1880, somewhere around there.
0:38:26 > 0:38:29So your childhood love,
0:38:29 > 0:38:34your mother's decision to hang onto it, rather than give it away...
0:38:34 > 0:38:36She told me what she paid for it, incidentally.
0:38:36 > 0:38:40- Go on, go on, go on. - £12.- And this was in...?
0:38:40 > 0:38:41Well, it was about 50 years ago.
0:38:41 > 0:38:44£12, 50 years ago, was a good punt.
0:38:44 > 0:38:46- It was a lot of money. - Quite a lot of money.- Yeah, yeah.
0:38:46 > 0:38:49On the other hand, it has gone up a bit.
0:38:49 > 0:38:54It's not gone up 10 times which would make it £120,
0:38:54 > 0:38:58it's not gone up a hundred times, which would make it £1,250.
0:38:58 > 0:39:01It's actually worth about £5,000.
0:39:01 > 0:39:045,000! Gosh.
0:39:04 > 0:39:07- Oh, I wish she was still alive. - Yeah, she would have loved it, wouldn't she?
0:39:07 > 0:39:10She would have loved it. And my dad would have specially loved it because
0:39:10 > 0:39:13he didn't appreciate old things, he always called them "second-hand".
0:39:13 > 0:39:15Great stuff! This is the kind of second-hand I like.
0:39:15 > 0:39:18- Thank you so much.- Thank you very much for bringing it in.
0:39:18 > 0:39:20Thank you for telling me so much about it.
0:39:24 > 0:39:28So these are children's book illustrations by Annie Anderson.
0:39:28 > 0:39:30Now, when you first brought these to me, I thought,
0:39:30 > 0:39:32"Oh, prints, prints, prints."
0:39:32 > 0:39:35I see so many of this kind of thing. And then I thought,
0:39:35 > 0:39:37"Better check..." So we're going to check.
0:39:37 > 0:39:40While I'm tearing the back off this...do you mind?
0:39:40 > 0:39:43- That's fine.- While I'm tearing the back off this...
0:39:43 > 0:39:45because the only way you'll ever know
0:39:45 > 0:39:48is if you actually take the glass off and have a proper look...
0:39:48 > 0:39:50you can tell me how you came by them.
0:39:50 > 0:39:54My dad bought them in Hampstead in the early 1980s.
0:39:54 > 0:39:56And they've been in my bedroom, and now
0:39:56 > 0:39:59- they're in my daughter's bedroom. - Ah, I see.
0:39:59 > 0:40:01But there are five, but my mother
0:40:01 > 0:40:05had four and my dad had one, and now finally they're together again.
0:40:05 > 0:40:07Oh, that's great.
0:40:07 > 0:40:10So what you have to do is, you have to take the back off,
0:40:10 > 0:40:16and straightaway you can see that they're inscribed on the back.
0:40:16 > 0:40:18Now that's interesting because it says,
0:40:18 > 0:40:20"Mrs Alan Wright, Little Audrey".
0:40:20 > 0:40:22Now I know that Annie Anderson
0:40:22 > 0:40:25was married to another illustrator called Alan Wright,
0:40:25 > 0:40:27so straightaway that's great,
0:40:27 > 0:40:30and it looks to me like it's the bottom of an artist's board.
0:40:30 > 0:40:35So first of all, I think that we may be looking at original works,
0:40:35 > 0:40:37which is exciting, actually.
0:40:37 > 0:40:40And then if you take it off and away,
0:40:40 > 0:40:42you look in a sort of raking light,
0:40:42 > 0:40:45you can actually just see that there's a texture
0:40:45 > 0:40:49to the thing, that wouldn't work if it was a print.
0:40:49 > 0:40:52There's a sort of shine on a print and this is very matt.
0:40:52 > 0:40:57And you can also just see the sort of slight sheen on the graphite
0:40:57 > 0:40:59that he's used as well.
0:40:59 > 0:41:01- Have a look for yourself.- Thank you.
0:41:01 > 0:41:02It's quite good.
0:41:05 > 0:41:08- Do you see that?- Yeah.- So you're looking at original watercolours.
0:41:08 > 0:41:12- So you had to take it to bits to find out.- It's the only way really.
0:41:12 > 0:41:14- Yeah.- But I think that's great because,
0:41:14 > 0:41:16you know, I know this artist so well from reproductions.
0:41:16 > 0:41:20We have to assume the rest of these four are originals.
0:41:20 > 0:41:22Can't be certain, you may want to, you know just...
0:41:22 > 0:41:24- Take those to bits as well. - Yeah, yeah.
0:41:24 > 0:41:27I was about to send you away and say, you know, they're worth...
0:41:27 > 0:41:28- Forget it!- Yeah, well, you know,
0:41:28 > 0:41:32"Decorative value, madam, might be sort of £20 or something like that".
0:41:32 > 0:41:36But she was such a good illustrator, and I think these are lovely.
0:41:36 > 0:41:39What about this one, this little one here? It's rather sweet.
0:41:39 > 0:41:43Probably worth about...original,
0:41:43 > 0:41:48going to be worth about £300 or £400, which is quite nice, isn't it?
0:41:48 > 0:41:50That's just for the little one,
0:41:50 > 0:41:53which is rather good, and then, and then this one...
0:41:53 > 0:41:55do you like that one?
0:41:55 > 0:41:57- I love it.- It's so sweet, isn't it?
0:41:57 > 0:42:00I mean that, that's really a sort of children's thing.
0:42:00 > 0:42:02You grew up with that, didn't you?
0:42:02 > 0:42:04- Yeah.- I think that that one's
0:42:04 > 0:42:07probably worth about £600 or £800, that sort of thing.
0:42:08 > 0:42:11And then this one, which is very pretty actually,
0:42:11 > 0:42:13it's a sort of fairy sweeping clouds away.
0:42:13 > 0:42:15They are quite girlie, aren't they?
0:42:15 > 0:42:17- Yeah.- They're really nice, nicely done.
0:42:17 > 0:42:20Luckily my brother didn't end up with them!
0:42:20 > 0:42:23- Yes, exactly, they're sort of more pink than blue...- Yeah.
0:42:23 > 0:42:27But that's probably about, oh, I don't know, £800 to £1,200,
0:42:27 > 0:42:31I would have thought, something like that.
0:42:31 > 0:42:33- You're serious? - Yes, of course, I'm serious...
0:42:33 > 0:42:35Deadly. And then down here,
0:42:35 > 0:42:40this really pretty one of the little girl sitting on a bubble,
0:42:40 > 0:42:44well, I think that the audience would go crazy for that.
0:42:44 > 0:42:46I really do. We're probably talking about £2,000,
0:42:46 > 0:42:49that sort of thing, upwards maybe of that.
0:42:52 > 0:42:56It's all right, I'm not doing this in an aggressive way, I promise.
0:42:56 > 0:43:00- It's just nice to know that these things you've loved.- I love them.
0:43:00 > 0:43:03But I'm just so glad they're not prints.
0:43:03 > 0:43:06- It's a real thrill to find that they're not.- Yeah.- Well done!
0:43:06 > 0:43:10Thanks very much, that's excellent, thank you.
0:43:13 > 0:43:16An extraordinary thing about Arundel Castle is that although
0:43:16 > 0:43:22it is huge and imposing, it has been a family home for nearly 870 years.
0:43:22 > 0:43:26So thanks again to the Duke and Duchess of Norfolk for having us.
0:43:26 > 0:43:30And for now, from West Sussex, goodbye.