0:00:51 > 0:00:52We're setting up today's Roadshow
0:00:52 > 0:00:57in a magnificent World Heritage Site in Scotland called New Lanark.
0:00:57 > 0:01:00And in the 18th century, this rugged landscape
0:01:00 > 0:01:03and the fast-flowing River Clyde made it the ideal spot
0:01:03 > 0:01:05for manufacturing cotton.
0:01:05 > 0:01:08It was also the backdrop for a radical social experiment.
0:01:13 > 0:01:17At a time when poor housing conditions and long working hours
0:01:17 > 0:01:20for little reward was the norm,
0:01:20 > 0:01:22along came philanthropist Robert Owen,
0:01:22 > 0:01:24and turned all that on its head.
0:01:25 > 0:01:29Owen took over management of New Lanark in 1800
0:01:29 > 0:01:33and his aim was to build a society based on charity and kindness.
0:01:35 > 0:01:39He believed the key to this utopia was through education,
0:01:39 > 0:01:40cleaner living conditions,
0:01:40 > 0:01:43and by phasing out the employment of young children.
0:01:44 > 0:01:47So he set about ensuring that workers' homes,
0:01:47 > 0:01:50which were unsurprisingly often filthy and unhygienic,
0:01:50 > 0:01:53were cleaned on a weekly basis,
0:01:53 > 0:01:55and there were frequent home inspections too,
0:01:55 > 0:01:57to ensure a healthier workforce.
0:02:01 > 0:02:03Unlike most factory owners of the time,
0:02:03 > 0:02:06Owen didn't believe in using abusive language and violence
0:02:06 > 0:02:09to make his employees work harder.
0:02:09 > 0:02:12Instead, he came up with an ingenious way to encourage them.
0:02:12 > 0:02:13LOOMS CLACK
0:02:13 > 0:02:16In what was a very noisy environment,
0:02:16 > 0:02:20every worker had a silent monitor next to their work station -
0:02:20 > 0:02:23one of these - and the colour that faced outwards
0:02:23 > 0:02:25indicated their performance.
0:02:25 > 0:02:27White was for excellent,
0:02:27 > 0:02:30yellow for good, blue for indifferent,
0:02:30 > 0:02:32and black for bad.
0:02:34 > 0:02:37So Owen was able to walk through the mill and tell at a glance how each
0:02:37 > 0:02:39employee was doing.
0:02:39 > 0:02:42There was, he said, "No beating, no abusive language.
0:02:42 > 0:02:45"I merely looked at the person and then at the colour."
0:02:53 > 0:02:57Robert Owen's greatest legacy is that he set up the first school
0:02:57 > 0:03:00in the world for children from the age of three.
0:03:00 > 0:03:03They learned the three Rs, but the focus was more on
0:03:03 > 0:03:05music, dance, nature,
0:03:05 > 0:03:07sharing and being kind to each other.
0:03:07 > 0:03:11And he also decreed that no child under the age of ten
0:03:11 > 0:03:13would be allowed to work in the mill.
0:03:14 > 0:03:16BELL RINGS
0:03:16 > 0:03:18As well as introducing shortened working hours,
0:03:18 > 0:03:22he also established a sick fund, a savings bank and a village store,
0:03:22 > 0:03:25selling cheap food and household goods -
0:03:25 > 0:03:28an idea that helped form the origin of the cooperative movement.
0:03:33 > 0:03:36His ideas seem humane to us today,
0:03:36 > 0:03:40but in the early 19th century they were considered far too radical.
0:03:40 > 0:03:44The government was unpersuaded and rejected his ideas as crazy.
0:03:46 > 0:03:50But even in his own time, more than 20,000 tourists came to wonder
0:03:50 > 0:03:53at his achievements, and today the people of New Lanark and beyond
0:03:53 > 0:03:56have come to share their own stories with our Antiques Roadshow team.
0:03:58 > 0:04:00Now, is this a picture you like?
0:04:00 > 0:04:02- Yes, I love it very much. - You do?- Yes.
0:04:02 > 0:04:05And where does it hang in your house?
0:04:05 > 0:04:07It's in my hallway and I look at it every morning.
0:04:07 > 0:04:09And what is it you like about it?
0:04:09 > 0:04:11It's the subject matter,
0:04:11 > 0:04:14just because the little boy seems to be playing
0:04:14 > 0:04:16and enjoying whatever he's doing.
0:04:16 > 0:04:19And I think it's the intrigue, cos there's always that little bit
0:04:19 > 0:04:21of mystery, what's actually going on in the background,
0:04:21 > 0:04:23which you can't actually see.
0:04:23 > 0:04:25Unfortunately, it had been lying in a junk room.
0:04:25 > 0:04:28And, therefore, when we were cleaning out the junk room,
0:04:28 > 0:04:32we found it, and I liked the piece so much that it's been hanging
0:04:32 > 0:04:35- on my wall ever since.- Now, have you any idea where it was painted?
0:04:35 > 0:04:39- No idea.- And do you know who it's by?- No, I don't.
0:04:39 > 0:04:42Well, it's a very interesting picture.
0:04:42 > 0:04:44The frame drew me to this straightaway,
0:04:44 > 0:04:47cos only one artist used this sort of frame,
0:04:47 > 0:04:49and he's an artist called Mortimer Menpes.
0:04:51 > 0:04:54And it is signed on the bottom left here, which half is hidden
0:04:54 > 0:04:57by the slip there. It's got "Mortimer Menpes."
0:04:57 > 0:05:00Difficult to see, that's why you didn't know.
0:05:00 > 0:05:04He was born in Australia in 1855,
0:05:04 > 0:05:07and he came to live in this country,
0:05:07 > 0:05:09and he was a pupil of a very famous artist,
0:05:09 > 0:05:11who was James McNeill Whistler,
0:05:11 > 0:05:13who was the American artist that painted in London.
0:05:13 > 0:05:16So he was one of his pupils.
0:05:16 > 0:05:20And Menpes went on to do a lot of travel painting.
0:05:20 > 0:05:24So he went to India to paint, he went to Japan to paint,
0:05:24 > 0:05:26and he went to North Africa and to Anguilla to paint,
0:05:26 > 0:05:31and some of his pictures were reproduced by A&C Black,
0:05:31 > 0:05:34which is a book publishing firm, on these various countries,
0:05:34 > 0:05:36and you see his pictures in those books.
0:05:36 > 0:05:39And I'm wondering if this is in one of A&C Black's books
0:05:39 > 0:05:40on North Africa.
0:05:40 > 0:05:45But it's fabulous. It's fabulous because it's in its original state,
0:05:45 > 0:05:47it's in the original cushioned frames,
0:05:47 > 0:05:49and he had these specially made for him.
0:05:49 > 0:05:52And when anybody shows me a frame like that, I know who the artist is
0:05:52 > 0:05:54straightaway, just by the style.
0:05:54 > 0:05:56But let's look at the painting.
0:05:56 > 0:06:00Here we've got some Arab children outside a little house there,
0:06:00 > 0:06:03and there's a little fire going on in the background there.
0:06:03 > 0:06:07And it's a little shack on the outside of a house,
0:06:07 > 0:06:09and they're probably making bread inside.
0:06:09 > 0:06:11It's a wonderful, wonderful picture by him.
0:06:13 > 0:06:15And it's got a value.
0:06:15 > 0:06:18I think that if that came up for sale, and it's in such
0:06:18 > 0:06:21original condition, it would make at least
0:06:21 > 0:06:22£2,000 to £3,000.
0:06:24 > 0:06:27Thank you. That's very nice, thank you very much.
0:06:27 > 0:06:30Well, it's a lovely thing to have, and don't ever change the frame,
0:06:30 > 0:06:33because although it's slightly chipped,
0:06:33 > 0:06:36you can have that gently repaired. But it's a wonderful piece.
0:06:36 > 0:06:38- Wonderful piece. - Thank you very much.
0:06:38 > 0:06:40Yes, you've made my day. Thank you.
0:06:45 > 0:06:49Now, someone told me that you were the first in the queue this morning.
0:06:49 > 0:06:51Half past six this morning.
0:06:51 > 0:06:53Half past six?
0:06:53 > 0:06:55So what time did you get up?
0:06:55 > 0:06:56About 4am.
0:06:57 > 0:06:59That's amazing!
0:06:59 > 0:07:01Well done you. You've come a long way, then?
0:07:01 > 0:07:05I have travelled a long way, it took 12 hours to reach here.
0:07:05 > 0:07:07What? Where have you come from?
0:07:07 > 0:07:08From Yorkshire.
0:07:10 > 0:07:12That's incredible. Well, welcome,
0:07:12 > 0:07:15and I'm delighted you brought something that we're filming,
0:07:15 > 0:07:16which is fantastic.
0:07:16 > 0:07:19I must admit when I first saw him, I thought he was a wasp.
0:07:19 > 0:07:23- But he's not, he's a bee! - Definitely a bee.
0:07:23 > 0:07:25Tell me the history of him and how you came to have him.
0:07:25 > 0:07:29An old lady over the road was going into a care home,
0:07:29 > 0:07:32and there was a large skip outside her house,
0:07:32 > 0:07:34and the family were sorting and throwing bits out
0:07:34 > 0:07:37- and this was thrown in the skip.- What?!
0:07:37 > 0:07:40And my dad asked if he could have him, and it's been with me
0:07:40 > 0:07:42ever since I was little.
0:07:42 > 0:07:45I love it. How could they throw him in a skip?
0:07:45 > 0:07:48I know, he's gruesome, but in a nice way.
0:07:48 > 0:07:49He's in such good condition.
0:07:49 > 0:07:51- I have looked after him.- You have.
0:07:51 > 0:07:54So you didn't take him to bed and squeeze him, because he's got wings.
