stand up and put him out of his misery. i will not. you get up there. no! come on! thank you! don't worry, we won't tell brendan. ha ha ha! ( hears movement ) hey. lights out. you still up? yeah. wait a second. is that the mug you had back in prison? took it with me-- as a reminder. look at the pair of us. it's like being back there again-- talking into the dead hours of the night. wondering how our families were getting on outside. sends shivers down your spine. ( chuckling ) listen, mick what i said this afternoon-- forget it. there's a lot ridin' on this. for my family. it isn't a scam, is it? please. no, it's not. i'm sorry. i love you like a brother-- we'll do this together. i'm sorry, i'm just tired. you'd do the same for me. yeah. we'll talk about it in the morning. sleep well. man: yeah? it's mickeyo. i'll have another 20k off what i owe you next week. ( toasting in gaelic ) all: aye! minto: and now for the last stage of the ritual-- the elevation of the stag. sean dillon, hearinafter called sean do-- the dark one-- to a higher plane of wealth. all: sean do! come on! maisie: kathleen! hurry up! i'll give you a lift home! i'm not goin' home-- the night is young! any decent woman would be in bed by now. shut up with that, you crabby old hypocrite! ( girls all laughing ) sean do! all: sean do, oi, oi, oi, sean do, oi, oi, oi... sean do! oi! oi! sean do! oi! oi! sean do! oi! oi! orla: go on, girl! just calm yourself. just put the cone down. no. come on, kathleen, i mean it. don't throw your weight around with me, copper. if i have to arrest you, kathleen, i will. go ahead. make my day. whoo! sean do! oi! oi! sean do! oi! oi! sean do! oi! oi! sean do! oi! oi! ( all laughing and chattering ) all: ♪ why was she born so beautiful ♪ ♪ why was born at all ♪ new day, new life, what? it's great to have them back. some nights when she and kieran were in dublin-- brian. oh, yeah, right. i'll see you later on. well, this is it. niamh and me we need to talk to you... after the wedding. what about? well, we'll talk after the wedding. no, we'll talk now. you're not stayin'. niamh won't go anywhere without talking to you. where exactly is it she won't go without talking to me? we haven't decided yet we're still thinkin' about it. where? london. maybe. well... long day ahead. i'll leave you to it. i presume that niamh shouldn't know that we... ( birds chirping ) dermot: what do you want us to do now? paul: you've done enough-- go get some ice cream. you can't be givin' us money, right? yes. take this and come back when the guests arrive. meself and uncle mickeyo here, we have a plan, haven't we? ( cell phone rings ) hello? yeah. everything okay? fine. what's next? bread sticks-- i'll take this lot. cheer up--it's the happiest day of someone's life. he's not there-- and he hasn't been. how long have you been here? about half an hour. so you're keen to get him. it'd be terrible if the village had a wedding and a car accident don't you think? don't you think? why do you think i'm here? why do you think i'm here? ( clears throat ) grainne, you know how mum and dad are stuck for money? they already gave us money. if we can open this place, we can make some money that they won't expect. they'll go mad. every penny counts. it'll be quiet, anyway. i thought you were closed today. no, no, we're open. what can i do you for? i'll have a nice pint, please. what's goin' on? frankie: are you jamesie toomey? yeah. why? i've had a report that you were seen driving dangerously. what, in majorca? we're only back from santa ponsa this minute. ( horn blaring ) who's that, then? that's me granddad. what does he think he's doing?! that's the way he always drives. he hates driving the roads-- feels safer in the fields. i'll put an end to his field trips. i've got to get to this wedding! i'll get you there don't worry! you're open? yeah, what can i get you? i'll just go and get them. and no cracks about women drivers. do you think i'm in the humor for jokes right now? i am late for a wedding. could you try the radio again, please? there's no point-- there's no signal. that's it, then. i'm walking. aiden, just relax, okay? that'll be eight-eighty, please. can i have another pint for my grandson? has he got proof of his age? ( chuckling ) go and see where your grandma is. another four pints on the way. excuse me. yeah? can i help ya? are there any adults here? yeah. could i speak to one of them, please? well, you see-- is there a problem, son? i don't think so, da'. you approve of having children working in this environment? my son and daughter are just learning the benefits of honest work. you got a problem with that? they're still just children. three pints at two-twenty, one glass at one-thirty, two mixers at ninety-seven pence each-- how much? nine eighty-four. my, ain't he something? no doubt about it... that i have a beautiful daughter. dad... you're not gonna stand him up at the alter, are you? look, daddy... after the honeymoon, we're talking about... maybe looking at.. living in..london. has sean told you? he hasn't. and don't mention it to him. mr. o'callaghan, hello. where is father aiden? i don't know, father. right. welcome, nice to see you. check outside in case he's coming. oh, and kathleen. yes, father? don't let on that anything's amiss. orla, hello. aiden: they'll be at the church by now. i was doing my job, aiden. maybe if you thought about other people when you're doing your job. i take my job as seriously as you do. maybe you take it too seriously. maybe you take yourself too seriously. havin' trouble? license. could we not avail of this opportunity, please? we'll talk about this later. right now we need to get to ballykissangel, so if you'll kindly get out of the car. i kindly will not. but if you want a lift. aiden: garda sullivan-- please? could i get in? no sign of father, father. ( sighs ) right. is there any way we can go faster? no way. that'd be speedin'. but you're only doing twenty. i'm doing twenty-nine miles an hour. because the bloke in front is doing twenty-nine. overtake him, then! if i do, i'm doing thirty-one. the speed limit here is thirty. right? would you do something? okay, police emergency. so that means step on it? it does. ( tires squealing ) ♪ ( organ plays "here comes the bride" ) ♪ ( tires squealing ) ( organ sustains chord ) what's going on? i don't know. ( crinkly sounds ) ( tires screech ) ( coughing and murmuring ) niamh, sean, i'm terribly sorry. it's a long story-- back in a tick. there better be a good explanation for this. i promise you, there is. there's 950 pounds here. and this is tips. 200 pounds and 70 'p'. what you did was wrong. yeah. and you have tour buses booked in each weekend? yeah. mickeyo helped us. we want you to take it, da'. we know about the tax. keep it. put it in the post office. come here. we'll succeed, d'ya hear that? we'll do it as a family. all for one, and one for all. be back in a minute. hey! hold on. you're not goin', are ya? yeah. just wanted to say i really appreciated what you did with the kids. paul-- best takings we had all month, actually. paul-- you were gonna con us, weren't you? yeah. ( angry: ) mick. i'm sorry. no franchise? no. and all this? rented. are you in trouble? i'm into a guy for fifty grand. serious stuff. if there's anything i can do-- no. go back to your family. well, you know where we are. yeah. ( car starts ) aiden: may the lord bless these rings which will be the sign of your love and fidelity. amen. amen. niamh, take this ring as a sign of our faithful love. in the name of the father and the son and the holy spirit. amen. sean, wear this ring as a sign of our faithful love. in the name of the father and the son and the holy spirit. amen. i now pronounce you man and wife. you may kiss the bride. ( congregation applauds ) siobhan: look at the table. guest: it looks stunning. ( applause ) father mac: bless us o lord and these thy gifts of which thy bounty we are about to receive. through christ our lord. amen. all: amen. ( guests chatting ) ( brian taps his glass ) welcome to you all and i'd like to thank you for sharing today with us. a word of warning, however. when i propose a toast i urge you to take but a sip from your glass because i have many toasts to propose and i wouldn't like to think of you all staggering afterwards. ( laughter ) i'd like to welcome sean to the quigley family. i'd like to welcome niamh to the dillon family. next, perhaps a strange toast from someone like me but...to love. because without it this life is pointless. but if you do love someone and if you're fortunate enough to be loved in return, it doesn't matter where in the world you are... what matters is that love... and not the location. to love. all: to love. to brian quigley. all: hear, hear. to niamh and sean, may they prosper and be happy. all: to niamh and sean. ( celtic dance music ) you look great. i'm more than just the uniform, you know. oh, yes. i know. and so am i, i hope. of course you are. i'm sorry-- i overreacted. we both did. some of the things i said-- taking myself too seriously, you mean? i don't think that's something you suffer from. me, on the other hand, maybe i do. why don't i say a prayer for the two of us, just in case? ( laughing: ) thanks, that's be lovely. are you coming for a drink? i am. come on, girl. see you later. ( cheers and applause ) ( cheering continues ) are you ready, girls? yeah! one, two, three! ( laughter and applause ) bye! whoo! niamh: thanks for everything! captioned by captioneering your closed captioning resource this week we're at a house that could've been plucked straight out of an episode of upstairs, downstairs where i'd like to think i'd be lady of the manor. more likely, i'd end up as a scullery maid. welcome to the antiques