0:07:56 > 0:07:58- I was tempted when I was younger. - Yes, I bet you were.
0:07:58 > 0:08:00But I managed to refrain from doing that.
0:08:00 > 0:08:04Now, the Hygienic Toy Company was working in Fulham
0:08:04 > 0:08:06in the '20s and '30s.
0:08:06 > 0:08:09I think that he's probably 1930,
0:08:09 > 0:08:11but he's called...
0:08:11 > 0:08:14Imperial Bee Esquire.
0:08:15 > 0:08:20I mean, how could people think up these wonderful names for things?
0:08:20 > 0:08:25- So, he's made of sort of plush, which is a mohair plush.- Yes.
0:08:25 > 0:08:28And his face is just a bit of material,
0:08:28 > 0:08:31and he's got felt ears and felt hands,
0:08:31 > 0:08:35and his body's also plush, and then he's got these lovely wings,
0:08:35 > 0:08:38which, I think, are sort of wired muslin.
0:08:38 > 0:08:39They are very delicate.
0:08:39 > 0:08:42Yeah, there's a lot of work in it, isn't there?
0:08:42 > 0:08:43Do you have a name for him?
0:08:43 > 0:08:44I call him Busby.
0:08:48 > 0:08:51Well, I think to people that collect every animal
0:08:51 > 0:08:54and every insect, and particularly Hygienic Toys
0:08:54 > 0:08:58which is a very good English make, I would think he's probably worth
0:08:58 > 0:08:59about £200.
0:09:00 > 0:09:01He's not going anywhere.
0:09:06 > 0:09:10Normally, it's the sheer attention to detail that sets Meissen figures
0:09:10 > 0:09:13- apart from everybody else...- Yeah. - ..but in this case,
0:09:13 > 0:09:15the size is remarkable too, they're huge.
0:09:15 > 0:09:18They are quite big! Are they usually smaller?
0:09:18 > 0:09:21Well, this is about as big as you get in Meissen, which is
0:09:21 > 0:09:23lovely to see.
0:09:23 > 0:09:25Where do they come from?
0:09:25 > 0:09:28Well, they come from my husband's family.
0:09:28 > 0:09:31It was in their house when they died, it was cleared,
0:09:31 > 0:09:34and I asked if I could have these,
0:09:34 > 0:09:36so that's where they came from.
0:09:36 > 0:09:37So you chose these because...?
0:09:37 > 0:09:40I chose them, and actually they were in really poor condition
0:09:40 > 0:09:43when I got them. I didn't notice that at the time
0:09:43 > 0:09:47cos they were on a high mantelpiece, so they looked lovely,
0:09:47 > 0:09:49but there was fingers missing,
0:09:49 > 0:09:52and all kinds of things that I had to have fixed.
0:09:52 > 0:09:54- Oh, you had them restored? - I had them restored.
0:09:54 > 0:09:57I mean, there's so many things to get damaged when you have
0:09:57 > 0:09:58- figures like these.- I know, I know.
0:09:58 > 0:10:02Because everywhere you look there's more detail, isn't there?
0:10:02 > 0:10:06- Every hair is carefully painted, one little line at a time.- Yeah.
0:10:06 > 0:10:10The fingers, they've got the little nails and all the flowers,
0:10:10 > 0:10:13- every one separately made.- Mm.
0:10:13 > 0:10:16- And I love this lace.- I know, I was going to ask you,
0:10:16 > 0:10:19is the lace, is it actual lace that's been painted over,
0:10:19 > 0:10:22or they've made it look like that in the ceramic?
0:10:22 > 0:10:24- It's clever, isn't it?- Yeah.
0:10:24 > 0:10:27Meissen invented this process. They took real lace,
0:10:27 > 0:10:30just little strips of fine lace, and dipped it in clay
0:10:30 > 0:10:32- and then they stuck it on the figure.- Wow.
0:10:32 > 0:10:35And in the kiln, the lace burnt away,
0:10:35 > 0:10:37- leaving its skeleton in china. - Oh, right, OK.
0:10:37 > 0:10:38And it goes right the way round.
0:10:38 > 0:10:40The lace dress... Look at this trim there.
0:10:40 > 0:10:43- That dress is beautiful, isn't it? - I mean, all the way round,
0:10:43 > 0:10:46all there, every little piece of lace, so delicate, isn't it?
0:10:46 > 0:10:50I mean... So, Meissen was the greatest of the German factories.
0:10:50 > 0:10:52There were lots of others who imitated,
0:10:52 > 0:10:54they copied everything that Meissen made,
0:10:54 > 0:10:56but they never did it so well.
0:10:56 > 0:10:59So, we look at the clues, especially around the mark,
0:10:59 > 0:11:03to tell just when they were made, and underneath the base...
0:11:03 > 0:11:06If one can lift up the weight.
0:11:06 > 0:11:08And this is a sheer sign of the Meissen, because it's the weight.
0:11:08 > 0:11:11- Very heavy.- They're heavy, aren't they?- Yeah.- It weighs a ton,
0:11:11 > 0:11:14- doesn't it?- It does.- And Meissen is very heavy porcelain,
0:11:14 > 0:11:15that's a good sign.
0:11:15 > 0:11:19And there's the other sign you want to see, the crossed swords mark,
0:11:19 > 0:11:24and that shape of mark is right for about 1870, something like that.
0:11:24 > 0:11:25OK.
0:11:25 > 0:11:26So there they are.
0:11:26 > 0:11:28Still here.
0:11:28 > 0:11:30Was it expensive repairing them?
0:11:30 > 0:11:33I think altogether for both it was about £500.
0:11:33 > 0:11:35- So quite a bit to spend on them. - Yeah, yeah.
0:11:35 > 0:11:40It was worth doing because now they look good, and size alone, erm...
0:11:41 > 0:11:43..couple of thousand pounds.
0:11:43 > 0:11:45Wow.
0:11:45 > 0:11:46That's good.
0:11:48 > 0:11:50Was worth having them repaired, then.
0:11:50 > 0:11:53And not too expensive. I won't be frightened to have them
0:11:53 > 0:11:54- in the house. - SHE LAUGHS
0:11:56 > 0:12:00Well, two of the most exuberant armchairs I've ever seen!
0:12:00 > 0:12:01I mean, do you like them,
0:12:01 > 0:12:03and where did you get them?
0:12:03 > 0:12:05Oh, I absolutely love them.
0:12:05 > 0:12:09My husband inherited them from a rambling old house
0:12:09 > 0:12:11- down in Herefordshire...- Right. - ..in 1959.
0:12:11 > 0:12:17- The owner of the house, he collected a lot of Burmese artefacts.- Right.
0:12:17 > 0:12:21And then after that, they were stored in a garage.
0:12:21 > 0:12:26OK. What prompted you to approach the Roadshow with them?
0:12:26 > 0:12:29Well, last year, I was in Malaysia
0:12:29 > 0:12:34and we were invited to the king's palace, um...
0:12:34 > 0:12:37Now you... Invited to the king's palace?
0:12:37 > 0:12:39Well, how come?
0:12:39 > 0:12:41Do you know him?
0:12:41 > 0:12:46Well, a long story, but we know a very close friend of his,
0:12:46 > 0:12:48and we were invited along.
0:12:48 > 0:12:54And I happened to spot these two chairs and I said to my friend,
0:12:54 > 0:12:59"I can't believe we've these two chairs in the garage!"
0:13:00 > 0:13:02And he said, "No, you must be mistaken."
0:13:02 > 0:13:07Well, interestingly, these chairs are carved with motifs
0:13:07 > 0:13:09to do with water.
0:13:09 > 0:13:12And it just seems appropriate that with the beautiful flow
0:13:12 > 0:13:14of the River Clyde in the background
0:13:14 > 0:13:17that we should look at these mythical animals.
0:13:17 > 0:13:21To the left, the back panel of this chair is centred by
0:13:21 > 0:13:26the fabled hairy-tailed giant turtle.
0:13:26 > 0:13:30And there he is, there's the turtle with this enormous tail,
0:13:30 > 0:13:31which flows into a stream.
0:13:32 > 0:13:35On top, we have a crane.
0:13:35 > 0:13:38There's its beak and its head.
0:13:38 > 0:13:40And one wing goes that way,
0:13:40 > 0:13:44but this wing comes beautifully over the top of it.
0:13:44 > 0:13:46And can you see its sprawling leg?
0:13:47 > 0:13:51Very well observed, as the Japanese always do.
0:13:51 > 0:13:54And on this other chair, it's smothered with dragons,
0:13:54 > 0:13:57which are associated with rain and rivers.
0:13:57 > 0:14:00- So, I mean, what a coincidence. - Yes, it is.- Yep.
0:14:00 > 0:14:03- Burmese, not so sure.- No?
0:14:03 > 0:14:06I know these are actually from Japan.
0:14:06 > 0:14:09- Japan?- Yes, yes.- Right.
0:14:09 > 0:14:13- Gosh.- And date from around about 1910...
0:14:13 > 0:14:18- Uh-huh.- ..at the end of the reign of an emperor called Meiji.
0:14:18 > 0:14:22- Right.- And these would have been made for export, not just to Europe,
0:14:22 > 0:14:26cos I see these in auction rooms in the UK quite often,
0:14:26 > 0:14:29- but they went all over the Far East, so...- Yes.
0:14:29 > 0:14:32- My goodness.- The king's chairs, they're probably Japanese.
0:14:32 > 0:14:35- Yeah.- Your friend who collected Burmese things
0:14:35 > 0:14:36must have got something Japanese.
0:14:36 > 0:14:40Erm, being absolutely frank with you,
0:14:40 > 0:14:43the fashion for big dark armchairs from the sort of
0:14:43 > 0:14:46late 19th, early 20th century, it's gone.