roadshow from lanhydrock. ♪ if you want to peek into the classic view of victorian life, then go no further than lanhydrock in cornwall. it was owned by the robarts family who lived here for more than 300 years. and by the 1880s they had created one of the last great examples of how an upstairs downstairs lifestyle was planned into the very bricks and mortar of the house, where everyone knew their position and their status. where family and servants, men and women, the young and the old were kept well away from each other, segregated according to the victorian moral code. male and female servants of which there were over 80, had separate accommodation in the rafters of the house, with their own entrances and exits and, amazingly their own staircases. the wooden staircase was for women only and the stone staircase for men only. designers considered wood was soft on the eye and soft on the step for the delicate female form. victorian men, however were hued from hardier stuff and able to withstand the shock of unforgiving stone. the kitchen was one place male and female servants did mingle but even here were told not to talk to each other unless necessary for fear a conversation could lead to a relationship and then who knows where. children were kept apart in their own wing out of earshot of the main living areas allowing their screams to disturb only their below-stairs nanny and not the tranquility of their above-stairs family. lord and lady robarts maintained victorian decorum by going their different ways after an evening of lavish dining. the men would retire to their side of the house for smoking and billiards, and above here the male bedroom's connected by the male staircase so the volume of their enjoyment would go unheeded by the rest of the house. lanhydrock is now perfectly preserved, upstairs and downstairs, by the national trust. we've set our stalls on the lawn where everyone is treated equally so long as they form an orderly cue. let's see what our experts have to offer on this week's roadshow. this is just the thing i need. are you willing to part with it? no, i don't think it's for sale, but we're very interested to know how much it's worth. a-ha. well, should be go into a bit more background like do you use it often? ( both laugh ) well, i think with these hands the answer is no because it's intended for children. absolutely, and what children? because these days would it last one day? we think that this dates back to the victorian era and i suspect children were better behaved in those days. they were made to behave better weren't they? i believe so, yes. and this would probably have been an expensive toy anyway so it would've been a family possibly with a nanny who said "do not do that! otherwise i will get you with my crocodile!" ( chuckles ) i think they're mid-19th century. you say victorian. i think early-victorian. early rather than mid. i just think they are very well-painted. they're extremely good puppets and you say they're made for children. it would've been a child of 12, 13. as old as that? oh, it could've well have been a sort of early entertainment for teenagers with their younger siblings, which would've been wonderful, or to entertain the parents and their friends for tea. it predates television of course. of course. what i am concerned about is we're missing the baby, we're missing the sausages we're missing... mr. punch's stick. mr. punch's stick. um, where are they? ( chuckles ) i can't explain that but this set was passed on to me by a relative who collected punch and judy memorabilia and he bought it perhaps 15 years ago in brighton, and i think he paid about 100 pounds. well, i mean, it's enough to have punch and judy and the beetle and then later on, they had the hangman. right. i mean it's a pretty macabre story to teach children. it's gruesome, isn't it? it's really gruesome. so that's why i like the crocodile because you don't have the hangman. you have a crocodile so he eats the sausages, doesn't he? he does. yes. ( chuckles ) they're made of papier mache these heads. oh, are they? right. beautifully painted in an oil-based paint, and i can't believe they're in such good condition because the one thing a child would do is, you know, "you did that, you naughty boy! bang, bang, bang!" well, i'm getting scared. ( all laugh ) so underneath, they've got their original clothes. very much a la mode at the moment, this paisley. lovely wooden carved legs and hands. look at all this. this is all paisley as well. i've never seen one with this wonderful beadwork. tremendous. gosh i could have such fun with this. i really could. do you think this is unique, or would it have been one of many? it's rare to find the small version-- very rare. for that reason, i'm going to say it's worth over 1,000 pounds. so, i mean, 8 to 1,200. if you can find-- i'm suddenly rich, aren't i? ( both chuckle ) well, thank you very much for coming in today. ( makes noises ) ( chuckles ) there's lots of things i like about your bracelet. really? i'm going to talk about the stones in a moment but what i really love about it is its splendid condition. because i'm looking at it all the way around it... i can't see a single defect in the piece at all, and considering we're looking at something that is probably what, 125, 130 years old it's pristine. so you've looked after it extremely well, if i may say. so what's the story behind it? well, my late husband gave it to me. he found it when he was doing a job in an attic, in a cold water tank and he just put it in his toolbox. he thought it was just junk metal. sorry, wait a minute. he was working in the loft... in a loft in an empty house. and what? he was just putting his hand in to clean it out? no, i think he was taking it out to change it. taking out the whole tank? well, i assume, yes, and that was in the bottom of the tank. lying there. was it wrapped up or anything? i honestly don't know, but he'd had it for a long while and he'd had it in his toolbox. from your point of view, you've just been wearing it ever since? yes. yes. right. well, i've mentioned the condition. now let's just say what it's made of, because i don't know whether he realized it and i don't know whether you realized it, it is gold. well, i thought it was. you did? i did think it was, yes. did you know what the stones were? lapis. they're lapis lazuli polished en cabochon in the dome form in a sort of beaded and wirework frame in a recessed cartouche with beaded decoration in a gold frame with these sort of beveled sides. so although it's quite a... i suppose a simple look, it's actually quite detailed in its construction. on the tongue piece, a couple of continental marks, which means that i think, it's french and i think it's made in about 1875. so your husband's carrying it around in his tool bag without knowing quite what the potential is. you've had it since that time, and i'm assuming therefore you've not really found out yourself what it might be worth what the potential of this piece is. no. you're right it is mounted in gold. you're right it is set with lapis lazuli, but what might have been a surprise for him and for you is that we're looking at a bangle that's worth 1,500 to 2,000 pounds. you're joking. no. ( chuckles ) so in this cold water tank was a 1,500 to 2,000 pound bangle lying there waiting for him to locate it. wish i could tell him. amazing. yes. do you have a large house? no, we have a bungalow. this takes up most of the space, i imagine. most of the space in one room, yes. do you have it just as decoration against a wall or something? well, yes. these screens from the orient came across to europe in the 17th century. do you know what they were used for? oh, i assumed it was to keep the draft out, you know. you put it in the dining room and in the middle of dinner, if you wanted to do a wee-wee, you went behind the screen. ( laughs ) in the dining room. oh, we've never used it for that. well, i'm glad to hear that. ( clears throat ) do you know where it comes from? no, don't know anything about it. you know nothing about it. where did you get it from? well, my husband already owned it when i married him. okay. it's japanese, and it dates from very close to 1900. 1890, 1910. we can date it fairly accurately. and it's decorated with these inset panels, but it's made not for japanese use. this is purely for western use. some of these screens, you don't get anything on the back. it's just completely plain. but the joy of this one is you've got a flock of birds drifting about and being pursued by an eagle, which is really rather attractive. the outside here is a rosewood. the inside, this wonderfully finely striped wood, is, i think-- and i'm not a wood expert-- i think it's cedar. oh, i did wonder what it was. i think it's cedar but the panels here are lacquer, and then the decoration is in ivory and bone. oh. you thought is was all ivory? yes, yes. well, it's a great deal cleverer than that. they've been very, very subtle and they've used ivory which they've carved very thin to give the petals over this lily. whereas down here, they've used bone because it gives the sort of texture you would find on a lily pad or lotus. yeah, i noticed that that was different. it's very carefully thought out. how good are you at housekeeping? oh, not particularly. no, i would've thought that, too. ( laughs ) we have quite a bit of buildup of dust. you could actually if you spent a bit of time really improve it a lot. should i show you how? if you like. i'm not saying i'll do it. ( all laugh ) i've garnered from makeup... oh, i see. and some methylated spirit. so what we do with our soft brush, we just-- look at the dust coming off there. can you see it? the dust is actually coming away in great