0:14:46 > 0:14:50- Oh.- Japanese things are not that fashionable on the market,
0:14:50 > 0:14:52and I'm afraid that is reflected in the value
0:14:52 > 0:14:54- which I'm going to give you. - Oh, right.
0:14:54 > 0:14:57The value at auction would be
0:14:57 > 0:14:59- 1,000 to £1,500.- Mm-hm.
0:14:59 > 0:15:02And, you know, I might get a kick up the backside by fellow valuers,
0:15:02 > 0:15:06- who may think even a little less than that.- Right.
0:15:06 > 0:15:09We'll certainly have to decide what we're going to do with them,
0:15:09 > 0:15:12whether they go back into the garage or what, I'm not sure.
0:15:15 > 0:15:17It's another lovely travelling case,
0:15:17 > 0:15:19so I know there'll be something
0:15:19 > 0:15:20pretty good in here.
0:15:20 > 0:15:21Yes.
0:15:22 > 0:15:26- And that is pretty good, isn't it?- Yeah.
0:15:26 > 0:15:30Now, would it be true, or presumptuous of me, to suggest
0:15:30 > 0:15:31that you're not from the UK?
0:15:31 > 0:15:33No, I'm from Germany.
0:15:33 > 0:15:36And is this something from Germany, or where did it come from?
0:15:36 > 0:15:38It belongs to my husband, really.
0:15:38 > 0:15:42He can't be here today, so he asked me to come.
0:15:42 > 0:15:49And he bought it somehow in 1994, on a flea market in Hanover, he said.
0:15:49 > 0:15:53You're joking?! This was found in a Hanover flea market?
0:15:53 > 0:15:55- Yes.- That's unbelievable!
0:15:55 > 0:15:57Did he ever tell you what he paid for it?
0:15:57 > 0:16:01Well, he said about 100 marks, German marks, those days.
0:16:01 > 0:16:05So in those days, we're talking just before, around the time
0:16:05 > 0:16:06of the wall coming down...
0:16:06 > 0:16:09About three marks to the pound, was it?
0:16:09 > 0:16:12I don't really know, but if you say so.
0:16:12 > 0:16:13I think it was something like that.
0:16:13 > 0:16:17- I spent a lot of time in Berlin during the '80s.- Mm-hm.
0:16:17 > 0:16:20And I'll tell you something, I was always looking for things like this
0:16:20 > 0:16:22in the markets in the Tiergarten,
0:16:22 > 0:16:26and I never found anything like that for the equivalent of £30.
0:16:26 > 0:16:27So he was very lucky?
0:16:27 > 0:16:30- Er, exceedingly!- OK.
0:16:30 > 0:16:33Anyway, let's have a look at it.
0:16:33 > 0:16:36It is what we call a strut clock.
0:16:37 > 0:16:42And there is the stamp of the retailer, which is London & Ryder.
0:16:43 > 0:16:46So we'll just shut that up momentarily.
0:16:46 > 0:16:48And the reason we call it a strut clock is cos
0:16:48 > 0:16:51we have this strut at the bottom,
0:16:51 > 0:16:54to support the clock, or we can lean it right back.
0:16:56 > 0:16:59- It's top quality.- Oh.
0:16:59 > 0:17:01And this...
0:17:01 > 0:17:06is something that I know was made by one specific man.
0:17:06 > 0:17:12Despite the London & Ryder inscription on the bottom there,
0:17:12 > 0:17:15- it was made by a man called Thomas Cole.- Uh-huh.
0:17:16 > 0:17:19Typical Cole dial, beautifully engraved, as I say.
0:17:19 > 0:17:23You've got roses and I think what looks like fuchsias there.
0:17:23 > 0:17:25Very pretty thing.
0:17:25 > 0:17:27And then all around the outside,
0:17:27 > 0:17:31against more of a matt rather than a shiny finish to the silvering,
0:17:31 > 0:17:34we've got lovely foliage and other flowers,
0:17:34 > 0:17:36fleur-de-lis hands.
0:17:36 > 0:17:40And even the sides of the clock - I don't know whether you've noticed -
0:17:40 > 0:17:44are all engraved with flowers and little vignettes of flowers
0:17:44 > 0:17:45- down here.- Yeah.
0:17:45 > 0:17:49Just turning it round, we've got, once again, London & Ryder,
0:17:49 > 0:17:54New Bond Street, London, who were one of Cole's retailers.
0:17:54 > 0:17:59- Oh, yeah.- Cole was manufacturing for various people, London & Ryder,
0:17:59 > 0:18:03- another famous company, Hancocks, of Bruton Street.- Oh.
0:18:03 > 0:18:06- So top, top jewellers.- Mm-hm.
0:18:06 > 0:18:10And this is a very, very serious size of clock.
0:18:11 > 0:18:15- Like all Cole things, there is a number on the bottom...- Ah, yeah.
0:18:15 > 0:18:20..which you only see when the strut is swivelled round.
0:18:23 > 0:18:27So, British, by one of the best makers of the period
0:18:27 > 0:18:31and we're talking, this is probably around 1860.
0:18:31 > 0:18:33- Oh.- OK?- Yeah.
0:18:33 > 0:18:38And your husband bought this for the equivalent of £30 to £35?
0:18:38 > 0:18:39It's not a lot.
0:18:40 > 0:18:44Fully signed, fully numbered, with its box.
0:18:44 > 0:18:46Do you think he'd be happy if I quoted you between
0:18:46 > 0:18:48£4,000 and £5,000?
0:18:49 > 0:18:50Yes, I would be happy!
0:18:50 > 0:18:52That's very nice!
0:18:52 > 0:18:53Yeah.
0:18:53 > 0:18:57- Thank you.- I spent years looking for this sort of thing in Germany,
0:18:57 > 0:19:00never found it, so all credit to you both.
0:19:25 > 0:19:29I've never seen such a comprehensive selection
0:19:29 > 0:19:31of prisoner of war
0:19:31 > 0:19:33camp memorabilia.
0:19:33 > 0:19:36And just looking at it,
0:19:36 > 0:19:39you can see all kinds of scenes of life...
0:19:40 > 0:19:42..in the prisoner of war camps.
0:19:42 > 0:19:46And I'm guessing that it's associated with
0:19:46 > 0:19:49this splendid looking gentleman in his tam-o'-shanter,
0:19:49 > 0:19:52- with regimental badge and with his pipe?- Yeah.
0:19:53 > 0:19:55Who was he and is he a family relation?
0:19:55 > 0:19:58The gentleman we have in front of us,
0:19:58 > 0:20:01his name was Company Sergeant Major Thomas McMahon
0:20:01 > 0:20:04of the Queen's Own Cameron Highlanders.
0:20:04 > 0:20:07The story is that the collection was handed down
0:20:07 > 0:20:09through my stepmum's family.
0:20:09 > 0:20:12Now, the Highlanders fought during the Battle of Tobruk
0:20:12 > 0:20:16in World War II and, unfortunately, Sergeant Major McMahon
0:20:16 > 0:20:20was actually captured and later incarcerated in
0:20:20 > 0:20:22Stalag B prisoner of war camp in Germany.
0:20:23 > 0:20:27The collection we have of photographs and sketches
0:20:27 > 0:20:33and the diary give a very personal account of his time in Stalag B.
0:20:33 > 0:20:38The photographs explain in detail what happened during his time
0:20:38 > 0:20:42in incarceration. Now, what's quite special about the photographs
0:20:42 > 0:20:45is that many of them were taken by a hidden camera,
0:20:45 > 0:20:48which was hidden inside a Bible.
0:20:48 > 0:20:53- This is the camera in the hollowed-out Bible.- Oh, God, yeah.
0:20:53 > 0:20:56- Yeah.- That would appear to be how... - You can see the camera's in there,
0:20:56 > 0:20:58and presumably there's some sort of button that you
0:20:58 > 0:21:00- trigger the shutter with. - Absolutely.
0:21:00 > 0:21:03Point the Bible in the right direction.
0:21:03 > 0:21:05And I have a few smaller pictures.
0:21:07 > 0:21:11That's really interesting, there's some pretty senior German officers.
0:21:11 > 0:21:13They always had enormous greatcoats,
0:21:13 > 0:21:15you can see them getting into their transport there.
0:21:15 > 0:21:17They wouldn't want to be photographed.
0:21:17 > 0:21:20You don't know, it might have been a senior officer visiting the camp.
0:21:20 > 0:21:24- Certainly something that he didn't want snapping.- Right.
0:21:24 > 0:21:26And that's interesting.
0:21:26 > 0:21:30That's really domestic, there.
0:21:30 > 0:21:32That's them eating, there.
0:21:32 > 0:21:35And perhaps what they're eating wasn't as wonderful
0:21:35 > 0:21:38- as the Germans liked to let on was being served to them.- No, no.
0:21:38 > 0:21:43So, again, that would be potential propaganda if that got out.
0:21:43 > 0:21:46Yeah, there's talk in the diary of a lot of malnutrition and disease
0:21:46 > 0:21:48- caused through malnutrition. - Yeah, I'm sure.
0:21:48 > 0:21:53Obviously when he was in the camp, as a Warrant Officer Class 2,
0:21:53 > 0:21:57Company Sergeant Major, he would have been very important in...
0:21:57 > 0:22:02leading the British prisoners, liaising with the German guards,
0:22:02 > 0:22:07the commandant, and because he had that warrant rank,
0:22:07 > 0:22:09he would be looked up to.
0:22:09 > 0:22:10Let's look through the diary.
0:22:10 > 0:22:12You said there were various other things,
0:22:12 > 0:22:14and their concert parties...
0:22:14 > 0:22:16and here we are.
0:22:16 > 0:22:18- Isn't that just fantastic?- Yeah.
0:22:20 > 0:22:22It Ain't Half Hot Mum.
0:22:22 > 0:22:24- Exactly.- And there, as you said,
0:22:24 > 0:22:28one of the other prisoners dressed up as a lady.
0:22:28 > 0:22:29- As a lady.- Fantastic.
0:22:29 > 0:22:32I've never seen this many photos from a prisoner of war camp.
0:22:32 > 0:22:34- Yeah, quite special. - It is very special.
0:22:34 > 0:22:40One of the pictures I like the most is these two chaps hammering the
0:22:40 > 0:22:43- living daylights out of each other in friendly competition.- Uh-huh.
0:22:43 > 0:22:45Taffy Jones of Wales,
0:22:45 > 0:22:48this chap here, is giving a really good hammering
0:22:48 > 0:22:51to the smiling kid, who is a Dutchman.
0:22:51 > 0:22:54And we're not told who won, but my money's on Mr Jones.
0:22:55 > 0:22:57This is very interesting.
0:22:57 > 0:22:59"March past of all nationals."
0:23:01 > 0:23:03And, "The camp commandant takes a salute."
0:23:03 > 0:23:05So here we are.
0:23:05 > 0:23:09You can see there's the Army, the Royal Air Force...
0:23:11 > 0:23:12..the French...
0:23:13 > 0:23:17..and the Hollanders. So there's obviously Dutch prisoners in there.
0:23:18 > 0:23:21I think this is one of the most interesting pieces
0:23:21 > 0:23:25of prisoner of war memorabilia that we've ever had.
0:23:25 > 0:23:28Things like this, they don't have a tremendous commercial value.
0:23:28 > 0:23:31If you bought this lot in an auction room, you'd be paying
0:23:31 > 0:23:33200 or 300 quid for it, that's not very much.
0:23:33 > 0:23:36- It's not the financial value that's important...- No.- ..it's the story.
0:23:36 > 0:23:40Yeah. And I think that with self publication,
0:23:40 > 0:23:43- so easily these days...- Yeah. - ..you should tell his story.
0:23:43 > 0:23:47Yeah, I think I should, there's something can be done with it.
0:23:47 > 0:23:49- I can see a book in this lot. - Yeah. Thank you very much.
0:23:53 > 0:23:57- This is what I'd call a large table, even a very large table.- Yeah.
0:23:57 > 0:24:01- It's made of solid oak, but with a huge great marble slab.- Yeah.
0:24:01 > 0:24:03How on earth did you get it here?
0:24:03 > 0:24:07It was actually taken down a spiral staircase, so your team
0:24:07 > 0:24:09done very well, actually.
0:24:09 > 0:24:10A spiral staircase?
0:24:10 > 0:24:12Yeah.
0:24:12 > 0:24:14Well, thank you for that, anyway. Where is it in the house,
0:24:14 > 0:24:16up in the bedroom or something?
0:24:16 > 0:24:19No, no, no, it's up in my kitchen. I use it... This is my...
0:24:19 > 0:24:20I eat my dinner off this.
0:24:20 > 0:24:23It's a fantastic table and I'm rushing around in my mind trying to
0:24:23 > 0:24:26work out what I think it is. Do you have any history at all?
0:24:26 > 0:24:28I don't have really a lot of history at all.
0:24:28 > 0:24:32I bought it maybe about ten years ago from a dealer friend of mine.
0:24:32 > 0:24:35I really like Gothic kind of furniture
0:24:35 > 0:24:38and it looked really Gothic, and I needed a table for my kitchen.
0:24:38 > 0:24:40- THEY LAUGH - Fair enough!
0:24:40 > 0:24:42And I had a really small in there, so this was perfect.
0:24:42 > 0:24:46Fantastic. It's a lovely table. I mean, it's just over six foot long,
0:24:46 > 0:24:49it's a big table. With this marble top, almost certainly
0:24:49 > 0:24:54- for perhaps game or for cold meats, something like that.- Yeah.
0:24:54 > 0:24:57Possibly in a back hall, when you come in from the shoot
0:24:57 > 0:25:01to put the game, you know, pheasants and things...dead bird and game
0:25:01 > 0:25:03and things like that on it. I don't know, that sort of thing.
0:25:03 > 0:25:05That would make sense to have this big marble top.
0:25:05 > 0:25:08- It's not made as an eating table, anyway.- No, no.
0:25:08 > 0:25:10Well, it's got a shelf at the bottom, so you can't actually
0:25:10 > 0:25:13get your legs underneath it so you have to sit a little bit funny.
0:25:13 > 0:25:15And of course what is not obvious,
0:25:15 > 0:25:16that it's actually not carved at the back,
0:25:16 > 0:25:19so the carvings are all on the front here, this wonderful carving.
0:25:19 > 0:25:23And I love the grace of this carved oak ogee arch here,
0:25:23 > 0:25:26slender going up like that to these crocketed finials at the end.
0:25:26 > 0:25:28That is so typical of the Gothic period.
0:25:28 > 0:25:31From the early Gothic to the Gothic reform, it's almost the hallmark.
0:25:31 > 0:25:35But if you go from the back here, you've got a rose.
0:25:35 > 0:25:37I don't know if it's a Scottish rose or not.
0:25:37 > 0:25:40I think that's a lady's slipper or orchid down there
0:25:40 > 0:25:43and then we move to... Oh, shamrock. Ah!
0:25:43 > 0:25:46And a margarita or something and lily of the valley,
0:25:46 > 0:25:49so it's intricately carved, it's really beautifully carved.
0:25:49 > 0:25:51To me, I think there is a possibility it's
0:25:51 > 0:25:55from Taymouth Castle. It's exactly the sort of thing I'd expect in
0:25:55 > 0:25:58a big Scottish, possibly Highland castle, like Taymouth.
0:25:58 > 0:26:01You know, the sort of French baronial look, which of course
0:26:01 > 0:26:02was loved in Scotland.
0:26:02 > 0:26:06I can't be sure, research might prove me right or wrong,
0:26:06 > 0:26:10but I think I'm right because it was remodelled several times.
0:26:10 > 0:26:12But in the late 1830s, by an architect called
0:26:12 > 0:26:17James Graham, and one of the young people working with him
0:26:17 > 0:26:21was the very young, at that time unknown, Augustus Pugin.
0:26:21 > 0:26:23- If you like Gothic, you must have heard of him?- I have, yes.
0:26:23 > 0:26:26He's better known for the interiors of the House of Commons.
0:26:26 > 0:26:30He is one of England's great architects.
0:26:30 > 0:26:31Is it Pugin?
0:26:33 > 0:26:34I hope so.
0:26:36 > 0:26:40I don't think it's Pugin himself, but the interior decoration...
0:26:40 > 0:26:43Pugin worked on that, not as a designer, as I know it,
0:26:43 > 0:26:48but as a workman or drawing. I mean, nothing particularly important.
0:26:48 > 0:26:50- Yeah.- I mean, a house like that would have been typical
0:26:50 > 0:26:52for this sort of very grand furniture, large-scale,
0:26:52 > 0:26:55very expensive. This is very good quality oak,
0:26:55 > 0:26:58- imported marble from Italy, so no expense spared.- Yeah.
0:26:58 > 0:27:02So we have something which he might have seen, he might have touched.
0:27:03 > 0:27:06- Wow.- Queen Victoria also stayed at the castle,
0:27:06 > 0:27:09so we're getting a nice provenance, possibly, but we have to prove that.
0:27:09 > 0:27:14- Yeah.- Even so, without that proof at the moment, I think it's a...
0:27:16 > 0:27:17..pretty good piece of furniture.
0:27:17 > 0:27:19- Great.- So...
0:27:20 > 0:27:21..what is it worth?
0:27:24 > 0:27:26I think £15,000 to £20,000.
0:27:26 > 0:27:28Oh, my goodness.
0:27:28 > 0:27:30Oh, my goodness. Oh, no!
0:27:30 > 0:27:32Yes.
0:27:32 > 0:27:35Now I'm going to feel very guilty if I have a curry on it.
0:27:35 > 0:27:38Did you steal it or wheedle it out of the chap?
0:27:38 > 0:27:40No, no! Well...
0:27:40 > 0:27:46I actually bought it from the dealer, actually, for £5,000
0:27:46 > 0:27:49and I thought I was happy to pay that, and I had...
0:27:49 > 0:27:53It was a beautiful table. But I then met the dealer who sold it to that
0:27:53 > 0:27:56dealer for £600, and he says, "Oh, you've been ripped off."
0:27:57 > 0:28:00So I guess I haven't, actually.
0:28:00 > 0:28:02Wow, that's fantastic.
0:28:02 > 0:28:05- Thank you so much.- You bought what you liked and it's paid off.
0:28:05 > 0:28:07Brilliant, great, thank you very much.
0:28:08 > 0:28:10We often find that people bring along items
0:28:10 > 0:28:13that reveal their family history, but in your case,
0:28:13 > 0:28:16what you brought along has opened a Pandora's box
0:28:16 > 0:28:19- of family secrets?- Yes.
0:28:19 > 0:28:22It begins with your grandfather, Heinrich,
0:28:22 > 0:28:25who was German and he was married to...?
0:28:25 > 0:28:27- To Elspeth.- Your grandmother.
0:28:27 > 0:28:30Now, the problem was that Elspeth was not... Well, she was German,
0:28:30 > 0:28:33- but she was also... - She was a Jewess.
0:28:33 > 0:28:37So that's not a particularly easy situation in the 1930s in Germany.
0:28:37 > 0:28:41- Definitely not, no.- I should point out that you're father and daughter?
0:28:41 > 0:28:44- Yes.- And you've got photographs of...- We do, yes.
0:28:44 > 0:28:45- ..Heinrich and Elspeth. - I do.- Can we see?
0:28:45 > 0:28:48This is Heinrich. This is my great-grandfather.