clouds. yes, i can. i can see it. and you may improve it enough not to need to do anything much more to it. that has improved it out of all recognition. i wod actually recommend a cotton bud for this. we didn't have any with us. a little bit of methylated spirit. and if you just do that... it's gonna take a very long time to do every piece, isn't it? oh, yes, it is and i'm not suggesting you do it in a rush, but just look at that compared to what it was. oh, yes, very different. so you can do it yourself. i just noticed this snail there, which i don't remember that. that was under dust. you couldn't see it. ( laughs ) he is tremendous absolutely wonderful. fabulous bit of carving. this is top-quality wood here. it's difficult 'cause the market is very unpredictable at the moment, but it's such a good one that i don't think there would be any trouble getting between 2,500 and 3,500 pounds for it. oh. oh, well, i might like it a bit more now. ( all laugh ) i've heard that line before. thank you very much. well, you've brought in this wonderful musket. tell me all about it. well, my father has passed it on to me and he used to shoot it, and i've shot it once or twice myself. as far as i know it was an eli whitney that was made in the united states. i don't know too much about eli whitney, but it's in, i think very good condition still. well, eli whitney-- and the name "e. whitney" of course is on the lock which gives us that clue-- was responsible for producing the idea of interchangeable parts for muskets in america. it had previously been used in europe for a few years, but prior to the mass production of parts that could be used in any musket, any rifle. of course, if you had something go wrong, you'd have to take the musket back to a gunsmith, and he'd have to sit down for many hours making a little part to actually go into that musket to repair it. so his idea was that you manufactured masses of parts precision parts, by machine so that if you had something go wrong with your musket you just went to a box of bits picked up any old part and put it in, and it would work again. that sparked an idea with people like samuel colt and of course samuel colt really did pioneer the manufacture, the mass manufacture of parts to make guns. the colt revolver, for example. and of course, that really sparked the industrial revolution in america with people like henry ford producing production-line cars. so you could say that eli whitney the maker of this musket was actually one of the founding fathers of the industrial revolution in america. a fascinating thing. absolutely. i didn't realize. so tell me where did your interest in guns come from? well, my father kept me interested in guns since a very small child and i think i started shooting when i was about 13, and my father was captain of the british team for the muzzleloader association for several years, and i've always kept an interest ever since and this was one of his muskets that he shot many years ago. it is in lovely condition. i think it's been converted from flintlock to percussion and then back to flintlock again. yeah. nonetheless, it really is a nice gun, and i would say that if you went to buy this from a good dealer today you'd certainly be paying 3 or 4,000 pounds for it. wow. ( chuckles ) didn't expect that much. these three watercolor sketches are absolutely brilliant. they've got to be by joseph crawhall. they absolutely are. they were given to me by my grandmother, and joseph crawhall was her uncle. well, that's wonderful. so there's some great family history. it's incredibly rare to find works by joseph crawhall. he was a genius at draftsmanship absolute precocious perfectionist, and extraordinary to find them here in lanhydrock rather than in scotland and with the association with the glasgow school. when i first started in the art world when i was 16 i was looking forward to getting my driving test. when i got it, i borrowed my mother's volvo and one of the first things i did was drive right up to scotland on my own and visit all these marvelous museums-- kelvingrove, edinburgh bidborough collection. the glasgow boys really started about the 1880s and were influenced by bastien lepage in france and so you get this real great sense of painting outdoors square brushstrokes, similar to herbert letang. a number of british artists were also painting similar scenes. and the glasgow boys were certainly one of my real favorites--still are. especially crawhall, who is absolute genius. can you tell me a little bit more about the subjects? do they also relate to your family holidays or to the zoo? well, uncle lossie as the family called him would come and draw in my grandmother's sketchbook in her scrapbook and the family at various times took the pages away and had them framed, and that's what you see here. most of it records a trip to a zoo. whether it's a real zoo, or