0:28:48 > 0:28:50- In his German uniform. - In his German uniform.
0:28:50 > 0:28:54And he reputedly won the Iron Cross Class One
0:28:54 > 0:28:57- and also the Knight's Cross for bravery.- And so highly decorated.
0:28:57 > 0:29:00So he was obviously in the German Army serving,
0:29:00 > 0:29:04and this is my great-grandmother, who was Elspeth,
0:29:04 > 0:29:08and being Jewish, obviously in the 1930s,
0:29:08 > 0:29:11it was not possible for them to be together.
0:29:11 > 0:29:15So the decision was made that they would need to separate.
0:29:15 > 0:29:17So their marriage came under scrutiny, did it?
0:29:17 > 0:29:19They had to divorce, I understand.
0:29:19 > 0:29:21- They had to divorce?- Yeah.- Because she was Jewish and he was...
0:29:21 > 0:29:23To break away and, of course...
0:29:24 > 0:29:28..her family came to... came to the UK.
0:29:28 > 0:29:29She left behind...
0:29:30 > 0:29:32- ..Heinrich.- He was left behind, yes. - Her husband.
0:29:32 > 0:29:36And when he divorced her, do you know, was that an act of repudiation
0:29:36 > 0:29:39because she was Jewish or was it an act of love to free her
0:29:39 > 0:29:41- so that she could get to safety? - I think it was an act of love,
0:29:41 > 0:29:44to be honest with you. Something that had to happen.
0:29:44 > 0:29:47So your father, along with his siblings, came to Britain.
0:29:47 > 0:29:50He then took part in the Second World War?
0:29:50 > 0:29:52- That's right. - Of course, he was German.- Yes.
0:29:53 > 0:29:56- Did he admit to that? - Never, never. He admitted...
0:29:56 > 0:29:58He would say he was Scandinavian.
0:29:58 > 0:30:02To admit to being German at that time when war was imminent and there
0:30:02 > 0:30:06would have been a lot of anti-German feeling at that time in Britain,
0:30:06 > 0:30:09but also the fact that there was the Jewish connection
0:30:09 > 0:30:11in that Dad's grandmother was Jewish as well,
0:30:11 > 0:30:13so they felt it was so shameful
0:30:13 > 0:30:16that Dad wasn't even told about his origins.
0:30:16 > 0:30:19Well, he found out quite accidentally,
0:30:19 > 0:30:23he came across a family stamper that had the German name on it
0:30:23 > 0:30:26and had no idea what it was and asked questions about it.
0:30:26 > 0:30:31Any family documentation, any photographs were all destroyed,
0:30:31 > 0:30:35so there was little or no evidence of the Germanic history there.
0:30:35 > 0:30:38And do you think he felt a sense of shame about his heritage?
0:30:38 > 0:30:42Yes, exactly. In fact, he admitted while I was there,
0:30:42 > 0:30:45he said he's ashamed to be German.
0:30:45 > 0:30:47And you've brought along all sorts of things,
0:30:47 > 0:30:49a painting in particular...
0:30:49 > 0:30:51- That's right. - ..which belonged your grandmother?
0:30:51 > 0:30:53- That's right.- To your great-grandmother...- Yes.
0:30:53 > 0:30:54..which we're going to look at.
0:30:54 > 0:30:58That's the one thing she gave me after her death.
0:30:58 > 0:31:01And that will no doubt reveal more of your family past,
0:31:01 > 0:31:03- your family secrets?- That's right.
0:31:03 > 0:31:05- Thank you.- Thank you.
0:31:11 > 0:31:13There's something about the colour red
0:31:13 > 0:31:17that really evokes the passion and it stirs the soul,
0:31:17 > 0:31:19the power and desire and temptation
0:31:19 > 0:31:24and there are a few gemstones that are red in colour, as well.
0:31:24 > 0:31:28Now, before I tell you about those stones,
0:31:28 > 0:31:30how did you get to have this?
0:31:30 > 0:31:35My mother gave it to me, it was handed down to her
0:31:35 > 0:31:37and she's now passed it on to me.
0:31:37 > 0:31:41So don't really know anything about the bracelet, at all.
0:31:41 > 0:31:43When did you receive this?
0:31:43 > 0:31:45Just about a year ago.
0:31:45 > 0:31:46And have you worn it?
0:31:46 > 0:31:52- Erm, only once.- And what did you feel when you were wearing it?
0:31:52 > 0:31:55Um...made me feel good cos I like things sparkly,
0:31:55 > 0:31:57that's why my mother gave it to me.
0:31:58 > 0:32:00Do you like the colour red?
0:32:00 > 0:32:02It's my birthstone, ruby.
0:32:02 > 0:32:04But what do you think the stones are?
0:32:04 > 0:32:07Well, my mother seem to think it was garnet.
0:32:09 > 0:32:10And that's a red stone.
0:32:10 > 0:32:12- Yes.- So you've got all different types of garnet,
0:32:12 > 0:32:15you've got pyrope garnet, almandine garnet
0:32:15 > 0:32:17and they have all different types of red.
0:32:17 > 0:32:20You've also got tourmalines, red tourmalines, rubelite,
0:32:20 > 0:32:24they're also red and very, very occasionally,
0:32:24 > 0:32:27you can get a red diamond, but that is absolutely rare,
0:32:27 > 0:32:29and you also get rubies.
0:32:31 > 0:32:36Now, why my heart sung where I saw these is because they're rubies.
0:32:36 > 0:32:38Right.
0:32:38 > 0:32:42- And they're rubies that are from Burma...- Oh.
0:32:42 > 0:32:44..from Myanmar as we know now.
0:32:44 > 0:32:48But this is an incredibly important part of the world
0:32:48 > 0:32:53where rubies have come from for the last 800 years.
0:32:53 > 0:32:57Rubies had this fire, this life and especially from Burma,
0:32:57 > 0:33:00from the Mogok area because of the chromium
0:33:00 > 0:33:06and the chromium inside makes it really like a fire inside the ruby
0:33:06 > 0:33:10and that's what you're looking for, the intensity of colour.
0:33:10 > 0:33:13I just want to have a closer look at these stones here...
0:33:14 > 0:33:15..because...
0:33:17 > 0:33:18SHE CHUCKLES
0:33:18 > 0:33:20It's a joy for me to have a look at these
0:33:20 > 0:33:23cos when I look through my loupe, I'm looking through into the stone
0:33:23 > 0:33:28and it's like a world of its own and it was about 1890,
0:33:28 > 0:33:30that sort of period is when it was made.
0:33:30 > 0:33:31Right.
0:33:31 > 0:33:33These are getting rarer,
0:33:33 > 0:33:37the style is not particularly in fashion at the moment,
0:33:37 > 0:33:38but do you know?
0:33:38 > 0:33:41I don't like talking about jewellery and fashion
0:33:41 > 0:33:43because it's about quality.
0:33:43 > 0:33:45So I would say that at auction
0:33:45 > 0:33:49you're going to be thinking in the region of about
0:33:49 > 0:33:51£3,000-£5,000.
0:33:51 > 0:33:55Oh, goodness, that's a lot.
0:33:55 > 0:33:57Right. OK, wow.
0:33:58 > 0:34:00Speechless.
0:34:00 > 0:34:01A nice piece, then.
0:34:04 > 0:34:07A very plain green dish.
0:34:07 > 0:34:08It's very plain.
0:34:08 > 0:34:11And how long have you been aware of this dish?
0:34:11 > 0:34:14I'm ashamed to say I'm not generally aware of it at all,
0:34:14 > 0:34:16it just is tucked away in the corner,
0:34:16 > 0:34:21but, I mean, it's been in the family probably over 100 years, I imagine.
0:34:21 > 0:34:23Over 100 years. And how do you know that?
0:34:23 > 0:34:28Er, because it's in some very old photos of a very old house.
0:34:28 > 0:34:30OK. Well, photographs -
0:34:30 > 0:34:32beginning of photography, 1850s or thereabouts,
0:34:32 > 0:34:36so we're only going back into the second half of the 19th century.
0:34:36 > 0:34:37- Mm-hm.- OK, all right.
0:34:37 > 0:34:44We've got to go back to, let's say, 1480.
0:34:44 > 0:34:46This is probably the oldest piece...
0:34:46 > 0:34:48- Of anything in the house. - ..of ceramic in your house.
0:34:48 > 0:34:50And it's certainly the oldest piece I've seen today.
0:34:50 > 0:34:52Well, that's amazing!
0:34:52 > 0:34:54This is a porcelain dish,
0:34:54 > 0:34:58everybody thinks of porcelain as being white and light,
0:34:58 > 0:35:03- it's actually... - Very heavy.- Quite heavy, isn't it?
0:35:03 > 0:35:05- And the colour?- And the colour, ah!
0:35:05 > 0:35:07The colour!
0:35:07 > 0:35:11Now, this colour is celadon.
0:35:11 > 0:35:13And we don't know why it's called celadon,
0:35:13 > 0:35:17- possibly because Saladin, the great leader...- OK.
0:35:17 > 0:35:21- ..liked this sort of thing coming from China to him.- Mm-hm.
0:35:21 > 0:35:25Or it may be because a French character in a play
0:35:25 > 0:35:30in the 17th century who wore a coat of many greens was called Celadon.
0:35:30 > 0:35:33- OK.- We don't know, but what it does mean,
0:35:33 > 0:35:35it is this very translucent,
0:35:35 > 0:35:36- very vibrant green.- Mm-hm.
0:35:36 > 0:35:41I'm going to turn it over and show you where it's not green there.
0:35:41 > 0:35:43This is because they wanted the glaze to run
0:35:43 > 0:35:45all the way over the foot rim,
0:35:45 > 0:35:48but they couldn't do that and stick it on the floor
0:35:48 > 0:35:53of the saggar in which it was fired, the box in which it was fired.
0:35:53 > 0:35:56So they had to wipe away the glaze from this point here
0:35:56 > 0:35:58and they put it on a circular ring
0:35:58 > 0:36:02- which they could then put in the kiln like that.- Raise it up, yep.
0:36:02 > 0:36:05And it wouldn't stick. So that's why that's there.
0:36:05 > 0:36:10This dish was made in or around the city of Longquan,
0:36:10 > 0:36:11which as you will know...
0:36:13 > 0:36:15It's a long way from here.
0:36:15 > 0:36:16..is in Zhejiang province
0:36:16 > 0:36:19and they specialise in these things.
0:36:19 > 0:36:22They exported them all over the Asian archipelago.
0:36:22 > 0:36:25It follows a sort of Islamic metallic shape
0:36:25 > 0:36:29because the Chinese were trying to get this exported into the...
0:36:29 > 0:36:31- Into that market.- Into that market.
0:36:31 > 0:36:33It's a lovely thing. It's a little bit worn.
0:36:34 > 0:36:36It stands where in the house?
0:36:36 > 0:36:38It's just kind of in an alcove.
0:36:38 > 0:36:40- In an alcove, hidden away. - Yeah, hidden away.
0:36:40 > 0:36:42It's a lovely colour, it's probably worth
0:36:42 > 0:36:43somewhere in the region of
0:36:43 > 0:36:46£1,000-£2,000.
0:36:46 > 0:36:49Wow. Pretty good for what I consider to be a flan dish.
0:36:49 > 0:36:51- So... - SHE LAUGHS
0:36:51 > 0:36:54Good. Good, I'm glad you like it.
0:36:58 > 0:37:00I understand you were talking to Fiona earlier on
0:37:00 > 0:37:05about your family's traumatic past in Germany in the 1930s
0:37:05 > 0:37:09- and your grandmother coming over here?- That's right, yes.
0:37:09 > 0:37:11And did the whole family come over?
0:37:11 > 0:37:13Three of them, my father,
0:37:13 > 0:37:16my grandmother and my aunt, the three of them.
0:37:16 > 0:37:18And this picture came over with them?
0:37:18 > 0:37:21- It did, yes. - So looking at this picture,
0:37:21 > 0:37:24are there things in this picture that you still have?
0:37:24 > 0:37:27Unfortunately not, I don't recognise anything.
0:37:27 > 0:37:29But this was the interior of the house in Germany?
0:37:29 > 0:37:31- Yes.- And where was the house in Germany?
0:37:31 > 0:37:34Unter den Linden in Berlin.
0:37:34 > 0:37:37It's a fantastic memory of what was there.
0:37:37 > 0:37:40- That's right.- But I noticed on here
0:37:40 > 0:37:43that there is a little bit of damage here, what actually happened?
0:37:43 > 0:37:46One of the properties was bombed so...
0:37:46 > 0:37:49Prince's Gate was bombed, as my daughter's saying.
0:37:49 > 0:37:52And there is damage here and I think this is bomb damage
0:37:52 > 0:37:56- from that period so when it came out, it had to be restored.- OK.
0:37:56 > 0:37:58And usually when you restore a picture,
0:37:58 > 0:38:00you put the canvas onto another canvas.
0:38:00 > 0:38:03This has been stuck on to board, which is the cheaper way of doing it
0:38:03 > 0:38:05and I imagine during the Second World War
0:38:05 > 0:38:06that's exactly what happened.
0:38:06 > 0:38:08They wouldn't have had the materials.
0:38:08 > 0:38:12But it's also signed down here, a slightly unpronounceable name,
0:38:12 > 0:38:15I'm going to have to try to get my head around this.
0:38:15 > 0:38:17It's Gertrude Zscheked.
0:38:17 > 0:38:22And it's 1923, so this is a record of the family house in the 1920s.
0:38:22 > 0:38:23That's correct.
0:38:23 > 0:38:26What does it mean to you, having this picture?
0:38:26 > 0:38:31I think it's fantastic to have some sort of memento, to start with.
0:38:31 > 0:38:35As I've never seen... You know, I've never seen the actual building
0:38:35 > 0:38:39since wartime, you know what I mean? I've never been over there.
0:38:39 > 0:38:41Well, I think it's really nice to hear
0:38:41 > 0:38:42because I'd want that,
0:38:42 > 0:38:45having gone through what your family went...
0:38:45 > 0:38:47- be able to have a memento. - And being Unter den Linden,
0:38:47 > 0:38:51of course that was bombed so the house wouldn't be in existence.
0:38:51 > 0:38:53That would have been lost completely, as well.
0:38:53 > 0:38:55Well, thinking about the past,
0:38:55 > 0:38:59it's very nice to have a memory of that house in Germany.
0:38:59 > 0:39:03It's very difficult to put a value on something like this
0:39:03 > 0:39:05- because it's emotional.- Yes.
0:39:05 > 0:39:08And I feel that I look at this
0:39:08 > 0:39:12and if I look... As a commercial picture, it's a nice interior,
0:39:12 > 0:39:181920s and it's probably worth in auction
0:39:18 > 0:39:20£400-£600, maybe £500-£700.
0:39:20 > 0:39:22But that's irrelevant cos it's priceless to you
0:39:22 > 0:39:25- and it's such a nice thing to still have.- Yes.
0:39:25 > 0:39:26Could do a little bit of a clean.
0:39:26 > 0:39:29- Could it?- Yes. Just a little bit. - We weren't sure what to do with it,
0:39:29 > 0:39:31whether to leave it as is or whether to clean it.
0:39:31 > 0:39:33Possibly a new frame, as well? I don't know.
0:39:33 > 0:39:35No, the frame is contemporary with the period.
0:39:35 > 0:39:40Very nice to see and it's nice to have that memory really of the past.
0:39:40 > 0:39:42- Thank you very much.- Thank you.
0:39:47 > 0:39:49I've always wanted a musical box like this.
0:39:49 > 0:39:52Then you'd want an aunt like mine.
0:39:52 > 0:39:53Your aunt gave it to you?
0:39:53 > 0:39:57She did indeed, yes. About three years ago.
0:39:57 > 0:40:00I used to listen to it when I was a child
0:40:00 > 0:40:02and she listened to it when she was a child
0:40:02 > 0:40:06and it was her father that purchased it for her.
0:40:06 > 0:40:11And it's second-hand from Switzerland, round about the 1920s.
0:40:11 > 0:40:14So he was in Switzerland?
0:40:14 > 0:40:16I believe it was one of his work colleagues.
0:40:16 > 0:40:18He was an importer, based in Glasgow,
0:40:18 > 0:40:20and I believe it was one of his colleagues
0:40:20 > 0:40:23- that had brought it back for her. - Fantastic.
0:40:23 > 0:40:28Well, you probably know that this is all inlaid wood, various woods.
0:40:28 > 0:40:33We've got kingwood, yew wood stringing,
0:40:33 > 0:40:36rosewood. It's veneer, rather than solid.
0:40:37 > 0:40:42And you can see how it's a little bit faded with the light
0:40:42 > 0:40:47because here in the front, you can see the wonderful colours
0:40:47 > 0:40:51they would have been and almost all of these particular musical boxes
0:40:51 > 0:40:55had a musical element of the design in them.
0:40:55 > 0:40:58So you know that it's a musical box before you even open it.
0:40:58 > 0:41:01- Shall we open it?- Yes, we shall.
0:41:01 > 0:41:04Oh. Look at that. Look at that.
0:41:04 > 0:41:10Now, what it... It's actually called Drum, Bells & Castanets.
0:41:10 > 0:41:12And to me that is everything.
0:41:12 > 0:41:14You've got the orchestra
0:41:14 > 0:41:18rather than, if you like, just an ordinary cylinder
0:41:18 > 0:41:20which hasn't got any extras.
0:41:20 > 0:41:24Let's just open it up cos it's in extremely good condition,
0:41:24 > 0:41:26you've obviously kept it very well.
0:41:26 > 0:41:30I have to tell the truth and say, no, my aunt kept it very well.
0:41:30 > 0:41:31Right, right.
0:41:31 > 0:41:34Well, now these were made in Switzerland,
0:41:34 > 0:41:37usually in a place called Bullet, Sainte Croix,
0:41:37 > 0:41:41which is near Neuchatel and they're still making them today
0:41:41 > 0:41:44and there were many, many makers there,
0:41:44 > 0:41:47the most famous is Nicole Freres,
0:41:47 > 0:41:51but if this was by Nicole Freres it would be plastered on there.
0:41:51 > 0:41:54He would be, "I am..." You know, he'd put his name on it.
0:41:54 > 0:41:57It could be by Vaucher Fils,
0:41:57 > 0:42:00which is Vaucher Fils being sons.
0:42:00 > 0:42:04But as they haven't got a name on it, it's one of those anyway.
0:42:04 > 0:42:09So for a musical box of circa 1890, which is what this is,
0:42:09 > 0:42:11if you were selling it at auction
0:42:11 > 0:42:15you probably wouldn't get more than about £2,000 for it.
0:42:15 > 0:42:19But if you were buying it, you'd probably have to spend 4,000.
0:42:19 > 0:42:23Right. Gosh, that's a lot more than I expected.
0:42:23 > 0:42:25So have you got a favourite?
0:42:25 > 0:42:26I have indeed, it's Bygone Hours,
0:42:26 > 0:42:30which is one of the wonderful waltzes that is on it.
0:42:30 > 0:42:31So shall we play it?
0:42:31 > 0:42:33- Yes, please.- Right one, two, three.
0:42:33 > 0:42:35MUSIC BOX PLAYS
0:42:55 > 0:42:57It's a pretty little autograph book,
0:42:57 > 0:43:00probably of the kind that was kept by countless young girls
0:43:00 > 0:43:03over the course of time. Is it yours?