a zoo in joseph crawhall's imagination, we don't know, but these two little girls here-- if you can see them there-- are supposed to be my grandmother and her cousin. i think what's so wonderful about these also is the simplicity. by literally a sketch in a few minutes he's achieved so much. in terms of date crawhall didn't have a very long life but i'm thinking these are about 1890, 1900. does that tie in with your history? yeah, that's about right. my grandmother must've been born around 1880, and if that's her there, she's about ten. right, okay. i think these are brilliant. his father trained him initially, gave him a little bit of tuition to draw and he also said to joseph that he shouldn't really make any mistakes. so i think throughout his life that he destroyed actually hundreds of pictures. he did, yes. crawhall, again, is so rare. his major pieces make so much money. sketches like these, in terms of value, still incredibly desirable and i would estimate these at 3 to 5,000 pounds each. so about 10,000 pounds for the three. well, that's a bit of a shock for us. i had got the impression that crawhall was a bit out of fashion but perhaps i'm wrong. i've been lucky enough to have a look around this magnificent house at lanhydrock. paul, you're the national trust manager here. this is a very important part of lanhydrock's history. it belonged to tommy the eldest son of the robarts family. tell us a bit about him. tommy was the son and heir to over 70,000 acres of estate both in england and cornwall. he was known as the most eligible bachelor in paris and london. i should say he was with this place. my goodness. very much. he was an incredible character. he was m.p. for the local area. he championed the use of volunteer forces at the lead up to the great war. he himself was in the devon yeomanry. when war broke out he insisted that he went to the front. he joined the royal bucks hussars. to his horror, they were stationed in england. so he joined the first battalion coldstream guards. he went to the front and sadly died under fire in no man's land. this is the case that he took with him? this is a typical dressing case of the period. it's crocodile skin. it's leather fittings. fitted out by asprey and co. of london. we got these wonderful monogrammed bottles. and what are in all these? we got his powders. presumably, this is a talcum powder in here. we got his tooth powders in here. it's exactly as he left it. and what about these wooden bottles here? these are just carrier bottles. of particular interest here is this one, which carries his rouge. his rouge? when he was ashen with fear in the trenches, he would rouge himself up to give himself some bravado in front of his men. how incredible. so just to make him look rather than pale with fear. yes. i don't think he would want his men to see him-- as he was a captain-- ashen with fear. he was killed trying to save someone else's life, wasn't he? yes, he went into no man's land to save a wounded comrade. he had got hit by a sniper bullet and he died in a field hospital three days later. gosh. now, this letter here... this is from the family of the man that tommy saved. this is the man himself, actually. this is hopkins' letter to viscount clifden, talking about how brave tommy was under fire. he talks about, in the letter, of tommy getting hit twice by a sniper bullet but carrying on as normal, just dragging him to safety. it says, "it is to him and him alone"-- to tommy-- "tt i have to thank for being here today "for he came 80 to 100 yards right across the open in broad daylight "within 200 yards of the enemy and dragged me into safety. "i only know how sorry i was when a few moments afterwards, he himself was brought down." tsk. that's a very poignant letter. it is, isn't it? and extraordinary to think of the impact that his death had on this family. this is talked about in the paper of the day, is it? yes, and i suppose with typical zeal of the period they talk about his death being grand and the cause was just. he was quite a character wasn't he? he was actually put forth for a posthumous v.c., but he never got it because the deed he did was not deemed to be heroic. he went into no man's land when he really shouldn't have put himself at risk. how extraordinary. just 36 years old. who knows what might have been. what a tragedy. well it's a very distinctive style, and i think that this slightly sexist drawing is by mabel lucie attwell. of course, mabel lucie attwell was a famous illustrator from the 1930s right the way through, i think, until the 1960s. it says, "well you know what men are," and this wonderful lady here or this wonderful girl here, putting out her mittens. "you know what men are." now, tell me tell me about it. why do i think it's mabel lucie attwell? well, mabel lucie attwell lived in...many years ago, and when the house was sold, my husband