0:43:03 > 0:43:06- It is, yes.- And you're Joanne? - Joanne, yes.
0:43:06 > 0:43:08This is lovely.
0:43:08 > 0:43:10"Joanne is a grocer girl." Do you want to read that to me?
0:43:10 > 0:43:12"Joanna is a grocer girl
0:43:12 > 0:43:13"She works in Biggar
0:43:13 > 0:43:15"She climbs out and in the van
0:43:15 > 0:43:17"So she can keep her figure."
0:43:19 > 0:43:21That was written by one of my friends.
0:43:21 > 0:43:24- Are you still friends?- Friends with Agnes? Yes, yes.- Lovely.
0:43:24 > 0:43:28Lovely. So, yes, it's full of that kind of thing and very nice too.
0:43:28 > 0:43:31But this is what brings me up short, look at this,
0:43:31 > 0:43:35- this is signed by Hugh MacDiarmid.- Mm-hm.
0:43:35 > 0:43:38- He's one of the most important 20th-century Scottish poets.- Yes.
0:43:38 > 0:43:40What's he doing in there?
0:43:40 > 0:43:43I took my autograph book and went with the groceries.
0:43:43 > 0:43:45On your grocery round.
0:43:45 > 0:43:48Grocery round and asked him to do an autograph for me
0:43:48 > 0:43:50and he gave me a long lecture
0:43:50 > 0:43:53about how he didn't do these kind of things.
0:43:53 > 0:43:56And then I just stood there and the next thing he says,
0:43:56 > 0:44:00"Give me it," and he wrote me this poem and he put the date.
0:44:00 > 0:44:02Probably wasn't the most approachable of men, was he?
0:44:02 > 0:44:04- No, he wasn't. - He was quite old by then?
0:44:04 > 0:44:09He was quite old by then and was very grey and always had a pipe...
0:44:09 > 0:44:12- Yes.- ..smoked a pipe. - Clearly a serious individual.
0:44:12 > 0:44:15An important national poet, but also politician.
0:44:15 > 0:44:17So involved in Scottish Nationalist politics.
0:44:17 > 0:44:20He was what I'd call a grumpy old man.
0:44:22 > 0:44:23Anyway what did he write?
0:44:23 > 0:44:26Please, I would love it if you could read it to us.
0:44:26 > 0:44:28"The Little White Rose Of Scotland.
0:44:28 > 0:44:31"The rose of all the world is not for me
0:44:31 > 0:44:35"I want for my part only the little white rose of Scotland
0:44:35 > 0:44:39"That smells sharp and sweet and breaks the heart.
0:44:39 > 0:44:40"Hugh MacDiarmid."
0:44:42 > 0:44:43It's very moving, isn't it?
0:44:43 > 0:44:44Yes.
0:44:44 > 0:44:50I think you did fantastically well to get that, but also to keep it.
0:44:50 > 0:44:51This isn't an original poem.
0:44:51 > 0:44:55This is one of his published poems and a well-known poem, as well.
0:44:55 > 0:44:57It's got a commercial value, of course it has.
0:44:57 > 0:45:00Maybe not for the other poems, but just for the Hugh MacDiarmid,
0:45:00 > 0:45:01£200-£300.
0:45:01 > 0:45:02Oh.
0:45:02 > 0:45:04That sounds nice.
0:45:04 > 0:45:06I'm keeping it, though.
0:45:12 > 0:45:14Well, I must say it's not every day
0:45:14 > 0:45:17I get to record with a Shippam's fish paste pot.
0:45:17 > 0:45:21Last summer, we went mudlarking on the Thames in London
0:45:21 > 0:45:25- and we found the pot. - This is living history, isn't it?
0:45:25 > 0:45:30What you're doing is you're finding relics of former people's lives
0:45:30 > 0:45:32and that's my job. I love it.
0:45:32 > 0:45:34And this one takes me back to my childhood.
0:45:34 > 0:45:37That call, "Andrew, Andrew, tea is ready."
0:45:37 > 0:45:39And you'd say, "What is it?"
0:45:39 > 0:45:41And she'd say, "Shippam's fish paste."
0:45:41 > 0:45:45Anyhow, I'm delighted you're going out and getting your hands dirty
0:45:45 > 0:45:48and slimy, what fun, I mean, its value is infinitesimal.
0:45:48 > 0:45:51What is it? 30p.
0:45:51 > 0:45:52That's what we thought.
0:45:52 > 0:45:56But, you know, it is...it's viewing into other people's lives
0:45:56 > 0:45:59and that for me is what history's all about.
0:46:03 > 0:46:05Here we are by the banks of the Clyde.
0:46:05 > 0:46:07And I think if I was having a bit of a plodge in the water,
0:46:07 > 0:46:09I'd have a bit of a brighter expression than her.
0:46:09 > 0:46:11What's wrong with her?
0:46:11 > 0:46:13I don't know. She does seem quite miserable, doesn't she?
0:46:13 > 0:46:14She does a bit.
0:46:14 > 0:46:17- Have you known her for long?- Years. - OK.
0:46:17 > 0:46:21She was always in my grandparents' house, sat on the sill in the window
0:46:21 > 0:46:24halfway up the stairs. My grandparents passed on,
0:46:24 > 0:46:26I went to my aunt's house and she was there,
0:46:26 > 0:46:28so I sort of said to my aunt, "Oh, there she is!"
0:46:28 > 0:46:31My aunt said, "Take her," cos I love her, I've always loved her.
0:46:31 > 0:46:34Does she have a name, it sounds as though you're quite attached to her?
0:46:34 > 0:46:35- She's Fish Lady.- Fish Lady?
0:46:35 > 0:46:38We know absolutely nothing about her, where she came from,
0:46:38 > 0:46:40what her purpose in life is,
0:46:40 > 0:46:42she's just sat there and gathered dust.
0:46:42 > 0:46:45Well, you call her Fish Lady.
0:46:45 > 0:46:48Maybe we should rename her Madame Poisson,
0:46:48 > 0:46:52or in fact actually Madame Dauphin because it's a dolphin.
0:46:52 > 0:46:53Oh!
0:46:53 > 0:46:55She's sitting on a dolphin.
0:46:55 > 0:46:56What I think's lovely about her,
0:46:56 > 0:47:00although she is kind of sliding down the side of a dolphin,
0:47:00 > 0:47:02but look how one of her feet is actually in the water.
0:47:02 > 0:47:05Oh, do you know what? I'd never noticed that before.
0:47:05 > 0:47:07The wave is actually modelled across there.
0:47:07 > 0:47:09So, Madame Dauphin.
0:47:09 > 0:47:12So she is French, we just need to date her now.
0:47:12 > 0:47:14- Yeah.- She's quite old.- OK.
0:47:14 > 0:47:16She's dated about 1720.
0:47:17 > 0:47:19- Seriously?- Seriously.
0:47:19 > 0:47:23She was made near Nievre in about 1720.
0:47:23 > 0:47:26- OK.- So that just comes to what it's worth.
0:47:26 > 0:47:28- Yeah.- So you found it on your auntie's windowsill?
0:47:28 > 0:47:30Yes.
0:47:30 > 0:47:32If this was at auction,
0:47:32 > 0:47:34it would make between £800-£1,200.
0:47:34 > 0:47:37- Oh, that's OK. - So she's quite pricey fish lady.
0:47:37 > 0:47:39- Yes.- Lovely, thank you.
0:47:39 > 0:47:41- It's a pleasure. - Thank you very much.
0:47:44 > 0:47:48The pearls were bought at a car-boot sale for £2.
0:47:48 > 0:47:50And when did you buy this?
0:47:50 > 0:47:52About 18 months ago.
0:47:52 > 0:47:53What caught my attention
0:47:53 > 0:47:57was the fact they had the little chain on them.
0:47:57 > 0:48:00And I know if you have a bracelet and you don't want to lose it,
0:48:00 > 0:48:02you have a little chain put on it.
0:48:02 > 0:48:03Pearls, it's all
0:48:03 > 0:48:06about the lustre, it really is.
0:48:06 > 0:48:09It's about you waving
0:48:09 > 0:48:13and you can see your hand waving back to you.
0:48:13 > 0:48:15And also it's size - size is important.
0:48:15 > 0:48:17Now with these,
0:48:17 > 0:48:19if these are natural,
0:48:19 > 0:48:23it really is the bottom sort of three, three and a half inches
0:48:23 > 0:48:27that is where your money's in.
0:48:27 > 0:48:31I think that these could be natural pearls.
0:48:31 > 0:48:34I'm going to be conservative with the price here,
0:48:34 > 0:48:37I would say that in auction,
0:48:37 > 0:48:42you'd probably be looking in the region of about
0:48:42 > 0:48:45£2,000-£3,000.
0:48:45 > 0:48:48Gosh. Unbelievable.
0:48:48 > 0:48:50- Great car boot sale. - Isn't that unbelievable?
0:48:54 > 0:48:57So even though I hate little safety chains,
0:48:57 > 0:49:00if you hadn't seen that safety chain,
0:49:00 > 0:49:03you never would have given £2 for it.
0:49:03 > 0:49:05No, it was the chain that I noticed.
0:49:05 > 0:49:09I thought someone valued the pearls because they've put a chain on them.
0:49:12 > 0:49:15The Roadshow is truly remarkable
0:49:15 > 0:49:19- for producing things I've never seen before.- Yes.
0:49:19 > 0:49:23And I've never seen anything quite as confusing as this.
0:49:23 > 0:49:24It is confusing, you're right.
0:49:24 > 0:49:26Where did you get it?
0:49:26 > 0:49:28We don't know how he actually came by it,
0:49:28 > 0:49:31but it belonged originally to our grandfather
0:49:31 > 0:49:34and that was passed on then to our father and now to us.
0:49:34 > 0:49:39So the names on this don't mean anything to your family?
0:49:39 > 0:49:42- Not directly, no.- So it is something you've acquired?
0:49:42 > 0:49:44- Yes.- Do you know where this is from?
0:49:44 > 0:49:47Yes, I've been down to Stickland. Or do you mean originally?
0:49:47 > 0:49:48- Where this is made?- No, I don't.
0:49:48 > 0:49:52Although it has an eastern panel around the outside.
0:49:52 > 0:49:54- It's from Sri Lanka.- Oh.
0:49:54 > 0:50:01And it's repousse work that they made often for export,
0:50:01 > 0:50:05sometimes for home use, but I've never seen Sri Lankan work
0:50:05 > 0:50:08with anything but Sri Lankan symbolism on it.
0:50:08 > 0:50:10That's obviously the parish church.
0:50:10 > 0:50:12It is. I've been there, yeah.
0:50:12 > 0:50:16And then it says church and rectory, Reverend W Churchill.
0:50:16 > 0:50:20Well, it can't be Winston because it's dated 1847,
0:50:20 > 0:50:2513th February to 12th November 1884.
0:50:25 > 0:50:30- Yeah.- This is probably where the Reverend Churchill
0:50:30 > 0:50:34started his pious work in this village church.
0:50:34 > 0:50:38What I've deduced from it is that he was probably a missionary
0:50:38 > 0:50:45in Sri Lanka from this time in 1847 to this date in 1884
0:50:45 > 0:50:50and it was probably made as a goodbye gift.
0:50:52 > 0:50:56- Right.- Because this is obviously the end of his service there.
0:50:56 > 0:50:59- Yes.- I don't think that's his death.
0:50:59 > 0:51:02We'd always assumed it was the end of his service in Stickland,
0:51:02 > 0:51:06- but of course we don't know. - No. I think in Sri Lanka, you see,
0:51:06 > 0:51:10because these elephants, they're not Dorset elephants, are they?
0:51:10 > 0:51:13- No!- I mean, the extinct Dorset elephant.
0:51:13 > 0:51:17We've got here this armorial thing with a Latin...
0:51:17 > 0:51:19It's a rampant lion of sorts,
0:51:19 > 0:51:24- with a Latin inscription that says, "Esse quam videri."- Videri, yes.
0:51:24 > 0:51:26What's that?
0:51:26 > 0:51:29"To be, rather than seem."
0:51:29 > 0:51:31Yes, that's right.
0:51:31 > 0:51:37So I think if I saw that and I was taken by it and I had funds,
0:51:37 > 0:51:40I'd probably pay as much as £300 for it.
0:51:40 > 0:51:42But it's not as much about the value
0:51:42 > 0:51:47as it is this cross pollination of cultures right there.
0:51:47 > 0:51:49- It's just amazing. - It is fascinating, it really is.
0:51:53 > 0:51:55This is such a great toy car.
0:51:55 > 0:52:01It's big, it's bold, it's beautifully decorated,
0:52:01 > 0:52:03it's a snazzy colour.
0:52:03 > 0:52:04Why have you got it?
0:52:04 > 0:52:07My husband got it as a gift from his grandmother when
0:52:07 > 0:52:09he was on holiday.
0:52:09 > 0:52:12He would have been about seven, so about 43 years ago.
0:52:12 > 0:52:15And she bought it at the jumble sale.
0:52:15 > 0:52:17They were at the beach and she went off to a jumble sale
0:52:17 > 0:52:20and came back with a car for him, so he was quite delighted with it.
0:52:20 > 0:52:23I bet he was, presumably just bought for a few pence.
0:52:23 > 0:52:27Yeah, I think it was 10p, 20p, something like that,
0:52:27 > 0:52:30certainly not anything. It was a jumble sale in Millport,
0:52:30 > 0:52:32nothing would have gone for a lot of money there.
0:52:32 > 0:52:36Presumably, it had been played with and was in poor condition
0:52:36 > 0:52:38- when he got it?- Well, no. No, it wasn't.
0:52:38 > 0:52:41He got it and he played with it.
0:52:41 > 0:52:43He had his Action Men in it
0:52:43 > 0:52:46and it was up and down the street and he had a lot of fun with it.
0:52:46 > 0:52:50I suppose an object can only give once and it's already given.
0:52:50 > 0:52:53- It has given a lot of pleasure to your husband.- Absolutely.
0:52:53 > 0:52:57But to me almost it's too good to be a toy,
0:52:57 > 0:52:59for lots of reasons.
0:52:59 > 0:53:01Let's just have a look at how beautifully made it is.
0:53:01 > 0:53:04First of all, it's modelled on a real car.
0:53:04 > 0:53:08It's modelled on an Alfa Romeo racing car called a P2.
0:53:08 > 0:53:10So it's known as the P2 Alfa.
0:53:11 > 0:53:13And just look at the detail.
0:53:13 > 0:53:17First of all, the filler caps just below the cockpit
0:53:17 > 0:53:19and on the radiator.
0:53:19 > 0:53:22The radiator grille,
0:53:22 > 0:53:25the tyres, they're proper cast tyres, they say Michelin on them.
0:53:26 > 0:53:33The exhaust, the handbrake, the actual proper usable steering wheel.
0:53:33 > 0:53:35So in every way, it looks like the real car,
0:53:35 > 0:53:38apart from back here where of course you've got the arbor
0:53:38 > 0:53:42to wind up the clockwork. Not seen on the full-size vehicle!
0:53:43 > 0:53:49It was made in France by Compagnie Industrielle du Jouet, CIJ.
0:53:49 > 0:53:52And the P2 Alfa was the car of the moment.
0:53:52 > 0:53:55In 1925, it won an important race
0:53:55 > 0:53:59and it was the Formula One car of its time.
0:53:59 > 0:54:02So that's why the company produced them,
0:54:02 > 0:54:05it was riding a wave of popularity,
0:54:05 > 0:54:09and they produced a whole range of these in different colours,
0:54:09 > 0:54:11so there was silver and white
0:54:11 > 0:54:16and red and blue and the orange one is an unusual one.
0:54:16 > 0:54:17Oh!
0:54:17 > 0:54:19So let's think about the little boy
0:54:19 > 0:54:21who would have owned this in the 1920s.
0:54:21 > 0:54:23He would have been from a good family.
0:54:23 > 0:54:27He would have probably heard about this fabulous race
0:54:27 > 0:54:30where the P2 Alfa had won
0:54:30 > 0:54:32and he would have got this at Christmas
0:54:32 > 0:54:36and would have been completely over the moon.
0:54:36 > 0:54:39So your husband had a lot of fun with it
0:54:39 > 0:54:42and has it been passed down through the family or...?
0:54:42 > 0:54:44Well, yeah, now it sits on a ledge in my son's room,
0:54:44 > 0:54:47so he enjoys it, thinks it looks quite cool.
0:54:48 > 0:54:49Cool it does look.
0:54:49 > 0:54:52- What's it worth?- I don't know.
0:54:52 > 0:54:55I would have said year after year after year
0:54:55 > 0:54:58these were fetching £2,000,
0:54:58 > 0:55:00which is a lot of money for a toy car,
0:55:00 > 0:55:05and I was very excited whenever saw one of these, as a result.
0:55:05 > 0:55:09Something very strange happened this year
0:55:09 > 0:55:12and one sold for £12,000.
0:55:14 > 0:55:21So that has now made me completely rethink the value of this.
0:55:21 > 0:55:23I mean, admittedly the one that was sold earlier in the year
0:55:23 > 0:55:26was in perfect condition, original condition.
0:55:26 > 0:55:30This isn't, but actually I like the fact it has been play worn,
0:55:30 > 0:55:32it doesn't worry me at all
0:55:32 > 0:55:35and it won't worry some types of collectors.
0:55:35 > 0:55:40So I think I'm going to have to look at that £12,000 price and look at
0:55:40 > 0:55:42the regular price and put it somewhere in the middle.
0:55:42 > 0:55:45So I would say that your car today would be worth between
0:55:45 > 0:55:48- £4,000 and £6,000.- Oh, my goodness!
0:55:50 > 0:55:52Oh, dear.
0:55:52 > 0:55:55Well, he never expected that, not at all.
0:55:55 > 0:55:57And is your son still going to have it?
0:55:57 > 0:55:59Yeah. I think so.
0:55:59 > 0:56:00Lucky son.
0:56:00 > 0:56:03Thank you very much for bringing it in, it's been a real treat.
0:56:03 > 0:56:06Thank you. Thank you very much.
0:56:06 > 0:56:07I'll get it back in the bag.
0:56:07 > 0:56:08THEY LAUGH
0:56:12 > 0:56:15Throughout our day here filming at New Lanark,
0:56:15 > 0:56:18we have been accompanied by the roar of the River Clyde.
0:56:18 > 0:56:21And do you remember I told you at the beginning of the programme
0:56:21 > 0:56:24that when this place was a thriving cotton manufacturers
0:56:24 > 0:56:26it was a bit of a tourist attraction, as well?
0:56:26 > 0:56:29Well, one of our visitors brought along an account written by her
0:56:29 > 0:56:34great-great-grandfather of a visit to the cotton manufactory here,
0:56:34 > 0:56:37as he describes it, and to the Falls of Clyde.
0:56:37 > 0:56:39I just wanted to share his description
0:56:39 > 0:56:41of the river here with you.
0:56:41 > 0:56:45He writes, "A hollow murmuring noise first strikes the ear
0:56:45 > 0:56:50"which gradually becomes louder and louder as you approach the fall."
0:56:50 > 0:56:53From New Lanark and the whole Antiques Roadshow team, bye-bye.