had to go and do a job there and he was asked to clear the roof, and when he was on the roof, this picture fell out of a newspaper and he brought it home to me. so when was the house cleared? oh, easily 40 years ago. previous to that my mother used to work for her for a little while. really? yes. so you got great family connections with mabel lucie attwell. that's tremendous. what do you do with it? put it in a folder and put it away. no, no, you really ought to hang that up. i think it's absolutely wonderful-- an original mabel lucie attwell. at the time, i don't suppose it was of any value. that's the thing. well, look, the condition is not terribly good but it can be tidied up, and i think it is tremendous and your providence is absolutely perfect. i would happily say 500 pounds. wonderful. thank you very much indeed. now, i'm sure everybody, and i certainly do as a child, has wonderful memories of fairgrounds and particularly fairground noise. i can't separate a fairground from the organ. i remember riding on gallopers and all sorts of things where there was this fantastic noise going on and this is it really, isn't it? this is it, yes, on a bigger scale. this is the biggest scale i've ever seen. this is a fantastic instrument. tell me about it. the organ was built in 1906 to the order of a gentleman called george duvet. a showman? a showman. principal partner of the firm of anderton and rowland, who traveled the west country at that point. in fact, still do. it was built in paris by a firm called charles marenghi-- organ builders very good organ builders produced very fast-acting, quick-repetition instruments. the organ, when it was built was actually intended to mimic the military band. right. well, this is how it works isn't it? absolutely. i think this is fantastic technology 'cause what we've got here is the simple process of the punch card. 'cause once it was worked up by punching holes in a piece of card you could make machines operate. the sky's the limit. oh, absolutely. in the essence what is a computer? how are computers driven? binary... very similar to that. punch cards. the early ones punch cards, yeah. so this is what makes that go. you feed this in... and the noise comes out. not a noise, i hope. beautiful music comes out. can we give it a go? we certainly can. you put that in and then we'll listen. okay. ♪ this is a fantastic picture of the sabrina. do you know anything about the sabrina? my great-grandfather was the captain of it, and there was also another one identical to this called the carousel. he was captain of the two ships. and you just got this one? my mother had this one and her cousin had the one of the carousel. really? and her cousin always wanted to buy this one from my mother. she wouldn't sell it and his was lost in the blitz of plymouth in the last world war. that's really sad. so this is the only one left. well, you're lucky to have it. yes, yes. and where did it sail from? mostly from liverpool to south america and when he was ashore in foreign countries being captain, he had to go and get money for crew and different things and this was what he took with him when he went ashore. it's quite an offensive weapon that, isn't it? yeah, it's lead in the end of it. i can see it's really filled up with lead. yes, with lead. extraordinary. well, he knew how to take care of himself. well, that's what he had to save his money. but what interests me about the picture, 'cause being the captain so many of these captains had their ships painted. so what he would've done he would've called in to port-- and i see it's by a mr. kensington and it's dated 1891-- he would've commissioned him to paint this picture, and what they did, they quite often had these hanging in their cabins, and so he would've taken it around the world with him, d when he came off the boat, he kept it and luckily it's been passed down to family to you. but i think it's such a nice story that it's still in the family, and your grandfather had the boat and was captain of it, and you've got his rather heavy weapon there to stop me from running off with the picture. it's so nice and original, and i think that picture would probably make at auction somewhere in the region of 2 to 3,000 pounds. thank you. good. super. well, here we are in a garden surrounded by flowers with flowers on the table. i'm guessing that you like flowers. i'm hopeless with flowers. i can kill a pot plant at 20 paces, but i can't kill these. right, okay, so that's where the interest comes from-- that they're preserved. that's right, yes. well, tell me a little bit about them because there's not just one, two, or three. we've got quite a few we're looking at. right. these are called lucites. i didn't know that. i was on holiday and i found that in an antique shop and it reminded me of my grandmother

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